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in bar 2 lead us to
anticipate a consequent event an expectation which is fullled by the high A in
bar 3 but the entire clarinet gesture in bars 23 is then echoed and carried on by
the ensuing expressive leaps in the other instrumental parts.
22
In other words,
these gestures are not isolated events, but rather form a larger network of
corresponding elements. And this is why the gestures are meaningful; they have a
function beyond their individual appearance. (The compositional aesthetic here,
as throughout Nones, owes much toWebern in this respect.)
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Ex. 3 Nones, bars 112, with serial analysis
Cb.
P :
P :
P :
P :
5
7
10
11
F/A /E
B
pizz.
G
3
B
D
D
B
B
B F
A
G E
E C
3
A
B
D
F
P :
t10
B
A
E
D
E
D
arco
A
D
D
A
G
G
A
F
C
Vlc.
sord. pizz.
3
arco
3
molto dim .
Vla
Vn C
sord.
Vn B
sord.
Vn A
sord.
Harp
3 3
3
3
3
Vibr.
Cel.
2 Tam-Tam
Tamb. milit.
Timp.
Tbn. 1
sord.
3
Hn 2
non troppo
3
Cbsn
Bsn
3
Cl. 1
Ob. 1
Fl. 1
= 7276
3
El. guitar
D
[B?]
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Ex. 3 Continued
pizz.
3
3
3
3
gliss.
II. via sord.
3
I.
I.
7
(P :)
(P :)
(P :)
(P :)
(P :)
10
5
7
10
11
E
[E ]
D
F A
F
F
B
C
C G
D G
B
D
D F
B A F D E
(P :)
3
C B G F(etc.)
E F D B
Fl.
Ob.
Cl.
Sax.
Bsn
Tbn.
Timp.
Tamb.
Cel.
El. guitar
Harp
Vns
Vlas
Vlc.
Cb.
[ ]
(etc.)
[B ?]
[B ?]
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The rule guiding the combination of parameters illustrated in Ex. 2 requires
the composer to make decisions with a clear sense of what the result is intended
to sound like, since the choice of one parameter affects the choices available with
respect to all of the others. In addition, the exibility built into the rule (sums can
be greater than 9 leading to added rests, multiple choices for some parameters)
provides further options which again need to be considered with a clear vision of
the expected sonic outcome. In the excerpt shown in Ex. 5, Berio chose a texture
(via the same serial rule) which pits the solo violins mostly rapid and delicate
gestures against a background of longer sustained dyads and single notes as well
as non-pitched percussion. All dynamics are soft. Ex. 6a analyses the parameters
Ex. 4 Analysis of Nones, P
11
layer, bars 110
(a) P
11
layer
(b) Parameters of P
11
layer
(c) Analysis of numeric values of the four parameters in the P
11
layer
6
6
3
5 4
3
3
Sax.
2 1
Harp
1 2
(a)
4 5 6 7 3
3
1
3
3
3
modes of attack:
dynamics:
durations :
pcs: 1 2 3 4 5 7 6 5 4 3 2 1 6
4b 3a 3b 2a 3b 1 1 1 3b 2a 3b 4a 4b
3 3 3 2a 1a 1a 1b 1a 1b 2a 3 1 2a
1a 1a 1b 1a 1a 1a 1a 1a 1a 1a 1a 2a 2b
sums: 9 9 10 9 10 10 10 10 9 9 9 9 9
(c)
modes of attack: no attack indication
dynamics:
durations :
pcs: B D B G E E A D C A F
legato
D
staccato
F
3 3 3 3 3 3
(b)
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assigned to the main series I
0
in the solo violin. (All other serial statements are
fragments.) The low values for the dynamics (1 or 2 for ppp to p) and modes of
attack (1 and 2 for tenuto, legato, staccato and no attack mark) require Berio to
counterbalance the gradually increasing and decreasing values for the pitch
classes with overall decreasing and increasing numbers for the durations, in order
to keep the sums within a narrow band (between 8 and 11).
