1969 Luciano Berio The Swingle Singers Sinfonia Vinyl LP Record Gatefold VG+

Description: Yes we combine shipping for multiple purchases.Add multiple items to your cart and the combined shipping total will automatically be calculated. 1969 Luciano Berio The Swingle Singers Sinfonia Vinyl LP Record Gatefold VG+ Record Grade per Goldmine Standard: VG+ Side 1BERIO: SINFONIA (BMi) (Beginning)Section I (6:3i)Section II (4:47)Side 2BERIO: SINFONIA (Conclusion)Section III (12:21)Section IV (2:5s)THE SWINGLE SINGERSNEW YORK PHILHARMONICConducted by the composerNotes by Luciano Berio:The four sections into which Sinfonia (composed in1968) is divided are not to be taken as movements analo-gous to those of the classical symphony. The title, in fact,must be understood only in its etymological sense of"sounding together" (in this case, the sounding togetherof instruments and eight voices). Although their expres-sive characters are extremely diversified, these four sec-tions are generally unified by similar harmonic andarticulatory characteristics (duplication and extendedrepetition being among the most important).I.The text of the first part consists of a series of shortfragments from Le Cru et le cuit by the French anthro-pologist Claude Levi-Strauss. These fragments are takenfrom a section of the book that analyzes the structureand symbology of Brazilian myths about the origins ofwater and related myths characterized by similarstructure.II.The second section of Sinfonia is a tribute to thememory of Dr. Martin Luther King, Jr. Here the vocalpart is based on his name, nothing else.III.The main text for the third section includes ex-cerpts from Samuel Beckett's The Unnamable, which inturn prompt a selection from many other sources, includ-ing Joyce, spoken phrases of Harvard undergraduates,slogans written by the students on the walls of the Sor-bonne during the May 1968 insurrection in Paris (which Iwitnessed), recorded dialogues with my friends and fam-ily, snatches of solfege, and so on.IV.The text for the fourth section, a sort of coda, isbased on a short selection from those used in the threepreceding parts.The treatments of the vocal part in the first, second andfourth sections of Sinfonia resemble each other in that thetext is not immediately perceivable as such. The wordsand their components undergo a musical analysis thatis integral to the total musical structure of voice and in-strument together. It is precisely because the varyingdegree of perceptibility of the text at different momentsis a part of the musical structure that the words andphrases used are not printed here. The experience of "notquite hearing," then, is to be conceived as essential to thenature of the work itself.Section III of Sinfonia, I feel, requires a more detailedcomment than the others, because it is perhaps the most"experimental" music I have ever written. It is anotherhomage, this time to Gustav Mahler, whose work seemsto bear the weight of the entire history of music; and toLeonard Bernstein for his unforgettable performance ofthe Resurrection Symphony during the 1967-68 season.The result is a kind of "voyage to Cythera" made on boardthe 3rd movement of Mahler's Second Symphony. TheMahler movement is treated like a container within whoseframework a large number of references is proliferated,interrelated and integrated into the flowing structure ofthe original work itself. The references range from Bach,Schoenberg, Debussy, Ravel, Strauss, Berlioz, Brahms,Berg, Hindemith, Beethoven, Wagner and Stravinsky toBoulez, Stockhausen, Globokar, Pousseur, Ives, myselfand beyond. I would almost say that this section ofSinfonia is not so much composed as it is assembled tomake possible the mutual transformation of the com-ponent parts. It was my intention here neither to destroyMahler (who is indestructible) nor to play out a privatecomplex about "post-Romantic music" (I have none) noryet to spin some enormous musical anecdote (familiaramong young pianists). Quotations and references werechosen not only for their real but also for their potentialrelation to Mahler, The juxtaposition of contrasting ele-ments, in fact, is part of the whole point of this section ofSinfonia, which can also be considered, if you will, adocumentary on an objet trouve recorded in the mind ofthe listener. As a structural point of reference, Mahler isto the totality of the music of this section what Beckettis to the text. One might describe the relationship betweenwords and music as a kind of interpretation, almosta Traumdeutung, of that stream-of-consciousness-likeflowing that is the most immediate expressive characterof Mahler's movement. If I were to describe the presenceof Mahler's "scherzo" in Sinfonia, the image that comesmost spontaneously to mind is that of a river, goingthrough a constantly changing landscape, sometimes go-ing underground and emerging in another, altogetherdifferent, place, sometimes very evident in its journey,sometimes disappearing completely, present either as afully recognizable form or as small details lost in the sur-rounding host of musical presences... lp2691

Price: 15.96 USD

Location: Kingsport, Tennessee

End Time: 2024-09-28T10:32:11.000Z

Shipping Cost: 5.95 USD