252 UNIVERSITY OF ILLINOIS SCHOOL OF MUSIC FESTIVAL OF CONTEMPORARY ARTS 253 CHAMBER MUSIC CONCERT LUCIANO BERIO ENSEMBLE COMING EVENTS Wednesday, March 1, 8:00 p.m.-Luciano Berio Ensemble, Pro- gram of New Music from Europe, Smith Music Hall Sunday, March 5, 8:00 p.m. - Festival Chamber Music Concert, Smith Music Hall *Wednesday, March 8, 8:00 p.m.-Star Course Festival Scries, Min- neapolis Symphony Orchestra, Auditorium Sunday, March 12, 8:00 p.m. - Festival Choral and Chamber Music Concert, Smith Music Hall "Tuesday, March 14, 8:00 p.m. Star Course Festival Series Extra, Nikolais Dance Group, Auditorium Wednesday, March 15, 8:00 p.m. - Festival Chamber Music Con- cert, Smith Music Hall Admission charge CATHY BERBERIAN, mezzo soprano JACQUES CASTAGNER, flute FRANCIS PIERRE, harp JEAN PIERRE DROUET, first percussion BORIS DE VINOGRADOW, second percussion LUCIANO BERIO, piano SMITH MUSIC HALL, WEDNESDAY, MARCH 1, 1961, 8:00 P. M. Devises (1960).. .ANDRE BOUCOURECHLIEV flute, harp, piano, two percussion Composed in December 1960 for the American tour of the instrumental group from the Domaine Musicale in Paris, and is dedicated to Luciano Berio. As Mr. Boucourechliev says: "This piece puts to work different time 'Qualities.' Strictly written tempi or 'time fields' where the performers exert their free choice on the durations. Between these two extreme aspects, five performers-five 'temporal consciences' confront each other, communicate, create their instantaneous alli- ance, tracing their momentancous 'mottos (Devises). Voix de femme (1959).. voice and piano .SYLVANO BUSSOTTI Frammento is a fragment of a cycle "Pieces de chair II" for voice and instru- mental combinations. This selection entitled "Voix de femme" is the only picce for the female voice in the cycle and was composed especially for Miss Berberian. The literary, or phonetic, material is handled in eleven different languages and the divergence of the sound material (represented also in the piano part) is based on a gamut of values also extremely divergent, asymetrical, in dialectic relation, and sometimes in conscious contradiction. In this, perhaps, Frammento reproduces some of the typical characteristics of the total phenomenon of "Pieces de chair II."

COMING EVENTS 
Wednesday, March 1, 8: 00 p.m. -Luciano Berio Ensemble, Pro-
gram of New Music from Europe, Smith Music Hall 
Sunday, March 5, 8: 00 p.m. - Festival Chamber Music Concert, 
Smith Music Hall 
*Wednesday, March 8, 8:00 p.m. - Star Course Festival Series, Min-
neapolis Symphony Orchestra, Auditorium 
Sunday, March 12, 8: 00 p.m. - Festival Choral and Chamber Music 
Concert, Smith Music Hall 
*Tuesday, March 14, 8:00 p.m. - Star Course Festival Series Extra, 
Nikolais Dance Group, Auditorium 
Wednesday, March 15, 8: 00 p.m. - Festival Chamber Music Con-
cert, Smith Music Hall 
* Admission charge 
• 
lJNIVERSITY OF ILLINOIS SCHOOL OF MUSIC 
FESTIVAL OF CONTEMPORARY ARTS 
CHAMBER MUSIC CONCERT 
LUCIANO BERIO ENSEMBLE 
CATHY BERBERIAN, mezzo soprano JEAN PIERRE DROUET, first percussion 
:253 
JACQUES CASTAGNER, flute BoRIS DE VINOGRADOW, second percussion 
FRANCIS PIERRE, harp LUCIANO BERIO, piano 
SMITH MUSIC HALL, WEDNESDAY, MARCH 1, 1961, 8:00 P.M. 
