AUTHORITATIVE | CURATED | First 500 words Free

• Personalities
• Classical
• Composer
• Contemporary Classical

(Looch-ya’-no Bâr’-yo) 1925–2003 Italian composer Study with Giorgio Ghedini and Luigi Dallapiccola (1904–75) led Berio to an early interest in the possibilities offered by serialism (Nones, 1954). In 1955 Berio and Bruno Maderna (1920–73) jointly opened the Studio di fonologia for electronic composition, where he created two works, Thema (Omaggio a Joyce) (1958) and Visage (1961), that exploited ...

• Instruments
• Classical
• Contemporary Classical

with ease, the computer can go a stage further and control musical time. IRCAM in Paris is an important centre for advanced music computing and many composers, including Berio, have used its facilities. For his opera The Mask of Orpheus, Birtwistle and his collaborator Barry Anderson used the IRCAM computer to construct six taped inserts for use ...

• Instruments
• Ensembles

traditional Japanese and Chinese instruments in their scores. Music technology has also found its way into the orchestra, with pieces for pre-recorded tape and orchestra by Stockhausen and Luciano Berio (1925–2003) dating from the 1950s. Electronic instruments have included synthesizers, samplers and electric guitars, while amplification and occasionally live digital manipulation of sounds are sometimes employed. Light Orchestras ...

• Instruments
• Classical
• Modern Era

is a part for electric guitar in Michael Berkeley’s (b. 1948) secular oratorio of the nuclear age Or Shall We Die ? and Tippett’s final opera New Year. Stockhausen and Berio have also written for the electric guitar. Styles & Forms | Modern Era | Classical Instruments | Player Piano | Modern Era | Classical ...

• Instruments
• Keyboards

(1976–1946), Henry Cowell (1897–1965), Frederick Delius (1862–1934), Jean Françaix (b. 1912), Bohuslav Martino (1890–1959), Darius Milhaud (1892–1974), Carl Orff (1895–1982), Francis Poulenc (1899–1963), Igor Stravinsky (1882–1971), and later, Luciano Berio (1925–2003), Iannis Xenakis (1922–2001), Elliott Carter (b. 1908) and György Ligeti (b. 1923). Introduction | Keyboards Instruments | Clavichord | Keyboards ...

• Instruments
• Classical
• Contemporary Classical

Luening; Studio für Elektronische Musik, Cologne, established by Herbert Eimert in 1951; Studio di Fonologia, Milan, established in 1953 and used by many avant-garde composers including Berio, Pousseur, Nono and Cage; Institut de Recherche et de Coordination Acoustique/ Musique (IRCAM), Paris, established in 1976 under the direction of Boulez. Roberto Gerhard’s (1896–1970) Third Symphony ...

• Instruments
• Stringed

viola, though, came in the twentieth century. Composers including Bartók, Walton, Paul Hindemith (1895–1963), Ralph Vaughan Williams (1872–1958), Benjamin Britten (1913–76), Dmitri Shostakovich (1906–75) and Luciano Berio (1925–2003) all wrote excellent solo works. Not only that, but the viola took up a more prominent position in the orchestra. It is today regarded as one of the ...

• Personalities
• Classical
• Composer
• Contemporary Classical

(2012). Recommended Recording: Written on Skin, Duet for Piano and Orchestra, soloists, Mahler Chamber Orchestra (cond) George Benjamin (Nimbus) Introduction | Contemporary | Classical Personalities | Luciano Berio | Contemporary | Classical ...

• Personalities
• Opera
• Turn of the Century

for cancer of the throat, Puccini died of a heart attack on 29 November 1924, leaving the finale incomplete. Several completions exist, most recently that of Luciano Berio (b. 1925), but we will always be left wondering what might have been. Operas 1883–84 Le villi 1884–85 Edgar; rev. 1901 & 1905 1893 Manon Lescaut 1896 La bohème 1900 ...

• Personalities
• Classical
• Composer
• Contemporary Classical
• Instrumentalist

Scardanelli cycle is based on poems dating from Hölderlin’s final years of mental instability. As an oboist Holliger has had many works composed for him by, among others, Berio, Henze, Lutosławski and Stockhausen. Recommended Recording: Scardanelli-Zyklus, Aurèle Nicolet, London Voices, Ensemble Modern (cond) Heinz Holliger (ECM) Introduction | Contemporary | Classical Personalities | Karl ...

• Personalities
• Classical
• Composer
• Contemporary Classical

During the 1950s and early 60s, Pousseur was at the forefront of the avant-garde, teaching at Darmstadt and working at the Studio di fonologia, Milan, with Berio and Maderna. Influenced, like many of his generation, by Webern, he nonetheless saw the composer’s importance as lying not in his serial technique but in his creation ...

• Personalities
• Classical
• Conductor
• Contemporary Classical

b. 1953 Italian conductor He was assistant conductor to Abbado at La Scala, Milan, then principal conductor of the Berlin Radio Symphony Orchestra 1983–89, music director at the Teatro Comunale, Bologna 1986–93 and chief conductor of the Royal Concertgebouw Orchestra 1988–2004. In 2005 he took over both the Gewandhaus Orchestra and the opera in Leipzig, resigning ...

• Personalities
• Classical
• Composer
• Contemporary Classical

b. 1936 American composer Reich studied with Hall Overton (1920–72), Vincent Persichetti (1915–87), William Bergsma (1921–94), Milhaud and Berio. A particular focus of his development was Asian music, especially its rhythmic structures. Much of Reich’s music is characterized by phasing, in which a number of instruments play identical music starting one after the other, giving an echo or ...

• Styles & Forms
• Classical
• Contemporary Classical

years from now. ‘There are a thousand ways of probing the future.’ Olivier Messiaen Leading Exponents John Cage Elliott Carter Witold Lutosławski Karlheinz Stockhausen Pierre Boulez György Ligeti Luciano Berio Per Nørgård Alfred Schnittke Harrison Birtwistle Peter Maxwell Davies George Crumb Steve Reich Arvo Pärt Olivier Messiaen Contemporary Style Contemporary classical music often incorporates naturalistic sounds within the melodies, ...

• Classical
• Contemporary Classical

considerations of personal taste and aesthetic preference. Darmstadt The summer courses held in the German city of Darmstadt from 1946 enabled otherwise isolated young composers, in the words of Berio, ‘to stand side by side in defence of a new idea of music’. In their first decade, the courses introduced to many for the first time the music ...