23
Where he has a
choice of two note values, Berio always picks the same alternative (in every case
a semiquaver for 4, a dotted quaver for 3 and a dotted semiquaver for 2), and
generally prefers the shorter duration.
24
The note values form a palindrome
which is ultimately distorted by the rests inserted in the nal version. Ex. 6b and
Ex. 5 Nones, bars 4048, with serial analysis
Cb.
div. uniti
pizz.
arco
div.
uniti
pizz.
Vlc.
1 Solo
3
pizz.
tutti
arco div.
pizz.
uniti
Vn solo
3
Vibr.
3
T. T.
Tamb.
Cl.
Timp.
40
= 126
(suono deco )
sord.
I :
0
I (14):
P (14):
5
C A C
F
B D
D
E G A
G
B G
A
E B B D F A F
I (15):
p (15):
5
5
F
F A
D F
E C
A C
B
11
3
G. C.
Cymbals
Guitar
3
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c analyse the parameter values assigned to the remaining serial fragments in
Ex. 5. Here, Berio tends to realise durations using the larger of the available note
values (for example, value 4 in Ex. 6b is realised as a crotchet rather than a
semiquaver in the double basses of Ex. 5) in order to create the sustained
sonorities which contrast with the faster violin gestures.
25
In 1981 Berio
described his experience in Nones:
My rst reaction to Darmstadt and to Brunos benecial inuence, in other words
my rst exorcism[,] was Nones for orchestra which has nothing of Darmstadt or
Maderna in it, but which develops what was for me the main focus of research and
musical excitement during those years: the possibility of thinking musically in
terms of process and not of form [that is, form types] or procedure.
26
(Berio (1985
[1981]), p. 62)
By combining twelve-note serialism in the pitch domain with a kind of multiple-
choice integral serialism involving the other parameters (see again Ex. 2), Berio
provided himself with a framework which pushed his imagination towards dis-
covering new musical avenues that would otherwise have remained unexplored.
Ex. 6 Nones, parameters for bars 4048
(a) Parameters for I
0
(solo violin)
(b) Parameters for I
5
/P
11
(fragments) in bars 4042
(c) Parameters for I
5
/P
5
(fragments) in bars 4348
modes of attack:
dynamics:
durations :
pcs: 1 2 3 4
4a 3b+ 1 3a
2b 2b 1b 2b
2* 2** 2b*** 1a
(* legato/staccato in percussion, ** legato in guitar, *** pizz. = stacc.)
9 9 7(!) 10 sums :
(b)
modes of attack:
dynamics:
durations :
pcs: 1 2 3 4
4a 3b+ 1 3a
2b 2b 1b 2b
2a 2a 2a 2a
sums: 9 9 7(!) 11
5
4b
1b
2b
12
(c)
modes of attack:
dynamics:
durations :
pcs: 1 2 3 4 5 7 6 5 4 3 2 1 6
4b 4b 4b 2b 2b 3a 1 3a 2b 2b 4b 4b 4b
2b 2b 2b 1b 1b 1a 1b 1b 1b 1b 1b 1b 2b
2a 2a 2b 1a 1a 1b 1a 1b 1a 2a 2b 2b 2b
sums : 9 10 11 8(!) 9 10 9 10 11 11 9 9 9
(a)
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And it is in this sense that integral serialism led him to what the composer
termed an objective enlargement of musical means, the chance to control a
larger musical terrain (Berio 1985 [1981], p. 65).
