Abstract

Luciano Berio was not only a major composer, but also a significant public intellectual who formed his ideas
in musical guise. His artistic development during the 1960s was driven by the creative consequences he
drew from extramusical aspects of the culture around him. The Sinfonia is a 20th-century musical chef
d’oeuvre; it does not only represent a stylistic period in the evolution of the composer’s language, but it is
historically important because it substantially changed the boundaries for how a serious musical work could
sound, how it could be structured, and where the material could come from (and also how this material could
be re-contextualized).

The Sinfonia was an attempt to portray the historical juncture of the late 1960s. Its unique features do not
arise so much from its generic identity as a symphony, nor even from the fact that it is a piece of music, but
rather from the fact that it bears witness to the turbulent times from which it arose, the passion of youthful
protest, socially, economic and political dislocation at the time of the Vietnam War, the black Civil Rights
movement, and the Paris of May ’68.

The Sinfonia is a kind of historical narration, an attempt to awake the listener’s consciousness to the
unresolved problems of the world in which we live, and accordingly, it consists of a multilayered fusion of
words and music, and provides a glistening sound environment that can support a complex web of cultural
allusions.

In this essay, I will begin my treatment of the topic with Berio’s abandonment of the Darmstadt school’s
rigorous systems of ordering sound, in favour of new compositional strategies that reflected a radical plurality
that was emerging in the world of ideas at the time, such as the critiques of epistemological foundationalism
and historical metanarratives.

I will analyse the Sinfonia’s fifth and final movement, which tends, quite wrongly, to be overshadowed by
some of the other parts of the work, above all the famous third movement. As a late addition to the rest of the
Sinfonia, the fifth movement marks a further advance in the manipulation of cultural meanings, and in its
realisation of the implications of the work’s new compositional techniques and creative approach. I will also
discuss why and how the work’s postmodern agenda was constructed, as
a way out of the impasse of a crisis of technique and meaning in music, a means of circumventing mere
despair at the thought that previous works had exhausted all the possibilities.

The fifth movement is rich in meaning. It should be considered as a consummation of the work, and not
merely as a coda or post script. It is strictly related to thematic development in the previous movements, but
it also raises new questions. Berio’s approach to quotation was not a simple transgression of Darmstadt
canons, but an intense exploration of the artwork’s claims to authenticity and autonomy, and its unavoidable
interaction with the past.
Chapter One

The Transformation of Berio into Postmodern Composer

We now want to examine why Berio changed his style radically towards the end of the 1960s. This will
require the filling in of some cultural background.

After the Second World War, there was a period of re-construction in Europe that extended to music and the
other arts. There was a sense that a rupture with the past was necessary, that the culture that had permitted
wartime atrocities must be followed by the creation of something altogether new. We may be well aware of
the limitations of this perspective today, but this is with the benefit of sixty years’ hindsight. In Western
Europe, a musical avant-garde was created, with the encouragement and financial support of U.S. agencies
and state and regional governments. This avant-garde drew its cohesion from annual summer meetings at
Darmstadt, where it also began to police its borders (excluding composers like Krenek and Nono for varying
reasons). Berio rose to prominence at Darmstadt during the 1950s, and participated in the total-serialist
trend.

But the desire to efface the culture of the past, and even the agency of the composer gave rise to a
dogmatism that in time evolved into a creative trap. By the start of the 1960s, Darmstadt’s artistic exhaustion
led several composers, including Berio, to question the restrictions on creative possibilities and to lo this led
to creative exhaustion and Berio was among those seeking alternatives.

There was a developing consensus around the idea that modernism had run its course. Society, politics and
the art world were undergoing tumultuous change; in the arts, a strong sense of historicity and heterogeneity
were beginning to replace the

closed world of hermetic systems. It became increasingly possible to experiment with the mixing of styles
and genres, the fragmentation of form, and there was a new openness to a multiplicity of interpretations of
artworks by listeners, viewers or readers. This shared vision was, effectively, the beginning of what is now
known as postmodernism.

