Berio's Sequenzas: Essays on Performance, Composition and AnalysisJanetK. Halfyard 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. |
Contents
List of Music Examples | |
Foreword | |
The Chemins Series | |
Introduction | |
Rhythm and Timing in the Two Versions of Berios Sequenza I | |
Sequenza II for Harp as Study and Statement | |
The Use of the Sostenuto | |
A Dress or a Straightjacket? Facing the Problems of Structure | |
Text PreText ConText | |
Berios Reworking of the Sequenzas | |
Vestiges of TwelveTone Practice as Compositional Process | |
Sonic Complexity and Harmonic Syntax in Sequenza IV for Piano | |
The Nature of Expressivity in Berios Sequenza VI for Viola | |
Berios | |
Berios Sequenza XIII Chanson | |
Sequenza X for Trumpet and Piano Resonance | |
The Theatre of Berios Sequenzas | |
The Compass of Communications in Sequenza VIII for Violin | |
Discography | |
Other editions - View all
Berio's Sequenzas: Essays on Performance, Composition and Analysis JanetK. Halfyard Limited preview - 2017 |
Berio's Sequenzas: Essays on Performance, Composition and Analysis Janet K. Halfyard Limited preview - 2007 |
Common terms and phrases
analysis articulation beat Berio’s Sequenza Chemins IIb Chemins series chord chromatic clarinet cluster cluster chords compass complex composer create David Osmond-Smith Deutsche Grammophon durations dyad dynamic Eco’s electronic essay Example Fabbriciani fermatas Flute flutists focus gestures glissandi grid Grock guitar Hadady harmonic field harp harpist Harvey Sollberger hash marks Heinz Holliger hexachords Holliger indicated instrument interpretation Interviews Leclair listener Luciano Berio material melodic musical Nicolet notes oboe orchestra original pedal harp performance phrase pianist piano resonance piece pitch played player polyphony possible proportional notation recording rehearsal letter relationship renotation repertoire repetition rhythm rhythmic notation score segment sequence Sequenza VI Sequenza VIII Sequenza XI Sollberger solo soloist Sonata sonic sostenuto pedal sostenuto tones sound spatial notation specific structure subdivision sustained technique tempo texture theatrical timbre tremolo trumpet Umberto Eco Universal Edition viola violin virtuosity voice Weisser