…A leading Italian avant-garde composer, he pioneered the field of text composition, using speech sounds and the voice itself as material, and had a major impact on the world of composition from the late 1950s to the early 1960s. His representative works include Theme: Praise of Joyce (1958), which uses speech sounds electronically, Visage (1961), an electronic work that captures all the expressions of the voice, from laughter to screams, and Sequenza No. 3 (1965), for female soloists. These can be seen as a fusion of his flexible Italian sensibility and the vocal style of his wife, singer Cathy Berberian (1928-1983). He continued to write experimental works such as Circles (1961) for female voice and chamber music using chance, the theater piece Laborintus No. 2 (1965), Sinfonia (1969) using collage techniques, the Sequenza series (1958-) for soloists (vocals) in pursuit of virtuosity, and the Chemin series (1965-) for chamber music, which are open works using adaptation as a creative means. In recent years, he has shown a keen interest in stage works such as Opera (1970, revised in 1977) and the opera The King Listens (1984). *Some of the terminology that mentions "Berberian, C." is listed below. Source | Heibonsha World Encyclopedia 2nd Edition | Information |
… イタリアを代表する前衛的作曲家で,言語音や声そのものを素材とする〈言語作曲text composition〉の分野を切り開き,50年代末から60年代前半の作曲界に大きな影響を与えた。言語音を電子音楽的に処理した《テーマ : ジョイス礼賛》(1958),笑いから叫びまで声のあらゆる表情をとらえた電子音楽《ビザージュ》(1961),女声独唱のための《セクエンツァ第3番》(1965)などが,その代表作であるが,これらは彼の柔軟なイタリア的感性と夫人であった歌手バーベリアンCathy Berberian(1928‐83)の発声の融合といえよう。さらに偶然性を用いた女声と室内楽のための《サークルズ》(1961),シアター・ピース《ラボリントゥス第2番》(1965),コラージュ技法による《シンフォニア》(1969),名人芸を追求した独奏(唱)のための《セクエンツァ》シリーズ(1958‐),改作を創造の手段とする開かれた作品,室内楽のための《シュマン》シリーズ(1965‐)などの実験的な作品を書き続け,近年では《オペラ》(1970,77改訂),オペラ《耳をすましている王様》(1984)など舞台作品に意欲をみせている。… ※「Berberian,C.」について言及している用語解説の一部を掲載しています。 出典|株式会社平凡社世界大百科事典 第2版について | 情報 |
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