It has become practically impossible to ignore the history not only of one’s own culture but of that
of any other civilization, however distant or however close, in time or space.1
And again,
There was the danger in all of this [the Darmstadt experience] certain abstractness or excessive
interchangeabilty … which were usually reduced to numerical symbols.2
Fundamental questions were raised concerning the future of music: was the avant-gardist dissolution of
conventional form to be welcomed as clearing the way for entirely new musical directions, or should it be
taken as an indication that musical developments had gone too far, leaving the composer with no alternative
but to return to more traditional approaches?

What I am against is the use of serialism in the abstract sense … it becomes a sort of immobile,
static world revolving around itself.3

Berio was now aware that the search for novelty at all costs could lead to an abstract sterility. The task was
to construct a new continuity in western art music, and this entailed a need to refer to the past. But this was
in no way a licence for epigonism: the past had to be filtered through the present. Even Darmstadt, as part of
that past, was not simply to be obliterated, as far as Berio was concerned. Composers now also allowed
themselves more freedom to address the society around them, as part of that society, rather than as an
avant-garde elite. As a corollary of that change, composers began to communicate as individuals rather than
members of a school – not least because former Darmstädters had different interpretations of the present,
and different view on how the future should be shaped, and this was reflected in their music.

This tendency to work with history, drawing out and consciously transforming historical “minerals”,
and absorbing them into musical material and processes that do not bear the mark of history,
reflects a need ... to organically continue a variety of musical experiences.4

Even Boulez was shifting his position in a similar direction:

Memories and invention were both given a place in the hope to achieve absolute continuity. In this
way is possible to belong to the present - the actual moment and its various episodes - rather then
to the past, and certainly more than to the future.5

Approaching the issue from this angle is to extend a continuity from the past to the future through the
reshaping of the past in the works of the present. This could not be done through rigid artistic ideologies, and
composers had to engage in the task of deconstructing institutional orthodoxies at the same time as evolving
their own techniques and poetics of expression. Each composer could offer his own interpretation of a work
in dialogue with his or her audience.
1, Pierre Boulez, “Orientations” (Cambridge MA: Harvard University Press 1986), pp 358
2, Luciano Berio “Two Interviews” (Maryon Boyars Publishers 1981), pp 65

3, Luciano Berio interview, from Michael Hicks, “Text, music, and meaning in the Third Movement of Luciano
Berio’s Sinfonia,” Perspective of New Music, Vol. 20, (Autunm, 1981 – Summer, 1982) pp 221

4, Luciano Berio “Two Interviews” (Maryon Boyars Publishers 1981), pp 66

5, Pierre Boulez, “Orientations” (Cambridge MA: Harvard University Press 1986), pp 359
Chapter Two

The Post-Modern Berio

I believe that postmodernism is not a trend to be chronologically defined, but, rather a ideal
category or better still a Kunstwollen, a way of operating. We could say that every period has his
own postmodernism, just as every period have its own mannerism.1

When Berio turned away from the avant garde, he had the courage to seek to understand and theorize the
role of the composer within society in the late 1960s. Among other things, he understood that the multiplicity
of stylistic references, together with polysemy in the process of interpretation, gave the artwork the aspect of
a historical document witnessing to its times for present and future generations.

Music stopped being an objective activity designed to fulfil specific social functions and became, or
at least was intended to be, the vehicle for expression and for personal ideas. Music deliberately
embroiled itself in the universe of signs, as we would call them, and of ideas. The composer
became, like the poet and the painter, an “artist” whose ideals and whose world view appeared to
disdain the artisan bric-a-brac of professional musicians.2

From this point of view, Berio distanced himself both from the kind of functional music that looked back to
late Romanticism as a mere nostalgic return, but also from the high modernism of post-Webernian styles.