III. Quartetto per archi
Transformation of the parameters assigned to pitch material as in the Nones
series remained a central feature of Berios serial music. But given the absence
of sketches for most of the works from the 1950s, determining the transforma-
tion processes and the structures to which they were applied is no easy task. For
the serial Quartetto per archi, written in 19556, no sketches survive which would
document the compositional procedures, nor has the manuscript fair copy been
preserved. The only source of analytical information which probably goes back
to the composer himself can be found in Piero Santis article of 1958. Santi
explains, without providing score examples:
In the String Quartet there is less inner dependence [than in Nones] between
material and the scheme of construction, on one side, and, on the other, the way
they are carried through in music.The Quartet is built up wholly on permutations
of pitch-series, which recur in each sequence, and on sequence-permutations
which recur in each structure, because of the use of six different durations and a
particular intensity for each sequence. [In footnote:] Each structure consists of six
series of six sequences each. All the durations in these six series of six sequences,
i.e., 36 durations, are multiples of one of six basic values: semiquaver, demisemi-
quaver, triplet semiquaver, quintuplet semiquaver, triplet demisemiquaver, and
quintuplet demisemiquaver.Thus for example in the rst structure the durations in
each of the six series of sequences are multiples of 1, 3, 5, 7, 9 or 11.This means that
each duration in the rst sequence-series is one of the six fundamental values, while
in the second sequence-series each duration corresponds to one of the fundamental
values multiplied by three; in the third series the fundamental value is multiplied by
ve, in the fourth by seven, etc. Sequences, sequence-series and structures follow
each other exactly according to the scheme, in order then to achieve a synthesis in
the free articulation of the quartet-texture. [Continued in main text:] Thus it is a
matter of six different readings of the same material.
27
(Santi 1960 [1958]), p. 100)
Ex. 7ac reproduce three excerpts from the one-movement work, each of which
likely corresponds to what Santi calls a sequence. Each passage is built from the
same pitch-class materials, the two chromatic hexachords A and B. In Ex. 7ac,
the solid circles mark the members of hexachord A (AB
BCC
(at **). As will become clear, the latter two pitch classes are migrants from the
rst and third layers (D is missing once from the rst layer and C
added at the end. This layer is realised in Ex. 11a mainly with
durations of a crotchet or ve semiquavers, often subdivided into repeated notes
or tremoli, or shortened by rests (in bars 127128), similar to the example est-
ablished in Madernas Quartet.The second layer in Ex. 11b remains incomplete.
The segmentation into the distinct pitch-class layers shown in Exs. 10 and 11b is
Ex. 9 Maderna, Quartetto, excerpt from the short-score draft (Paul Sacher Founda-
tion, Luciano Berio Collection)
De
5 5 3 3
3 3 3
3
Dd
5
5
5 5 3
3
Db
Dd
e
f
f
g
e
d
d
e
e b
Ex. 10 Pitch-class material of the three distinct rhythmic layers at the opening of
Berios Quartetto
5 5 5
3 3 3 3 3 3 3 3 3 3 3 3
a
bars: 1 2 3 4 5 6
[D]
**
[C ]
(1)
(2)
(3)
*
hexachord A
hexachord B
(+D, C )
hexachord A
3
5
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suggested by Berios rhythmic structure, which in turn is most likely modelled on
the rhythmic layering found in Madernas Quartet. But Berio does not always
realise the different pitch-class layers as rhythmically distinct units. Ex. 12a
reproduces the full score of the beginning of the third section (bars 9299).
Ex. 12b presents a distributional analysis of the pitch-class material used in this
excerpt and illustrates how Berio again combines the two chromatic hexachords
A and B.
33
(Members of hexachord A are stemmed upwards, those of hexachord
B downwards.) The pitch-class succession of the entire excerpt is shown in three
large segments (bars 9294, 9597 and 9799), aligned in the example to illustrate
how each segment starts with the same pitch-class orderings. Bars 9293 corre-
spond to bars 9596 and bar 97; other occasional correspondences occur later as
Ex. 11a Berio, Quartetto, bars 120128
3
arco
pizz.
legno s. arco
via sord.
124
3
3
pizz.
3 3 pont .
pizz.
3 3
sord.
arco
120
= 96
Ex. 11b Pitch-class material of the two layers in bars 120128
1
2
a a
[A]
hexachord A
from hexachord B
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Ex. 12a Berio, Quartetto, bars 9299
3
3
legno b.
3
arco
3
via sord. legno b.
3
arco
98
via sord.
pizz.
arco
3
5
5
sord.
3
sord.
3
arco
5
3
95
5
5
legno b. arco
5
arco
5
3
arco pizz.
pizz.
arco
(sord.)
legno b.
