Musical Decay: Luciano Berio's Rendering and John Cage's Europera 5

Abstract

Restoration and reproduction have served as two of the primary means by which the present has approached the past. These practices are the focus of Luciano Berio's Rendering and John Cage's Europera 5, two recent works that draw upon earlier compositions. In Rendering, Berio ‘restores ’ the drafts for what would have been Schubert's Tenth Symphony. Contrary to conventional restorations, Berio not only builds up the sketch materials but also fragments them, having Schubert's themes disappear into musical voids. Europera 5 looks back at eighteenth- and nineteenth-century opera, which is presented in a collage of live performance and reproductions. During the course of the work, opera gradually disappears into a world of reproductions, losing its vocality and presence. In both compositions, restoration and reproduction ultimately make the past more distant and inaccessible. A similar use of these two practices occurs in recent visual artworks by Igor Kopystiansky and Mike and Doug Starn. Both the musical and visual artworks create scenes of decay, in which the past appears as crumbling and the present as an emptiness.