Serialism had developed into a “formalist” and “escapist” pursuit, divorced from the sonic vitality
and poetics of music.3

Berio was conscious of his location in the middle of a transitory phase between modernism and something
else, and that this something else was bringing about change for desired aesthetic ends, which would,
through interaction with extra-musical phenomena, transform the composition process. His changing path,
and that of many other artists of the time, was aptly described by Umberto Eco:
 The moment comes when the avant-garde (the modern) can go no further because it has produced
a metalanguage that speaks of its impossible texts (conceptual art). The postmodern reply to the
modern consist of recognising that the past, since it cannot really be destroyed because its
destruction lead to silence, must be revisited: with irony, not innocently.4

For both Eco and Berio, this recognition of the past, if “innocent” rather than ironic, was a kind of decadence.
Carried out in bad faith, this tendency was marked by superficiality and exaggeration of styles through irony,
parody, or simple anxiety. For Eco the problem is not the fact that we look to the past for new ideas, but
rather the naïve and simplistic manner in which some make use of the past. For Berio the historical crisis
focus on our position within the history; extreme plurality in search of a language (however provisional)
creates many tendencies that conflict with each other, rendering impossible the task of writing (or re-writing)
an honest work of art. Berio warns that while this plurality offers a new energy in the creation of artistic
meaning, it can also dissipate the force of the arts.

There are such a lot of current tendencies that I wonder if it would not be better to call them
mannerism.5

Berio is critical because mannerism can be applied naively – as Eco suggests – as a negative approach that
does not lend itself to higher cultural and spiritual purposes; at worst, its cynical embrace of marketplace
values preclude participation in any sincerely pluralistic musical world.

The vehicle of a market in a society were market value seems to be necessary prerequisite for the
recognition at all, even the very things that market destroys are human and cultural ideals.6

Music might then seem to be a mere empty box that could be filled with anything at all. If diversity was too
fissiparous and centripetal, it would begin to drive artists to create a new synthesis, by way of a reaction. The
link between history to the present as attempt to recreate a possible future are unavoidable as they retrace
the humanity for the search of future. History can serve our present needs, and we can draw analogies
between the past and our own situation, allowing the composer locate him or herself in musical space,
allowing listeners to understand the work better. For Berio, this principle was crucial in music.

The mannerism that Berio believed could evacuate music of its spirituality displayed a parodic and grotesque
interpretation of tradition. The decline of modernism was leading either to the regurgitation of the past as
nostalgic reaction, or to a “fetishization” of “progress”. These trends ran their course within metanarrative
discourses that sought to give a comprehensive account of knowledge and experience, as a totalizing
gesture. Composers trying to find a way between mannerism and avant-gardism still left behind any national
identity, in the pluralist, and indeed global, exchange of ideas (Berio himself was based in the U.S. from
1960).
Art should document what history can show us, to remember, to create points of reference for ourselves;
history is a perennial presence that accompanies us, and our perception of the work overlaps but never fully
matches the composer’s intentions because of differences in our background experience and knowledge.

History has a transcendence that leaves our relationship with the world unresolved. It’s rather like a
communication system possessing characteristics that function and evolve independently of the
message that it transmits and the people that use it.7

This position that Berio accepted reveals some processes that lay behind the thinking of Sinfonia, namely a
Neo-Classicism (which can arise in many different contexts), but specifically drawing on narrative-threads
from within modernism. The Sinfonia, from a structural point of view, is a shattering of illusions with the
intention of destroying the meta-narrative, while the material is a restoration from the past that brought about
a kind of hybrid and porous form. Berio, in the Sinfonia, was able to challenge the present with the past,
dismantle the tradition with the present, and dig out the future hidden in the past.
The celebrated use of quotation, and the fragmentation of the verbal texts, both injected meaning into the
work, allowing it to reconnect with tradition and reshape the cultural purposes open to the composer, his debt
to the past and his powers to portray the present time.
1, Umberto Eco, “Postscript to the name of the rose, postmodernism, irony, the enjoyable” in The Post-
Modern Reader, Charles Jencks, (St. Martin Press 1991), pp 73
2, Luciano Berio “Two Interviews” (Maryon Boyars Publishers 1981), pp 18
3, David Metzer , “Quotation and cultural meaning in Twetieth-century music” (Cambridge University Press
2003), pp 129
4, Umberto Eco, “Postscript to the name of the rose, postmodernism, irony, the enjoyable” in The Post-Modern
Reader, Charles Jencks, (St. Martin Press 1991), pp 73
5, Luciano Berio “Two Interviews” (Maryon Boyars Publishers 1981), pp 79
6 , Ibid, pp 56
7 , Ibid, pp 50
Chapter Three

Analysis of the Movement

The fifth movement is one of the most intellectually searching products of 20th-century music, not only
because it introduces quotation and intertextuality into postmodern practices, but because their deployment
has a bearing on cultural life outside the work.