92
= 72 circa
5
sord.
legno b.
pizz.
arco
via sord.
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well. The pitch classes are grouped by beams to show the distinct hexachordal
statements, some of themfragmented. Fragments occur mostly at the end of each
segment, as indicated; they are effectively interrupted by what follows.
34
The
lower-case letters identify specic orderings of hexachord A (ordering a is shown
in Exs. 10 and 11b).
The foregoing examples illustrate with the help of information from Santis
article and through comparison with Madernas Quartet the ways in which
Berios Quartetto is built from rereadings of a basic pitch-class material generated
from permutations of pitch-series. Santi tells us, as noted earlier, that the work
consists of six large sections (structures), each subdivided into six subsections
(sequences). Each of the six large sections with the exception of the fourth
starts with durations taken predominantly from the six basic note values, fol-
lowed by subsections which introduce increasingly longer durations that are
multiples of these basic values.
35
Exs. 7a and 12a reproduce the beginnings of
large sections (sections 1 and 3 respectively) using mostly the six basic durations,
whereas Ex. 11a reproduces a third subsection (of section 3) which introduces
quintuples of semiquavers and of triplet semiquavers (subdivided in bar 121)
alongside shorter values.
36
According to Santi, Berio groups rhythmic values into cells of various pat-
terns. They range from single attacks and groups of two or more successive
attacks to patterns containing rests. Ex. 13 shows the most prevalent cells as
listed by Santi.
37
Smaller cells are frequently embedded within larger ones, such
as the two demisemiquavers at the beginning of (a) embedded in the second cell
Ex. 12b Analysis of pitch-class materials
a
97 contd
[G]
b
98
[D , F ]
d
[F]
99
e
fragm.
[C]
95
[G]
b
96
fragm.
of c
97
92 bars: 93 94
b c a
fragm.
fragm.
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of (b), and the two dotted semiquavers at the end of (a) embedded in the rst cell
of (b). Some of these patterns occur in the score excerpts we have seen. The
analysis of Ex. 14a shows how the opening of the work is built from single attacks
and cells of double attacks. Here, most rhythmic cells are assigned to pitch
classes from the same hexachordal layer (an exception is the D in the rst layer,
marked with an asterisk). In Ex. 12a, on the other hand, the rhythmic cells cut
across the hexachordal layers. Most cells consist of two successive attacks. Single
attacks and patterns of 1 + rest + 2, 1 + rest + 1 and three unequally spaced
Ex. 13 Rhythmic cells mentioned by Santi (1960 [1958], pp. 1001)
3 3 3 3
3 5
; ; ;
etc.
; ; ;
etc.
(a) two attacks in a row
(b) cells of 3 + rest + 1
(c) cell of 4 + rest + 1
Ex. 14a Analysis of rhythmic cells assigned in bars 16 (compare with Ex. 10)
3 3
3
3
3
5
3
5
3
3
5
(1)
(2)
(3)
3
5
1 bar: 2 3 4 5 6
*
Hexachord A
Hexachord A
Hexachord B
Ex. 14b Analysis of rhythmic cells assigned in bars 9294
bar:
5 5 3 3
5
5
92 93 94
Hexachord A
Hexachord B
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attacks also occur (Ex. 14b).
38
Not all pitches assigned to these attacks are
equally prominent in the texture, however, since Berio mixes together arco
(sordino), col legno battuto and pizzicato timbres.
Berios work with rhythmic cells parallels similar practices found in the music
of other Darmstadt composers at the time. In particular, Pierre Boulez under
the inuence of Olivier Messiaens rhythmic techniques and his own (and
presumably Messiaens) analysis of The Rite of Spring designed various proce-
dures to synthesise a handful of basic rhythmic cells into larger patterns, as found
in works such as Polyphonie X (19501, withdrawn) and Le marteau sans matre
(19535, rev. 1957).
39
Madernas and Luigi Nonos early serial works often
employed rhythmic cells as well, many of them abstracted from popular music
and political songs.
