Sanguineti, Berio e il Labirinto: il corpo del tempo e lo spazio del suono

The contribution is dedicated to the relationship between text and music in Edoardo Sanguineti’s Laborintus and Laborintus II. Berio’s musical approach to the second of the two works, when compared to the rest of Berio’s production, is substantially based on the reconstruction of temporality, which in Sequence I appears proportional, “spatialised”, “corporeal”. A similar revolutionary approach is already evident in Sanguineti’s first collection and later refined in his dramatic poetry.