Ressources.ircam

In the rich landscape of studies about performance as a creative process, the investigation of such preliminary phases that go before the performance itself (i.e. the study process or the rehearsal practice) presented themselves like a more or less closed type of fieldwork. By establishing direct relationships with performers and sometimes integrating the researcher into the performative process, it has been possible to go deep into the peculiar procedure and dynamics at the roots of the act of performance. The new methodological elements introduced in this speech share the aim of that research field, but mean to enlarge its boundaries by including also historical case studies, with whom no more direct contact can be established. To do so, this approach chose to include a new type of documentary source: the score belonging to the performers (from here on defined as performing scores). This kind of materials represents a unique point of view to explore the relationship between performer and their text, contemplated here in two complementary meanings: on one hand as intellectual contents – sometimes enriched by performers themselves –, on the other as material objects playing an important role before (and very often during) the performance. The meticulous analysis of that source constitutes the first step of this innovative approach, followed by the contextualization of the inferred data not only with all the other documentary traces of the related performances (audio and video recordings), but also with other archival materials. Using a performing score like a litmus paper makes it possible to light up the ‘written repercussions’ of interpretative and performative choices made by musicians in the delicate process of the performance preparation. Moreover, it consists in a precious occasion to reflect writing as an auxiliary tool to fix a kind of thinking very different from the authorial one. Finally, it also provides elements to study the musical reading process and the strategies that enable to establish during the performance, thus stressing the relevant role that textual objects maintain during the act of performance.
The specific case study thanks to which the first outcomes of this approach are presented is exemplary, both because of its consistency and its exceptional nature, which set it at the crossroads of various problems. It discusses Circles (1960) by Luciano Berio, a composition among the milestones in the repertoire sung by Cathy Berberian, one of the most relevant vocal personalities of her times. Thanks to the extended resources of her voice and to her incredible musical intelligence, Berberian paved the way to a new conception of vocality, singing, stage presence and to the whole figure of the singer. Among many others, her human and artistic partnership with Luciano Berio – they got married in 1950 – was the most important in her career, and represents the deepest feature of her artistic path. She followed the creation and premiered many of the masterpieces of his production – e. g. Thema (Omaggio a Joyce), Epifanie, Folk Songs, Sequenza III and Circles itself – but she also accompanied the composer in crucial experiences like the one in the electronic studio of Italian radio television (the Studio di Fonologia Musicale, founded in 1955) in Milan.
Circles, for voice, harp and two percussionists, marked not only Berberian’s American debut, but was also the first piece – among the many written on her vocal peculiarities – that singled out her theatrical and scenic talent. The various archival materials kept until not long
ago in Radicondoli (Italy) and in Los Angeles (and now acquired by Paul Sacher Foundation) do not allow complete documentary evidences about all the phases of her performative approach. Nonetheless, the substantial part of it and the other elements inferable 'ex negativo' can reveal such a level of involvement of the singer in some moments of the creative process of Circles; moreover, they certify her role in editing the score too (Wien: Universal Edition, © 1961). The only performing score survived to this day is an incredible source to gather a lot of information both about the study of the text and about the use that Berberian made out of it. But unfortunately it cannot reveal all of the complex dynamics occurred previously, deeply inside of the creation of the work. However, such an examination allows us to launch a critical investigation of the authorial dynamics (and their declinations) of the duo Berio- Berberian, aside from common trivializations. In the creative process of the realization of Circles no trespassing and no significant alterations to the traditional roles of composer and performer can be identified thanks to those methods and resources. On the contrary, we can affirm that Berberian’s contribution always remained in the performative and interpretative range. Also when she introduced new elements around the musical work, they were regularly approved by Berio, but they never escaped her boundaries. In addition, it was that very experience of work that inspired, in the time passing, new authorial decisions made by the composer.
The documentary evidence of this new typology of materials gives us a chance to examine deeply this chapter of their cooperation, making new observations possible and coherent. Merging the richness of those performing scores with other registrations (both audio and video) realized in various moments of her career, it becomes easier to stress some of the most relevant aspects of Cathy Berberian’s performative approach, and to link them to the role of her scores inside and outside of her performances.