40
In the fourth section of the Quartetto, Berio combines rhythmic cells with
another technique which at the time was frequently associated with serialism:
canon. The opening of this section is reproduced in Ex. 15a, with the rst three
canonic entries signalled by arrows (bars 161, 168 and 175). The successive
events in each canonic voice, including rests, are numbered. The order numbers
for statement 2 are shown in square brackets, those for statement 3 in italics.
Ex. 15b analyses the canonic theme, reduced here to its succession of pitch
classes and rests (the latter indicated generically by crotchet rests).
41
As the
beamed groups illustrate, the pitch-class material again arises from a combina-
tion of the two complementary hexachords A and B, this time combined to form
a single canonic voice. The rst ordering of hexachord A corresponds to permu-
tation a (see again Ex. 10, bars 12, with D omitted, and Ex. 12b, bars 94 at a
and 9798 at a). The other orderings of the hexachords in Ex. 15b introduce
new permutations.
Berios canon is a proportion canon: the rst entry of the theme moves in
dotted crotchets, followed by the second entry in minims and the third again in
dotted crotchets.
42
Irregularities, such as shortened or lengthened events, attest
to the exibility with which Berio handles his materials.
43
This canon presents a
contrapuntal technique that is not used anywhere else in the Quartetto, but that
ties in nicely with Berios general approach to serialism: like the other sections of
the Quartetto, the canon of section 4 consists of different readings of the same
pitch-class material, in this case a xed succession of 32 events, read at different
speeds in contrapuntal imitation. In each reading Berio freely omits and adds
pitch classes, freely alters rhythms and freely rearranges register, articulation and
(probably) dynamics. In addition, the canonic theme itself is a rereading of
pitch-class combinations used elsewhere in the work, constructed from permu-
tations of the two chromatic hexachords A and B. Many of the gestures in the
canon use rhythmic cells found throughout the other sections of the work in
augmentation.
44
This investigation into the serial materials of the Quartetto per archi necessarily
remains speculative. Although the excerpts discussed here conrmpermutations
of pitch-series by reorderings of the two chromatic hexachords, in the end it is
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Ex. 15a Berio, Quartetto, beginning of fourth section, bars 161178, with canonic
voices marked
no. 3
23
1
24
2 3
segue
4
5
[13]
sord. ord.
19 20
[10] 24 25
[8] [9] 27 28
173
21 22 [11]
[12]
balz. 26
sord. ord.
[no. 2]
VM
[1]
VO
[2] [3]
[4]
[5] [6] [7]
167
11
MV
12
VO
13
14 15 16 17 18
no. 1
1 2 10
tast.
3
4
SV pont .
5
sord. via sord.
6 7 8 9
161
sord.
via sord.
6
sord. VM
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impossible to be sure that Berio in fact developed the permutations from these
exact hexachords, as strong as the analytical evidence may be. In addition, the
principle of permutation remains unclear. In light of the inuence of Madernas
serial practices at the time, one might wonder whether Berios permutations of
pitch-series may have followed a strict principle comparable to Madernas use of
magic and other squares in order to generate serial permutations.
45
Since no
documentation of the compositional process survives, and since, as noted above,
Santi states that Berio move[d] with unrestricted freedom in realising his serial
materials (he may leave out notes and durations or add some), the basic serial
scheme remains hidden in the nal version.
IV. Allelujah I
As the following examination of the draft score for Allelujah I shows,
46
Berio
developed the basic materials for the work from strict serial procedures. As in the
Quartetto, these materials were then subjected to multiple readings. Berio
describes the process in his early article Aspetti di artigianato formale, which
appeared in the rst issue of his journal Incontri musicali in 1956. He explains
that Allelujah I (then still titled Allelujah) is based on a continually recurring
material, rst presented in the opening 21 bars, which Berio calls the matrix for
the entire piece (Berio 1956, pp. 567). More specically, he states:
In Allelujah, the initial structure (rst group) was conceived from the outset as a
single and, in certain aspects, intuitive whole where the vertical pitch relationships
were not the consequence of a horizontal pitch succession (or vice versa), where
the distribution and disposition of the instruments was [sic] not a direct conse-
quence of [predetermined] registral zones, and where the succession of durations
was not analysable as a series of note values ... [b]ut where, on the contrary, all
sonorous aspects were chosen and given unequivocally because they had to be
chosen and given thus, and not otherwise; and where, nally, the sonorities of this
rst formal object [the rst 21 bars] could successively provide materials to be
broken down [elements of analysis] and for the formal structure, whenever taken
deliberately in their concrete sense.
