To bring my little ‘death season’ to a close, a major work that confronts the subject in the most breathtakingly imaginative and radical way. Richard Barrett‘s Opening of the Mouth, composed over a five-year period from 1992-97, is a daunting work even to begin to write about, partly due to its scale—lasting a little over 70 minutes—but perhaps more due to its material intricacies and structural ingenuity, both of which invite various ways to be parsed. From one perspective, the work is a cycle, comprising a host of discrete compositions, many for solo instruments: abglanzbeladen/auseinandergeschrieben for percussion solo, CHARON for bass clarinet, Largo for soprano, koto and cello, Schneebett for soprano, mezzo-soprano and ensemble, Tenebrae for mezzo-soprano, electric guitar, ensemble and live electronics, knospend-gespaltener for C clarinet, air for violin and von hinter dem Schmerz for amplified cello, in addition to two electronic works, Landschaft mit Urnenwesen and Zungenentwürzeln. Barrett does not simply tessellate these pieces to make a larger whole—far from it: they occur simultaneously as well as consecutively, sometimes whole, sometimes fragmented, overlapping and interweaving with each other and with new material, Byzantine architecture rendering convoluted music of utmost sophistication.
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