Structurally it is an organic thematic continuation since it is an altered reply of the first movement, but with an
overall shape linked to the third movement; from this perspective the whole work takes on the appearance of
“a pair of matching wings”. This symmetry gives a sense of ending the journey through the orchestral shape
that gradually aim towards a definite goal of conclusion.

The movement comprises a disintegration of the previous material, in order to create a new synthesis, by
forging relationships between the 'texts' and other heterogeneous materials. This will be demonstrated
through a search for structural analogies in the harmonic processes of the first movement, second, and third.
The 3rds-based harmony of the first, the pitch sequences of the second, and finally the complex chromaticism
of the third, are all, in the fifth, grouped together through common pitches, and the resulting counterpoint is
the principal technique of the movement.

This approach creates a formidable harmonic density that threatens to become illegible, but in order to
control his complex harmonic fields, and to allow the listener to follow their implications, Berio provides an
undulating melodic line that runs like a river across the entire range of the orchestra, much in the way that
Mahler’s Scherzo ran through the third movement. The general compositional approach underlying the
structure and the form could be seen as ways of generating layers and sub-layers of material through the
successful use of experimental ideas such as “processing” portions of different material to be absorbed
and/or discarded within the orchestral texture. The technique that often recurs is the dissolution or the
emergence of the texture. The material, once introduced, it is crumbled in small particles, so the structural
elements are still present through the score, the thematic material is disseminated, or expanded through the
texture and inserted with other fragments. This technique, however, needs to interact with others to smooth
these transitions; chromatic insertions of pitches that move towards a converging point, as well as rhythmic
plasticity in the form of augmentation or diminution of figures, which allows the composer to create
momentum through tension or relaxation between these “musical borders”. In this way Berio translates the
borrowed material into his musical language, thus achieving uniformity.

Economy of materials and usage of particular recognizable motives that allow memorability, and associative
allusions to follow the various and prominent aspects of the music, should underline these procedures. The
listener become temporarily lost because of the harmonic complexity, but can always find a way back "into"
the piece because of these economies and repetitions.

Within this approach, there are perspectives that can further show a postmodern theoretical application.
These economies, expressed in textural densities, enable auditors to help themselves to hear as much of the
work they may wish, or being completely overwhelmed by the various musical components, and discern
their interpretations. In addition, Berio blends materials from all the previous movements into a new synthesis
to bring the work to its conclusion. This works firstly in a structural sense, since the return of the material
forms a kind of recapitulation. But secondly, the musical vocabulary drawn from the quotations of the third
movement now takes on its own life as an autonomous entity. This opens up an infinite potential: an
organism can take draw life from a selection of materials in the environment, which can then be drawn upon
by a new organism, and so on. This structural process of integrating a varied succession of images from
narrative, and associating them through the creator’s logic and intentions can establish its own continuity and
autonomy, which had once depended upon repetition of previously composed material.
As previously, the music displays the many possibilities by which the language can be presented in a
musical context; again a fragmentation into phonetic sounds, and emblematic quotations, - Beckett is still
present with the metaphorical “where now? keep going, and now?” - the words and their components take
the same trajectory of the first movement, but here, the reworking by Berio of Levi Strauss’s book assume a
more poetic than phonetic cohesion. The creation of meanings different from the original source, produces a
varying degree of perceptibility of the text.
Berio destroys the real meaning and possible coherence of Levi Strauss’s short extracts, questioning the
interchangeability of language of creating other meanings. Significantly, Levi Strauss book is about myths
and their modeling function in society; it argues that there is no fundamental difference between the primitive
minds and the more developed ones of the western world, the basic function of a myth is that to allow
meaning that can accumulate within their own representation of culture, so people may not question if it is a
real truth or not. In Western ideals, it is the representation of certain ideologies and beliefs, as it is the
history created to represent and interpreting the society and cultural issues, causing a deception, when then
becomes the only source of truth. It is remarkable that Berio chooses a book on such a subject, ironically
subverting its meaning to recreate new ones, as to represent a symbolical break up from metanarrativic
discourses, or… the de-mythification of myths.
Chapter Four