47
Ex. 15b Theme of the canon in bars 161214
1
a [D]
4 2 3 5 6 7 8 9 10 11 12 13 14 15 16 17
18 19 20 21 22 23 24 25 26 27 28 29 30 31 32
(or D /E)
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Ex. 16a reproduces the opening of the work. Each time the material estab-
lished in the rst 21 bars reappears Ex. 16b and c show the beginning of the
second and third sections the pitch-class structure is preserved, while the
rhythms are varied to a limited degree, and register, orchestration and mode of
attack are changed more drastically.
48
For instance, most pitch classes in bar 1 of
Ex. 16a are reassigned new registers and completely different timbres in bars
2223 (Ex. 16b) and 6162 (Ex. 16c).
49
In addition, Berio alters the temporal
alignment. The two simultaneities from bar 1 (CG and C
BC
, canonical
transformations thereof and unordered sets of set class 33 [0, 1, 4] from the
opening of the work recur in later sections. As the present analysis shows, these and
other sets are part of a larger transformational structure characterised by the use of
the two complementary hexachords.
33. The termdistributional analysis was coined by David Lidov (1992), pp. 678. The
method was rst introduced, as paradigmatic analysis, by Nicolas Ruwet (1966)
and later integrated into a semiological model by Jean-Jacques Nattiez (1990).
34. Berios work with chromatic sets such as the two complementary hexachords A and
B may have been inuenced by his study of the music of AntonWebern and by the
discussions of Weberns music which had taken place at Darmstadt, especially after
1953. Particularly inuential at the time was Henri Pousseurs analysis Weberns
Organic Chromaticism, which eventually appeared in the second volume of Die
Reihe in 1955 (Pousseur 1958).
35. As mentioned by Santi (1960 [1958]), p. 100, in the rst section Berio multiplies
the six basic note values by factors of 1, 3, 5, 7, 9 and 11 respectively.
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36. The six large sections of the work, according to the assignment of rhythmic values
span bars 157, 5891, 92160, 161223, 224249 and 250287. See also Fein
(2001), pp. 2647.
37. See Santi (1960 [1958]), pp. 1001.
38. Other analytical interpretations would be possible too. Each of the rhythmic cells
shown in Ex. 14b uses one or two of the six basic note values. It is likely that Berio
thought of these small cells as forming larger ones. Santi states, for instance, that the
cell shown in Ex. 13c returns in different forms at the beginning of each structure
[i.e. section] (Santi 1960 [1958], p. 100). This longer cell is a compound of two
double attacks followed by a rest and a single attack. The compound could be
shown at the beginning of Ex. 14b, which reduces the opening of the third section,
by grouping together the rst ve attacks, including the rest between the fourth and
fth attack.
39. The technique is explained in Boulez (1991b), pp. 1216. Boulezs analysis of The
Rite of Spring (completed in 1951) appears in Boulez (1991a), pp. 55110. Messi-
aens analysis of the same work was published posthumously in Messiaen (1995),
pp. 93147.
40. For a discussion of Nonos early serial rhythmic techniques and a comparison
with Boulezs practice, see Borio (2003). Madernas use of rhythmic cells is dis-
cussed in Borio (1990), pp. 323, Fearn (1990), p. 14 and Borio (1997), pp.
37581.
41. This canon has been analysed in part previously by Fein (2001), pp. 2667. My
reconstruction of the theme differs from his in a few places, making it possible to
account for more of the pitch material. In particular, events 12, 14 and 2232 of the
theme (shown in Ex. 15b) are not included in Feins reconstruction. Allen (1974),
pp. 312A, identies the rst ve events of the theme (called motive) in bars
161163 and their restatement in bars 168171, 175178 and 194197. He also
shows various recurrences between bars 174 and 216 of the rst four pitch classes
of the motive or twelve-note transformations thereof.