Devises ( 1960 ) .......................... ANDRE BouCOURECHLIEV 
flute, harp, piano, two percussion 
Composed in December 1960 for the American tour of the instrumental group 
from the Domaine Musicale in Paris, and is dedicated to Luciano Berio. As Mr. 
Bo~courechliev says: "This piece puts to work different time 'Qualities.' Strictly 
;11tt~n tempi or 'time fields' where the performers exert their free choice on the 
urat~ons. Between these two extreme aspects, five performers - five 'temporal 
consciences' - confront each other, communicate, create their instantaneous alli-
ance, tracing their momentaneous 'mottos' " (Devises). 
Vobc de femme (1959). . ......... ....... .... SYLVANO BussoTTI 
voice and piano 
lllcn~tmmen\_to is a fragment of a cycle "Pieces de chair II" for voice and instru-
for th combmations. This selection entitled "Voix de femme" is the only piece 
l'be l'e female voice in the cycle and was composed especially for Miss Berberian. 
diyer •terary, or phonetic, material is handled in eleven different languages and the 
a ga~ence of the sound material (represented also in the piano part ) is based on 
'lllet'ut 0 ~ values also extremely divergent, asymetrical, in dialectic relation, and 
Of thtnes\_ •n conscious contradiction. In this, perhaps, Frammento reproduces some 
typical characteristics of the total phenomenon of "Pieces de chair II." 

254 Zyklus (1959)... percussion solo KARLHEINZ STOCK HAUSEN to Composed in 1959 for the Ferienkurse at Darmstadt, it is in fact dedicated W. Steincecke. Zyklus is a piece which combines a "free" performance with a determinate one. The performer can choose the order of succession of the sixteen pages upon which the composition is distributed: the succession, the cycle of structures thus being determined, the performer may exploit the great richness of the interior of each group, between one group and another, and between free groups and determinate ones. He can with constant reference to a time coordinate, act within certain limits on the density and simultaneity of the groups, and move to the more "free" and the more determinate, at the same time. Musica su due dimensioni (1958).... flute and tape .BRUNO MADERNA The recorded part of this picce was produced at the Studio di Fonologia Musicale in 1958. An early version of this same work dates from 1951 and can be considered as the first example of combination of live and recorded "perform- ances." The recorded part is based on flute sounds as well as purely clectronic ones. The coordination between the flutist and tape are extremely flexible to a point where the flutist reacts spontaneously to the recorded sound structures, improvising on a given material. INTERMISSION Thema ("Omaggio a Joyce") (1958)... tape .LUCIANO BERIO Thema occupies a special place in Luciano Berio's electronic productions not only for the general importance of this work in comparison to his other tape pieces. This composition aims, in fact, to establish a "rapport" of continuity between musical level (defined by the autonomous organization of determined sound struc- tures) and the spoken language. It was necessary to establish, between these two heterogeneous zones, a mediation, to bind them in correspondences and ambiv alences, and thus "invent" a possible reciprocity in continuous metamorphosis. The text is the beginning of the "Sirens" of the cleventh Chapter of James Joyce's "Ulysses" which will be read before the performance of the tape, by Cathy Berberian upon whose original reading the material of "Thema" was based. The choice of this Joyce text was not a casual one; it is a kind of language already singularly pregnant in itself in a musical sense, and potentially bent toward ulterior developments of this coordinate. Circles (1960)... voice, harp, two percussion .LUCIANO BERIO Based on three poems by e. e. cummings: No. 25 ("stinging, gold swarms .."), No. 76 ("riverly is a flower...") and No. 221 ("n (o) w the how music following this order: 25, 76, 221, 76, 25; thus in the closed form of the ."). In the composition, the poems are set to dis (appeared cleverly) world piece, poems 25 and 76 appear twice. The use of the harp and percussion instru- ments is intended to extend or to provoke sound qualities of the vocal part. For this reason the instrumental parts sometimes are not completely defined in con- ventional musical notation (that is, when the identity between vocal and