Berio and the Affinities of the Postmodern Agenda

The fifth movement offers a double meaning; firstly it gives the work a sense of completion under the
structural point of view, as he takes previously composed material; an indication of looking for recapitulate
the preceding movements. Secondly, the musical vocabulary, which is still taken from quotation of the third
movement, now acquires life as autonomous entity. This takes the form of an infinite process: organism can
take organically life from another selection of material and so on. This structural process of integrating a
varied succession of images from narrative, and associating them through the creator’s logic and intentions,
can derive its continuity and autonomy, which once depended upon repetition of previously composed
material.
Berio defines one of the most distinctive process and aspects of postmodernity; the creation of a hybrid style
from eclecticism, making the fifth movement, and the whole Sinfonia, not a replica, but a valid model with
independent identity.

A different concept of tradition, one in which continuity and discontinuity, high and low culture,
mingle not to imitate, but to expand the past in the present. In that plural present all styles are
dialectically available in an interplay between the Now and the not Now, the Same and the Other.1

The arts were framed by interpretative archetypes that were no longer able to support and interpret the
realities of the world. Music was translated with fake interpretations, and infused with high degrees of
ideology for aesthetic judgments. This non-coincidence between this aesthetic “ideology”, and social entities,
revealed a distance of dramatic proportions; the avant-garde, or high modernism did not create audience,
because was unable to identify itself in the social world.

Adorno was the first to discern and analyse this mismatch, this alienation in music’s social
substance. But when he had to give a real musical example, Adorno’s moralistic impulses led him
towards an unwise target: Igor Stravinsky. 2
It is somehow easy to perceive the supportive significance of Stravinsky for Berio, as they are closely linked
by collage technique and borrowing material. But for Stravinsky borrowing material was an emotional
nostalgic return of the 1920s Neoclassicism, for Berio was an historical reaction to certain paradigms.
Music needed to reflect the multicultural and socio-political practice to embrace the diversity of the
contradictory nature of all the human activities and experiences. Along this, Berio express the increasing
disbelief on unitary and demagogic systems involved in the compositional techniques and musical functions.
Berio is concerned with the audience and listeners responses through an aesthetic belief linked to the
conception of a private identity; a unique individuality that generate its own unique vision of the world and
create its own personal style.

The musician and the audience don’t belong to two different socio-cultural categories. I am a
composer, but I am also a listener, indeed as far I am concerned, I am the best audience I know.
I am the incarnation of an ideal audience.3

Music for Berio was forced to look at the past for the needs of recreating fiction or realities that concern
humanity. The absorption of historical references was actually a part of a general trend that resulted in a
coexistence of the past and the present on the one hand, and the innovation on the other; this apparent
ambiguity represent a model that shape and symbolize the tradition as well.

We have works that are intricately indebted to the past, compete it directly, or have a pluralistic
approach to the combination of available style, but that nevertheless make the completely
autonomous impression of traditional concert music.4

Compositional standards were weakened with the introduction of new techniques that combined atonal and
tonal harmonic languages; Berio did not dissociate himself from traditional canons, but destabilize them. The
fifth movement cannot be associated to a contradictory musical discourse in its relations with postmodern
cultural aspects of a nostalgic pastiche. It refers to the past that build a new relation between historical
elements, without restrain the past in favour of the present; exploiting the differences of unity and disunity
within the dimension of collage, and offering an alternative for continuity as a recreation of a musical
language that warrant for autonomy.

