<<  -- 8 --  Jennifer I Paull    CATHY BERBERIAN - NEVER KNOWINGLY MISUNDERSTOOD

I replied to The Guardian with the following.

Come, see the blood
Andrew Clements on the epic work that showed Luciano Berio at his best
Friday 29 July 2005

Sir,

With reference to the [above] article written by Andrew Clements about Berio's work, Coro (The Guardian, 29 July): as a close follower of the work of Cathy Berberian, I would like to point out several, erroneous statements and contest some over-simplifications.

Firstly, I question the supposition that composers of Berio's generation 'were supposed to have eliminated' passion, involvement and humanity from their 'expressive vocabulary'. That is an opinion I, and many others, would not share -- a facile grouping of bees around a supposed cup of hemlock.

The primary, major influence upon Berio's musical development was Cathy Berberian. This was not limited to the duration of Berio's setting of eleven Folk Songs (as Mr Clements may lead one to surmise); several of which were written by Berio himself as a young man -- found on a scratchy 78rpm by Cathy in a flea market, imported from her own Armenian heritage or their joint research.

I quote my own recent article on Cathy Berberian (Cathy Berberian -- A Musical Columbus, M&V 4 July 2005)

'... without clay there could never be clay sculpture. Without Cathy, Circles, Sequenza III, Visages and so much of Berio's oeuvre that the list would overspill many a page, would simply never have existed. She it was who taught him English, introduced him to James Joyce and her own incredible, vocal prowess and imagination. What gifts! Cathy was as much responsible for Berio's works written specifically for her own capacities and intelligence, as those generated by his exposure to her having introduced him to such amazing ingredients and possibilities. The laudatory lens of musical history has not been angled with accuracy of focus. The 'BerBerio' marriage was a real chicken and egg dilemma.'

To refer to the brilliant biography Cathy Berberian, Cant'actrice by Marie Christine Vila (Fayard -- page 54): it was Cathy Berberian who first introduced Berio to James Joyce as subsequently she did Umberto Eco. Indeed the effect of this discovery -- through Cathy -- played a very important role in the future work of both men. There was no good Italian translation of Joyce at that time, and it is thanks to Cathy's teaching Berio English and her constant unfolding of Joyce's onomatopoeic secrets (amongst others) in their original tongue, that Berio soon shared her passion for one of her fetish authors, infecting Eco in the process. All three were close friends and many evenings were spent in her reading to them both, for hours.

For Donaueschingen in 1961 (Cathy Berberian, Cant'actrice -- page 123), the Südwestfunk commissioned two works for Cathy Berberian: Epifanie by Berio and Credentials, or Think, Think Lucky by Haubenstock-Romati, inspired by Beckett's Waiting for Godot. To imagine that Ms Berberian sat mute and docile whilst Eco alone influenced Berio in the collage of texts for Epifanie is more than unlikely. It is also relevant that during the couple's stay with Olga Koussevitsky (the conductor's widow) in Tanglewood, a bird repeatedly sang at their window early each morning. Cathy, inspired, suggested that Berio include it in his work. This eventually became Birdgirl within Epifanie. I do not dispute Eco's valuable input into this composition. I disapprove of omitting that of Cathy Berberian in the correct progression and unfurling of events. Joyce did not enter Berio's universe via Eco. Cathy Berberian brought the author to them both.

The initial lover of folk song and the influence of folkloric material in the couple was Cathy. She came to Berio already expert at singing them in many languages; a renowned exponent of Armenian dance, having studied Indian dance and already journeying along her own lifetime, folk music trail that lasted until her ultimate recitals (which included Native American music).

To each his due: Cathy Berberian died in 1983, but the fact that she is omitted today in many texts about Berio's music -- even those elucidating his liberation of the voice, is a tragedy. Hers was the voice that was liberated by her own intelligence, talent, imagination and ability. She alone was capable of the amazing things she mastered like a vocal chameleon. Berio discovered at her example and fell beneath both spell and influence. Music is far the better for their collaboration. May her due role not be brushed beneath a red carpet rolled out exclusively to his feet!

Sent 29 July 2005 (unacknowledged)

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