instru- mental actions is strictest) but the general nature of actions is given and the specific result sometimes relies on the specific individual characteristics of each performer. The "theatrical" aspects of the performance are inherent in the struc- ture of the work itself which is also a structure of actions. ANDRE BOUCOURECHLIEV born in Sofia, Bulgaria, in 1925. Studied first at the Sofia Conservatory, then at the Ecole Normale de Musique in Paris where he has been teaching since 1952. SYLVANO BUSSOTTI born in Florence, Italy, in 1931. Studied at the Florence Conservatory with Luigi Dallapiccola and in Paris with Max Deutsch. KARLHEINZ STOCKHAUSEN born in 1929 at Altenberg, Germany. He studied composition in Cologne with Frank Martin and in Paris with Olivier Messiaen. Has worked actively since 1953 at the electronic music studio at Cologne. BRUNO MADERNA born in 1920 in Venice, Italy. Studied with Hermann Scherchen. An active collaborator of the Studio di Fonologia Musicale in Milan, and noted conductor of contemporary music concerts. LUCIANO BERIO born in Imperia Oneglia in 1925. He began his music studies with his father who is an organist and composer. He entered the Milan Conservatory where he studied composition with Paribeni and Ghedini and orchestra conducting with Votto and Giulini. In 1952 he was granted a Koussevitsky Foundation scholar- ship which enabled him to attend the Berkshire Festival where he studied with Luigi Dallapiccola. On his return to Italy he began working at the RAI, Italian radio, where he founded the Studio di Fonologia Musicale for electronic music. He also founded the musical review "Incontri Musicali" of which he is the editor and has organized concert seasons of contemporary music by Boulez, Pousseur, Stockhausen, Stravinsky, Maderna, Cage, Schuller, Dallapiccola, Petrassi, Debussy, Schoenberg, Berg, Webern, etc. In 1960 he was invited as composer in residence at the Berkshire Festival where he presented the first performance of "Circles." COMING EVENTS Sunday, March 5, 8:00 p.m. - Festival Chamber Music Concert, Smith Music Hall Wednesday, March 8, 8:00 p.m.-Star Course Festival Series, Min- neapolis Symphony Orchestra, Auditorium Sunday, March 12, 8:00 p.m. - Festival Choral and Chamber Music Concert, Smith Music Hall Wednesday, March 15, 8:00 p.m. Festival Chamber Music Concert, Smith Music Hall *Admission charge 255

L/ 
Zyklus ( 1959) ......................... KARLHEINZ STocKlIA.u 
SEN percussion solo 
Composed in 1959 for the Ferienkurse at Darmstadt, it is in fact dedicat 
W. Steincecke. Zyklus is a piece which combines a " free" performance , ~t to 
determinate one. The performer can choose the order of succession of the s~Jt a 
pages upon which the composition is distributed: the succession, the cy~~tecn 
structures thus being determined, the performer may exploit the great richne e of 
the interior of each group, between one group and another, and between free g/s of 
and determinate ones. He can with constant reference to a time coordinate oups 
within certain limits on the density and simultaneity of the groups, and mo~ act 
the more "free" and the more determinate, at the same time. e to 
Musica su due dimensioni ( 1958) .... . .......... . . BRUNO MADERNA 
flute and tape 
The recorded part of this piece was produced at the Studio di Fonologia 
Musicale in 1958. An early version of this same work dates from 1951 and can be 
considered as the first example of combination of live and recorded "perform-
ances." The recorded part is based on flute sounds as well as purely electronic 
ones. The coordination between the flutist and tape are extremely flexible to a 
point where the flutist reacts spontaneously to the recorded sound structures, 
improvising on a given material. 
INTERMISSION 
Thema ("Omaggio a Joyce") ( 1958) ................ LucIANO B ERIO 
tape 
Thema occupies a special place in Luciano Berio's electronic productions not 
only for the general importance of this work in comparison to his other tape piece.,. 
This composition aims, in fact, to establish a "rapport" of continuity between 
musical level ( defined by the autonomous organization of determined sound struc-
tures) and the spoken language. It was necessary to establish, between these 1~' 0 
heterogeneous zones, a mediation, to bind them in correspondences and arn bi~·-
alences, and thus "invent" a possible reciprocity in continuous metamorphosis. 
