The general structure of the work is that of a substantial epic and narrative form made up of mostly self-contained and often contrasting episodes. The same text can occur several times with different music, or the same musical model can occur several times with different texts. […] It is like the plan for an imaginary city which is realised on different levels, which produces, assembles and unifies different things and persons, revealing their collective and individual characters, their distance, their relationships and conflicts within real and ideal borders.
The specific placing of the singers and instruments on the concert podium (with a singer each sitting next to an instrumentalist) serves to enhance acoustically and visually the wide range of interaction among voices and instruments. (Luciano Berio on Coro)
Luciano Berio’s Coro takes up the topic of the folksong. Whilst it does not directly quote or otherwise make use of any actual folksongs, it does contain a diverse array of folk techniques and musical gestures typical of a wide variety of world cultures, sometimes even in combination.
Together with the Chorus MusicAeterna and the Mahler Chamber Orchestra, Teodor Currentzis performs Luciano Berio’s Coro on 29 May at the Elbphilharmonie in Hamburg. A follow-up concert takes place on 30 May at the 50th anniversary of the Festival de Saint-Denis at the Basilica.
Apart from Coro, Berio’s Call for 5 brass instruments will also be played at the Elbphilharmonie.