GETTING OUT OF THE LABYRINTH: GERALD BARRY'S WIENER BLUT AND THE PATH TO PETRA VON KANT

AbstractGerald Barry's approach to composition has undergone a number of changes. Frequently these developments coincide with the composition of a large-scale opera. One of these points of transition in his output occurs in the period before he commenced work on The Bitter Tears of Petra von Kant. Between 1999 and 2000 Barry composed three works – 1998, The Eternal Recurrence and Wiener Blut – in which he attempted to find a new compositional direction after a period in which canonic proliferation dominated his musical material. This article examines some of the main traits of these works, and Wiener Blut in particular, since it contains a greater variety of approaches than the other two compositions. The article also considers how Barry's shift in approach may have been linked to his decision to set Rainer Werner Fassbinder's play. Its quite plain, realistic prose was a contrast to the sort of text Barry had previously chosen to set, requiring a different musical response, and the article draws out some possible connections between Barry's three ‘pointillistic’ compositions and the opera.