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Gerald Barry (composer)
Gerald Barry (born 28 April 1952) is an Irish composer.〔(【引用サイトリンク】title=Gerald Barry )〕
==Life and works==
Gerald Barry was born in Clarehill, Clarecastle, County Clare, and was educated at St. Flannan's College, Ennis. He studied music at University College Dublin, at Amsterdam with Peter Schat, at Cologne with Karlheinz Stockhausen and Mauricio Kagel and at Vienna with Friedrich Cerha.〔Axel Klein: ''Die Musik Irlands im 20. Jahrhundert'' (Hildesheim: Georg Olms Verlag, 1996), p. 353.〕 He taught at University College Cork from 1982 to 1986. Growing up in rural Clare, he had little exposure to music except through the radio: "The thing that was the lightning flash for me, in terms of Saint Paul on the road to Damascus, would have been an aria from a Handel opera, from Xerxes maybe, that I heard on the radio. I heard this woman singing this, and bang – my head went. And that was how I discovered music."〔http://www.musicalcriticism.com/interviews/barry-0312.shtml (Interview with Liam Cagney)〕
"Barry's is a world of sharp edges, of precisely defined yet utterly unpredictable musical objects. His music sounds like no one else's in its diamond-like hardness, its humour, and sometimes, its violence."〔(''Guardian'' interview with Tom Service, January 2013 ).〕 He often conceives of material independently of its instrumental medium, recycling ideas from piece to piece, as in the reworking of ''Triorchic Blues'' from a violin to a piano piece to an aria for countertenor in his opera ''The Triumph of Beauty and Deceit'':It seemed to me unprecedented: the combination of the ferociously objective treatment of the material and the intense passion of the working-out, and both at an extreme of brilliance. And the harmony – that there was harmony at all, and that it was so beautiful and lapidary. It functions, again, irrationally, but powerfully, to build tension and to create structure. It wasn't just repetitive. It builds. And the virtuosity, the display of it, that combination of things seemed, to me, to be new, and a major way forward.〔Thomas Adès: ''Full of Noises'', London 2012, p. 147.〕
Some of his writing is for the bass voice; e.g. ''The Conquest of Ireland'' and ''Beethoven'' (setting the text of Beethoven's letter to his 'Immortal beloved'). His most recent opera, ''The Importance of Being Earnest'', has become a huge success after its world premiere at Los Angeles and European premiere at the Barbican, London.〔(''Guardian'' interview with Tom Service, June 2013 ).〕〔Paul Griffiths: "The Importance of Being Earnest", in: ''The Times Literary Supplement'', May 2012.〕He writes "what he likes" in the way Strindberg does, not trying to characterise his characters, but letting them perform his own specialities, a kind of platform for his own musical specialities. As in Strindberg where you feel every sentence stands for itself and the characters are sort of borrowed for the use of saying them (borrowed to flesh out the text, rather than the other way round), that they've been out for the day. In Gerald's opera the whole apparatus - for that's what it is - takes on a kind of surrealistic shape, like one person's torso on someone else's legs being forced to walk, half the characters in the opera and half the composer.〔Chris Newman, "TIOBE von GB", in: ''Musik Texte'' 138, August 2013.〕
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