The text is the beginning of the "Sirens" of the eleventh Chapter of Jan;s 
Joyce's "Ulysses" which will be read before the performance of the tape, by C~h, 
Berberian upon whose original reading the material of "Thema" was based. d c 
choice of this Joyce text was not a casual one; it is a kind of language alre.a r~ 
• I I • • If • • • JI bent to" a smgu ar y pregnant m 1tse 111 a musical sense, and potentJa Y 
ulterior developments of this coordinate. 
Circles ( 1960) ..... . LUCIANO BERIO 
voice, harp, two percussion 
. Id s11•an11s 
Based on three poems by e. e. cummings: No. 25 ("stinging, go I e ho" ."), No. 76 ("riverly is a flower ... ") and No. 221 ("n (o) ,,. t1 set 10 
dis (appeared cleverly ) world . . . "). In the composition, the poems ~re of thC 
music following this order: 25, 76, 221, 76, 25; thus in the closed foirn 
. oems 25 and 76 appear twice. The use of the harp and percussion instru-
piece, ~ intended to extend or to provoke sound qualities of the vocal part. For 
lll~ts 
1 
son the instrumental parts sometimes are not completely defined in con-
tbiS \_reaal musical notation ( that is, when the identity between vocal and instru-
~uof actions is strictest ) but the general nature of actions is given and the 
111en!:c result sometimes relies on the specific individual characteristics of each 
~• mer. The "theatrical" aspects of the performance are inherent in the struc-
l"''"orf the work itself which is also a structure of actions. 
ture o 
ANDRE BOUCOURECHLIEV born in Sofia, Bulgaria, in 1925. Studied first 
t the Sofia Conservatory, then at the Ecole Normale de Musique in Paris where he :a. been teaching since 1952. 
SYLVANO BUSSOTTI born in Florence, Italy, in 1931. Studied at the 
Florence Conservatory with Luigi Dallapiccola and in Paris with Max Deutsch. 
KARLHEINZ STOCKHAUSEN born in 1929 at Altenberg, Germany. He 
studied composition in Cologne with Frank Martin and in Paris wi th Olivier Messiaen. 
Has worked actively since 1953 at the electronic music studio at Cologne. 
BRUNO MADERNA born in 1920 in Venice, Italy. Studied with Hermann 
Scherchen. An active collaborator of the Studio di Fonologia Musicale in Milan, and 
noted conductor of contemporary music concerts. 
LUCIANO BERIO born in Imperia Oneglia in 1925. He began his music studies 
with his father who is an organist and composer. He entered the Milan Conservatory 
where he studied composition with Paribeni and Ghedini and orchestra conducting 
with Votto and Giulini. In 1952 he was granted a Koussevitsky Foundation scholar-
~P which enabled him to attend the Berkshire Festival where he studied with Luigi 
Dallapiccola. On his return to Italy he began working at the RAI, I talian radio, 
where he found ed the Studio di Fonologia Musicale for electronic music. He also 
fOUndcd the musical review "Incontri Musicali" of which he is the editor and has 
orpn\_ized concert seasons of contemporary music by Boulez, Pousseur, Stockhausen, 
::avinsky, Maderna, Cage, Schuller, Dallapiccola, Petrassi, Debussy, Schoenberg, 
P ~• Webern, etc. In 1960 he was invited as composer in residence at the Berkshire 
eatival where he presented the first performance of "Circles." 
COMING EVENTS 
Sunday, March 5, 8: 00 p.m. - Festival Chamber Music Concert, 
Smith Music Hall 
*Wednesday, March 8, 8: 00 p.m. - Star Course Festival Series, Min-
neapolis Symphony Orchestra, Auditorium 
Sunday, March 12, 8: 00 p.m. - Festival Choral and Chamber Music 
Concert, Smith Music Hall 
Wednes~ay, March 15, 8: 00 p.m. - Festival Chamber Music Concert, 
~ 1th Music Hall 
*Ad • · m1ss1on charge