42. A fourth and last thematic statement (not shown in the example) in mostly dotted
crotchets starts in bar 194 and ends in bar 214.
43. As marked (underlined), events 12 and 14 in bars 167170 double the note value
(dotted minim instead of dotted crotchet). Events 6 and 10 of the second statement
of the theme in bars 172 (dotted crotchet rest in the second violin) and 175
(crotchet G in the viola) shorten the regular note value (minim). Event 12 of the
same statement in bars 176178 (C in the rst violin) is extended and subdivided
into repeated quaver attacks.
44. See, for instance, the two-note gestures in the cello and viola, followed by a single
attack in the second violin at the beginning of Ex. 15a.
45. For a discussion of Madernas use of such squares, see for example Rizzardi (2003).
46. The draft is housed in the Collection Luciano Berio at the Paul Sacher Foundation.
The published score of Allelujah I, issued under the title Allelujah by Suvini Zerboni
in 1957, was copied by Juan Hidalgo in December 1956, as indicated on the last
page of the score. The work was probably composed after the Quartetto per archi,
INsibc LcciaNo Bcnios ScniaLis: 341
Music Analysis, 28/ii-iii (2009) 2011 The Author.
Music Analysis 2011 Blackwell Publishing Ltd
because Santis article does not mention Allelujah and refers to the Quartetto as
Berios most recent work (Santi 1960 [1958], p. 101).
47. In Allelujah, la struttura iniziale (primo gruppo) stata concepita sin dallinizio
come un tutto unico e, per certi aspetti, intuitivo. Cio: ove i rapporti verticali delle
frequenze non fossero la conseguenza di uno svolgimento orizzontale delle stesse (o
viceversa), ove la distribuzione e la disposizione strumentale non fosse direttamente
una conseguenza delle zone di registro e ove la successione delle durate non fosse
analizzabile come serie di durate ... . Ma, invece, ove tutti gli aspetti sonori fossero
inequivocabilmente scelti e dati perch cos dovevano essere scelti e dati, e non
altrimenti; e ove, inne, i dati sonori di questo primo oggetto formale potessero
fornire successivamente gli elementi di analisi e di struttura formale, qualora delib-
eratamente presi nella loro accezione concreta (Berio 1956, p. 64).
48. Berio (1956), p. 57.
49. The opening of Ex. 16a uses only the middle to high register, whereas Ex. 16b and
c immediately include the low (but not yet the lowest) range of the orchestra.
50. Questo principio generale della composizione mi stato suggerito dalla persua-
sione che, anche nella musica strumentale, il rendere irriconoscibile, o meglio, il
variare continuamente le caratteristiche acustiche di uno stesso materiale sonoro
vuole anche dire (in rapporto a un disegno formale) produrre un nuovo materiale
sonoro (Berio 1956, pp. 567; italics in the original).
51. Linteresse che ho posto nellannullare i segni della presenza continua del
materiale del primo gruppo di frequenze non era ne a se stesso. Nulla, infatti,
avrebbe potuto impedirmi di ricostituire i gruppi sulla base di una serie di 12
suoni, permutando e trasportando gli elementi di essa. Quello che mi interessava
era di assecondare i suggerimenti formali derivati dalla distruzione di quel
materiale iniziale e, inversamente, scoprire quale materiale avrebbe soddisfatto
quei suggerimenti, superando cio il concetto di serie di intervalli e di altezze
(Berio 1956, p. 62).
52. My transcription omits Berios circle around the rst three bars, labeled DOPO!
(later), and the indication above bar 1 of SEMPRE DIVISI. The opening must
thus originally have been intended for strings. From bar 9 onwards, Berio reuses
selected materials from bars 13 (and beyond). He highlights certain pitches by
labeling them (fa in bar 1, sol in bar 4, and do