{"id":2243,"date":"2015-08-03T10:15:07","date_gmt":"2015-08-03T10:15:07","guid":{"rendered":"http:\/\/carolrobinson.net\/?page_id=2243"},"modified":"2015-08-17T12:29:41","modified_gmt":"2015-08-17T12:29:41","slug":"berio","status":"publish","type":"page","link":"http:\/\/carolrobinson.net\/fr\/recordings\/berio\/","title":{"rendered":"Berio"},"content":{"rendered":"

[vc_row][vc_column width=\u00a0\u00bb1\/2″][vc_single_image image=\u00a0\u00bb1399″ img_size=\u00a0\u00bbfull\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb1\/2″][vc_row_inner][vc_column_inner][vc_column_text]<\/p>\n

Complete Sequenzas & Works for Solo Instruments<\/strong><\/p>\n

LUCIANO BERIO[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_column_text]triple CD<\/p>\n

Mode 161-163 (2006)<\/a>
\nwww.moderecords.com<\/a>[\/vc_column_text][\/vc_column][vc_column][vc_empty_space][vc_row_inner][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]Paula Robison – fl\u00fbte
\nSusan Jolles \u2013 harpe
\nIsabelle Ganz – soprano
\nAki Takahashi – piano
\nStuart Dempster – trombone
\nGarth Knox – alto
\nJacqueline Leclair – hautbois
\nIrvine Arditti \u2013 violon
\nCarol Robinson \u2013 clarinette
\nKelland Thomas \u2013 saxophone alto
\nWilliam Foreman – trompette
\nBrian McWhorter – trompette
\nSeth Josel \u2013 guitare[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]Noriko Shimada – basson
\nStefan Hussong – accord\u00e9on
\nRohan de Saram – violoncelle
\nUlrich Krieger \u2013 saxophone soprano
\nAlain Billard \u2013 clarinette basse
\nMichael Cameron – contrebasse
\nStefano Scodanibbio \u2013 contrebasse
\nJane Chapman – clavecin
\nLucia Mense \u2013 fl\u00fbte \u00e0 bec
\nGary Verkade – orgue<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_separator color=\u00a0\u00bbviolet\u00a0\u00bb][\/vc_column][vc_column][vc_empty_space][vc_column_text]<\/p>\n

The New York Time’s<\/span> <\/span>pick as one of the \u00ab\u00a010 best recordings of 2006\u00a0\u00bb<\/strong><\/p>\n

\u00ab\u00a0Preis der deutschen Schallplattenkritik 2007\u00a0\u00bb<\/strong> for \u00ab\u00a0New Music Record of the Year\u00a0\u00bb<\/span><\/p>\n

\u00ab\u00a0Premio del Disco Amadeus 2008\u00a0\u00bb<\/strong> from Italy’s prestigious Amadeus Music magazine<\/span><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n

Presse
\n<\/strong><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb1\/3″][vc_column_text]David N.Lewis<\/a>
\nAll Music Guide<\/strong>
\nJuillet 2006[\/vc_column_text][vc_column_text]Massimo Ricci<\/a>
\nparistransatlantic.com<\/strong>
\nOctobre 2006[\/vc_column_text][vc_column_text]Christopher Delaurenti<\/a>
\nThe Stranger<\/strong>
\n1-7 juin 2006[\/vc_column_text][\/vc_column][vc_column width=\u00a0\u00bb1\/3″][vc_column_text]Javier Palacio<\/a>
\nDiverdi<\/strong>
\nAo\u00fbt 2006[\/vc_column_text][vc_column_text]Andrew Clements<\/a>
\nThe Guardian<\/strong>
\n25 ao\u00fbt 2006[\/vc_column_text][\/vc_column][vc_column width=\u00a0\u00bb1\/3″][vc_column_text]Dan Warburton<\/a>
\nThe Wire<\/strong>
\nAo\u00fbt 2006[\/vc_column_text][vc_column_text]Dominy Clements<\/a>
\nmusicwebinternational.com<\/strong>
\nF\u00e9vrier 2007[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>David N. Lewis\u00a0<\/strong>
\nAll Music Guide
\nJuillet 2006<\/p>\n

Although Naxos managed to speed out a similar collection a little ahead of this one, it’s really not in the same class with the Mode – the label spent more than a decade recording this set with artists that Berio himself favored. [\u2026]All of the interpretations are first rate, as is the annotation, photographs and sound, which retains a surprisingly consistent quality from track to track, as this 4-disc set was recorded all over the map over a long period of time. [\u2026] Berio’s music has a good chance of retaining currency within the future, and Mode’s Berio: Complete Sequenzas and Solo Works represents the gold standard in paving the way for his legacy.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Javier Palacio\u00a0<\/strong>
\nDiverdi
\nAo\u00fbt 2006<\/p>\n