The postmodernism of these works lies not in the way that they deny traditional notions of unity, but
in how they call it into question. Thus, in these works, composers do not necessarily defy the idea of
unity, but instead critically engage in the postmodern debate over the function of unity in music by
making it an essential aspect of the expressive content.5

The fifth movement give the experience of a work with open meanings: a momentary experience where the
listener achieves his own meaning or others connected allusion within an enclosed musical experience.
The movement show a sort of judgemental immobility if attempting a precise definition. The internal
fragmentation – typical of a music collage - presents an image, which could be simultaneously enigmatic,
and resolving at the same time. The concept of subjectivity draw parallel connections open to a debate of the
unity - disunity relationship, then moving to the listener’s perception and the meanings discerned from an
entire personal world and historical and cultural context.

There is no definitive or exclusive interpretation, just as there is no approximate and provisional

interpretation. The interpreter becomes a means of access to the work and by revealing the nature
of the work also express himself; that is, he becomes at once the work and his way of seeing it.6

The listener is driven in this as he can build also interpretation from other interpretation, as well as the
musical message is discerned from other musical messages.

Meaning is an infinite regress within a closed sphere, a sort of parallel universe related in various
ways to the real world but not directly connected to it; there is no immediate contact between the
world of signs and the world of the things they refer to.7

In every work of art it is unavoidable to hold different interpretations even if historically retraceable. Still,
rewriting a work from the past history in all its details exactly from the beginning to the end can reach to other
meanings. Nowadays public has a different way to perceive these meanings as could be hundred years ago
instead. For Berio every historical era possess its own code-language that helps to interpret an artwork.
However, this code undergoes to a process that transform itself in the course of history, but not from the
reader to its environment, but from the environment to the reader instead. The novel “Pierre Menard, Author
of the Quixote” by Jorge Luis Borges can be an example for a case study as Eco suggest:

The interpretation of a work is inconsistent; we cannot refuse to admit it. Borges rewrote the “Don
Quixote” exactly with the same words as Miguel Cervantes did, but when we read them it appear to
us that they are saying two different things. Obviously, the “Don Quixote” re-written exactly with the
same words, and, compared to nowadays language develop another sense…this happen because
each period of time in history “read” an artwork under his own interpretation, consequently with the
language that belong to it.8

Finally, I would conclude with an emblematic sentence from Berio that underline the ambiguities in music, not
so much in a postmodern contextual scenario, but from a viewpoint from the composer himself.

I think that in music, the constant search for an answer to something that continuously shift, the
search for a deep unity is maybe the most exciting the most profoundly experimental and the least
functional aspect of its presence. This is why sometimes we can receive, and we can also give
music to others as a miraculous gift. The gift of becoming aware of questions that can be answered
with other questions.9
1, Hassan, Ihab. “Pluralism in postmodern perspective” in The Post-Modern Reader , Charles Jencks,
(St. Martin Press 1991), pp 197
2, Berio, Luciano. “Two Interviews” (Maryon Boyars Publishers 1981), pp 31
3, Ibid. pp 24
4, Butler, Christopher. “Postmodernism” A Very Short Introduction, (Oxford University Press 2002) pp. 75
5, Losada, Catherine. “Between Modernism and Postmodernism” Strands of Continuity in Collage
Compositions by Rochberg, Berio, and Zimmermann (Musical Theory Spectrum) Vol. 31,
2009, pp. 96
6, Eco, Umberto. “The Open Work” (Hutchinson Radius 1989), pp 166
7, Robey, David. “The Open Work” Introduction of Umberto Eco “The Open Work”, (Huntchinson
Radius, 1989), pp xxii
8, LaCompagniadelLibro, 2009, Umberto Eco (Torino 2009 – Fiera Internazionale del Libro) [video online]
Available at http://www.youtube.com/watch?v=1fQ89I4mVY0
[accessed 21 January 2011].

9, Berio, Luciano. “Two Interviews” (Maryon Boyars Publishers 1981), pp 167

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