The Sequenza-Series is considered to be one of the most important cycles of the 20th century. Luciano Berio: Sequenza I for flute | UE November Berio’s Sequenza I has been a part of the modern flutist’s cannon ever since it’s publication in by Zerboni in Milan. The. Berio Sequenza Audio Recording and Saunders Bite. Posted on . Luciano Berio’s Sequenza no.1 for flute is one of my favorite pieces.

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Rainy Day Relaxation Road Trip. AllMusic relies heavily on JavaScript. Berio’s precedents in this regard include the solo flute and other solo instrumental works of Bachbut the harmonic language of the twentieth century required a new approach to this “virtual polyphony.

There is an unwritten book inside me about this work, but for now I would like to consider one aspect of the work that often gets ignored: Sequenza I was written for the flutist Severino Gazzelloniwho premiered the work at Darmstadt in One big influence on Berio that I think really should be mentioned is that of the musicians around him, namely, his wife at the time, Cathy Berberianfor whom he wrote the third Sequenza.

I am unashamedly playing from the old edition.

Luciano Berio: Sequenza I

This is one reason it is not my favorite piece to listen to. The pitch materials of Sequenza I are initially simple, consisting primarily of descending chromatic scale passages that incorporate octave displacement and rhythmic ambiguity.

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Specifically for the SequenzaI consider the soul of the work to be in the long, held-out notes. This is how I want to feel during the recording. In free-tonal music there is also a hierarchy of intervals, the most important points of orientation being the prime zequenza octaves, fifths, fourthsespecially when they form tones that draw attention to themselves.

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Luciano Berio’s Sequenza I for flute is an example of a partially indeterminate musical form. Nevertheless, neither you nor I can assume that a work without a traditional tonal center and without traditional harmonic relationships is devoid of centers and relationships entirely. I also love teaching it; it has so much to offer in terms of technique especially articulation! No rehearsals or teaching this early in the year.

The melodic and harmonic content of Sequenza Fllute grew out of Berio’s serial-influenced language, resulting in a highly controlled employment of pitch.

Only recently did I come to know she composed herself.

Sequenza I, for flute | Details | AllMusic

I have only the following reservations: I find it very revealing though. The actual realization of such guidelines is left to the player in such a way that specific elements in the score will vary with each performer and each performance. Next week there are plenty of pieces to prepare, old and new, but I decided to forget about them and devote my practice time to concentrate on Berio.

But the Dutch premiere is scheduled for the Concertgebouw May This juxtaposition of regulated versus improvisatory musical materials, however, was not the main impetus behind Sequenza I. Then for the rest of the day I do my Helen stuff, read, hang out with family, watch dumb and smart stuff on Youtube, study Jazz. Genre Chamber Music Classical. I have also enjoyed watching Paula Robison speak on the subject.

So if you are interested in a massive, expressive, sighing, ranting piece for bass flute with low B, please check it out! Berio notated the piece so that an individual staff line has a fixed duration, while the durations of individual notes are indicated proportionately–that is, a small distance between one note and the next denotes a short duration, whereas a greater distance denotes a longer duration.

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Well, I have news for you, Sr. Here is an example of her graphic score, Stripsody https: The old version has been in my memory for about 20 years now.

Streams Videos All Posts. So I warm up, play Bach for sound, articulation, style and focus. But now back in the saddle of my bicycle in the temperate zone of Northwestern Europe, I have hit my stride. Introspection Late Night Partying. Spontaneity in performance, then, comes from the moment-to-moment adjustments of rhythm and performance gesture called for by Berio’s suggestive–rather than prescriptive–notation.

Jazz Latin New Age. So how do you prepare, follow the score or the recorded performance?

Like Berio’s successive solo works–and apart from certain rhetorical-historical commentary that may be present in these–Sequenza I embodies a quest luciiano counterpoint and harmony through the means of a flkte melodic line. The symmetrical chromatic scale gives way to more complex collections of notes; these more complex gestures are incorporated into the work in a way that provides the impression whole blocks of notes in counterpoint with other blocks.

Family can be stressful, my son is at a difficult age, I myself am at a difficult age. This is luxury, as I have said. Here is the link. From A to Z, Vol. I love her recording of the vocal Sequenza too, but I just came across a recent recording of the Sequenza no.

Although watching oneself opens seqquenza can of worms.