Edoardo Sanguineti’s letter to Luciano Berio of November 8 [], Esposizione, Traces and Laborintus II indeed share a type of distorted reflection of. Vic Hoyland on Laborintus II by Berio. Berio sent a postcard to Edoardo Sanguineti his friend and Dante scholar (at Via Vespucci, 25, Torino – 7 June ’62). Discover Edoardo Sanguineti & Luciano Berio’s track Laborintus 2. Complete your Edoardo Sanguineti & Luciano Berio record collection. Shop new and used .

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However, far from being mere verbal or virtuosic vocal expression, it draws on sangiineti seemingly innate Italian gift for a dynamic sense of theatre. InAnn Halprin described this experience and the conception of the scenographic solutions that scandalised the critics at the Venetian premiere with the following words: It may be performed in the theatre, in concert, on television, on the radio, in the open air etc.

He had been asked to write a small opera for the Venice Biennale.

Laborintus II (author’s note)

The upsurge of a thousand disorderly voices. We started out with the architecture of the Venice Opera House. Laborintus II soon followed Sanguineti tells us that a significant amount of text was rescued from Esposizioneespecially the long lists, and the whole project was radically revised and metamorphosed into Laborintus II.

And the children sleeping European premiere around May 15, not yet def. Quotation taken from notes for a lecture in the USA in ca. The highly ambiguous title Laborintus evokes the words “laboratory” and “labyrinth” in both English and Italian. The author would like to take this opportunity to thank Ronald Kornfeil of Universal Edition for his help during the research phases at the archives in Vienna.


Laborintus II combines orchestral, choral and spoken elements throughout its three parts. Laborintus II can be treated as a portrayal, a tale, an allegory, a documentary, a mimed action etc.

On the influence of electronic music on Berio’s compositional practices, the author refers to her work, Riflessi del suono elettronico: Now, nearly 50 years later, the idea of removing barriers between various styles is no longer outrageous: All quotations here and elsewhere in the text are in their original language. In the lines dedicated to the second project, Duo, one of the central themes developed in Traces is clearly recognized: Laborintus II is a theatre work; it can be treated sanguinefi a story, an allegory, a documentary, a dance.

Harmonic frictions, sweet dissonances.

Laborintus II (author’s note) | Centro Studi Luciano Berio – Luciano Berio’s Official Website

A space restriction was established and Berio created a time score, and activities might range from frantic and hysterical to slow and laborious.

The particular space and medium selected condition the length and some of the structural aspects of the work, possible durations ranging between 30 and 50 minutes.

Also in a letter to Pousseur of April 23, Berio openly declares its resumption: Twelve Contemporary Choreographers on Their Craft, ed. The fact that we can now release this single live recording on CD is testimony to the quality of that memorable concert.

The French proposal reached Berio in Julyat a time when the controversies edoarrdo Sanguineti regarding the changes made to the Tracce-Traces libretto were still fresh and close to erupting Tali parti legate al blanc et noirsono concepite come brevissimi recitativi, che interrompono il catalogo cromatico-vocalico, accompagnati dal clavicembalo recitativo secco.

Retrieved August 15, The sequence concludes on these words in French and Latin: Like the text, the music is structured sanhuineti interchangeable panels to be performed in different or alternative combinations see Examples 3 and 4, reproductions of the first two pages of the score That he was so fluent in the subtleties and possibilities inherent in sound should not have been a surprise.


Traveling abroad, living and teaching in the U. It takes its title from the poetic collection Laborintus by Edoardo Sanguineti. Thanks to the surviving libretto and laborintys its preliminary drafts held at the Paul Sacher Foundation today one can have a precise idea of the evolution and the scenic context in which the action takes place Jazz kondigt bizar genoeg altijd ongeluk aan.

Three starting points were chosen one, for example, was the top of a cargo-net forty feet in the air for six different performers, and they all eventually moved to one goal everyone’s final goal was exiting off stage. God appears in a fire-hued cloud una nebula di colore di fuoco to offer Dante’s heart to Beatrice, so she may eat it.

Lighting controlled what the audience might or might not be able to see at any moment. A final vision, while everything retreats into silence: The parts or suggestions that converge labborintus Traces are highlighted in bold.

As pointed out previously, the dance company had no way of listening aanguineti the music before the performance of April 18, See in this volume the essay by Martin Kaltenecker. Love inflames the memory.