[\u2026]Era \u00e9ste, desde luego, un cap\u00edtulo particularmente importante al conceder el compositor italiano un papel fundamental al virtuosismo, y m\u00e1s en concreto al \u00abvirtuosismo de la sensibilidad y la inteligencia\u00bb, puesto que \u00abs\u00f3lo los mejores solistas son capaces de tocar con vasta perspectiva hist\u00f3rica y de resolver los conflictos entre las exigencias creativas del pasado y el presente, utilizando su instrumento como herramienta de investigaci\u00f3n y expresi\u00f3n\u00bb. No pod\u00eda, entonces, disponer de mejores traductores de su est\u00e9tica sonora y de su pensamiento que los ahora reunidos: nada menos que Irvine Arditti (viol\u00edn), Rohan de Saram (chelo), Stefano Scodanibbio (contrabajo), Garth Knox (viola), Stuart Dempster (tromb\u00f3n), Jane Chapman (clavec\u00edn), Isabelle Ganz (mezzo), Aki Takahashi (piano), Jacqueline Leclair (oboe); Susan Jolles (arpa) o Carol Robinson (clarinete), entre otros, lo cual significa muchos de los nombres m\u00e1s granados de la escena interpretativa del momento. [\u2026]<\/p>\n

Dan Warburton<\/p>\n

The Wire – August 2006<\/p>\n

[\u2026]An essential release.<\/p>\n

<\/a><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Dan Warburton\u00a0<\/strong>
\nhe Wire
\nAo\u00fbt 2006<\/p>\n

[\u2026]An essential release.<\/p>\n

<\/a><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Massimo Ricci,\u00a0<\/strong>
\nOctobre 2006
\nwww.paristransatlantic.com<\/a><\/p>\n

[\u2026] A case in point is Sequenza IXa for clarinet (here masterfully rendered by Carol Robinson) which derives from Chemins V, a work Berio withdrew shortly after its premiere. This Mode set represents the very first time in which all the Sequenze (even the \u00ab\u00a0posthumous\u00a0\u00bb ones, notably Stefano Scodanibbio’s excellent transcription for double bass of the cello Sequenza XIV) and the works for solo instruments have been gathered together in a single release. Listening to the whole thing in one go is difficult but not impossible, as Berio’s articulately bright writing highlights both the strengths and the less explored nuances of every instrument while maintaining an evident intelligibility, a consequence of the composer’s interest in popular traditions and themes he often loved to mix with more experimental and serial techniques. Virtuosity is a necessity, never mere technical showing off; according to Berio’s instructions some of these scores should be played sempre molto flessibile, quasi improvvisando (\u00ab\u00a0always very flexible, almost improvising\u00a0\u00bb). [\u2026]The performers, a veritable Who’s Who of great soloists including Irvine Arditti, Stuart Dempster, Rohan De Saram, Isabelle Ganz, Ulrich Krieger, Seth Josel and Aki Takahashi (to name but a few), contribute with heartfelt passion to the success of the project. [\u2026]<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Andrew Clements\u00a0<\/strong>
\nThe Guardian
\n25 ao\u00fbt 2006<\/p>\n

[\u2026] the level of virtuosity on these discs is staggeringly high; anyone interested in Berio’s solo pieces, perhaps the most important instrumental music in our time, should explore this collection.<\/p>\n

<\/a><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Dominy Clements\u00a0<\/strong>
\nF\u00e9vrier 2007
\nwww.musicwebinternational.com<\/a><\/p>\n

[…] Much of Berio\u2019s music, the Sequenzas included, inhabits a world of inner drama which interacts with the outside world in a surreal fashion. It\u2019s the kind of drama which confronts and subverts within the mind, entering and rummaging around in the subconscious and then rearing up in front of you like a giant balloon clown when you least expect it. The relationships of perspective between the player and his\/her instrument, and between the player and the audience, are in state of constant distortion and flux. […]<\/p>\n

Carol Robinson has a slightly wider range, more introverted in the soft, lyrical passages, and with a little more bite and attack when things become more hairy.[…]<\/p>\n

Mode\u2019s recordings are almost invariably more detailed and confrontational, but inevitably a bit of a mixed bag. [\u2026]Even where the recording is less appealing the performances are always good, and most are superb.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Christopher Delaurenti\u00a0<\/strong>
\nThe Stranger
\nJuin 2006<\/p>\n

[\u2026]Berio: Sequenzas & Solo Works (Mode), collect the complete Sequenzas and offer a superb, if not superior, alternative to the pricey 1998 set on Deutsche Grammophon, which lacks the final Sequenza XIV composed in 2002. [\u2026] Mode enlisted several new music all-stars\u2014Irvine Arditti, Carol Robinson, Stuart Dempster\u2014and added a fourth disc of solo works. Also, I appreciate Mode’s inclusion of Edoardo Sanguineti’s optional prefatory spoken texts, all indexed on separate tracks. Essential.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

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Carol Robinson\" \/>\n<meta property=\"og:description\" content=\"[vc_row][vc_column width=\u00a0\u00bb1\/2″][vc_single_image image=\u00a0\u00bb1399″ img_size=\u00a0\u00bbfull\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb1\/2″][vc_row_inner][vc_column_inner][vc_column_text] Complete Sequenzas & Works for Solo Instruments LUCIANO BERIO[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_column_text]triple CD...\" \/>\n<meta property=\"og:url\" content=\"http:\/\/carolrobinson.net\/fr\/recordings\/berio\/\" \/>\n<meta property=\"og:site_name\" content=\"Carol Robinson\" \/>\n<meta property=\"article:modified_time\" content=\"2015-08-17T12:29:41+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data1\" content=\"7 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"http:\/\/carolrobinson.net\/fr\/recordings\/berio\/\",\"url\":\"http:\/\/carolrobinson.net\/fr\/recordings\/berio\/\",\"name\":\"Berio - 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