Berio's Sequenzas
Essays on Performance, Composition and Analysis
- 338 pages
- English
- ePUB (mobile friendly)
- Available on iOS & Android
About this book
Between 1958 and 2002, Luciano Berio wrote fourteen pieces entitled Sequenza, along with several versions of the same work for different instruments, revisions of the original pieces and also the parallel Chemins series, where one of the Sequenzas is used as the basis for a new composition on a larger scale. The Sequenza series is one of the most remarkable achievements of the late twentieth century - a collection of virtuoso pieces that explores the capabilities of a solo instrument and its player, making extreme technical demands of the performer whilst developing the musical vocabulary of the instrument in compositions so assured and so distinctive that each piece both initiates and potentially exhausts the repertoire of a new genre. The Sequenzas have significantly influenced the development of composition for solo instruments and voice, and there is no comparable series of works in the output of any other composer. Series of pieces tend to be linked by the instruments for which the composer writes, but this is a series in which the pieces are linked instead by the variety of instruments for which Berio composed. The varied approaches taken by the contributors in discussing the pieces demonstrate the richness of this repertoire and the many levels on which Berio and these landmark compositions can be considered. Contributions are arranged under three main headings: Performance Issues; Berio's Compositional Process and Aesthetics; and Analytical Approaches.
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Information
Table of contents
- Cover Page
- Half Title
- Title Page
- Copyright Page
- Contents
- List of Music Examples
- List of Tables and Figures
- Notes on Contributors
- Foreword
- Acknowledgements
- Notes on the Text
- Introduction
- Part 1 Performance Issues
- 1 Rhythm and Timing in the Two Versions of Berio’s Sequenza I for Flute Solo: Psychological and Musical Differences in Performance
- 2 Rough Romance: Sequenza II for Harp as Study and Statement
- 3 Phantom Rhythms, Hidden Harmonies: The Use of the Sostenuto Pedal in Berio’s Sequenza IV for Piano, Leaf and Sonata
- 4 A Dress or a Straightjacket? Facing the Problems of Structure and Periodicity Posed by the Notation of Berio’s Sequenza VII for Oboe
- 5 Shadow Boxing: Sequenza X for Trumpet and Piano Resonance
- Part 2 Berio’s Compositional Process and Aesthetics
- 6 Provoking Acts: The Theatre of Berio’s Sequenzas
- 7 The Chemins Series
- 8 The Compass of Communications in Sequenza VIII for Violin
- 9 Sequenza IX for Clarinet: Text, Pre-Text, Con-Text
- 10 Proliferations and Limitations: Berio’s Reworking of the Sequenzas
- Part 3 Analytical Approaches
- 11 Vestiges of Twelve-Tone Practice as Compositional Process in Berio’s Sequenza I for Solo Flute
- 12 Sonic Complexity and Harmonic Syntax in Sequenza IV for Piano
- 13 The Nature of Expressivity in Berio’s Sequenza VI for Viola
- 14 A Polyphonic Type of Listening In and Out of Focus: Berio’s Sequenza XI for Guitar
- 15 … and so a chord consoles us: Berio’s Sequenza XIII (Chanson) for Accordion
- Bibliography
- Discography
- Index