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Sequenza
''Sequenza'' (Italian for "sequence") is the name borne by fourteen compositions for solo instruments or voice by Luciano Berio. The pieces, some of which call for extended techniques, are: *''Sequenza I'' (1958; rev. 1992) for flute *''Sequenza II'' (1963) for harp *''Sequenza III'' (1965) for female voice *''Sequenza IV'' (1965) for piano *'' Sequenza V'' (1966) for trombone *'' Sequenza VI'' (1967) for viola *''Sequenza VII'' (1969/2000) for oboe (reworked as ''Sequenza VIIb'' for soprano saxophone in 2000) *''Sequenza VIII'' (1976) for violin *''Sequenza IX'' (1980) for clarinet (reworked 1981 as ''Sequenza IXb'' for alto saxophone, and 1980 as ''Sequenza IXc'' for bass clarinet) *''Sequenza X'' (1984) for trumpet and piano resonance *''Sequenza XI'' (1987) for guitar *''Sequenza XII'' (1995) for bassoon *''Sequenza XIII'' (1995) for accordion *''Sequenza XIV'' (2002) for cello (reworked in 2004 by Stefano Scodanibbio as ''Sequenza XIVb'' for double bass) Several of these pie ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Luciano Berio
Luciano Berio (24 October 1925 – 27 May 2003) was an Italian composer noted for his experimental work (in particular his 1968 composition ''Sinfonia'' and his series of virtuosic solo pieces titled ''Sequenza''), and for his pioneering work in electronic music. His early work was influenced by Igor Stravinsky and experiments with serial and electronic techniques, while his later works explore indeterminacy and the use of spoken texts as the basic material for composition. Biography Berio was born in Oneglia (now part of Imperia), on the Ligurian coast of Italy. He was taught piano by his father and grandfather, who were both organists. During World War II, he was conscripted into the army, but on his first day, he injured his hand while learning how a gun worked and spent time in a military hospital. Following the war, Berio studied at the Milan Conservatory under Giulio Cesare Paribeni and Giorgio Federico Ghedini. He was unable to continue studying the piano because of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sequenza II
''Sequenza'' (Italian for "sequence") is the name borne by fourteen compositions for solo instruments or voice by Luciano Berio. The pieces, some of which call for extended techniques, are: *''Sequenza I'' (1958; rev. 1992) for flute *''Sequenza II'' (1963) for harp *''Sequenza III'' (1965) for female voice *''Sequenza IV'' (1965) for piano *'' Sequenza V'' (1966) for trombone *'' Sequenza VI'' (1967) for viola *''Sequenza VII'' (1969/2000) for oboe (reworked as ''Sequenza VIIb'' for soprano saxophone in 2000) *''Sequenza VIII'' (1976) for violin *''Sequenza IX'' (1980) for clarinet (reworked 1981 as ''Sequenza IXb'' for alto saxophone, and 1980 as ''Sequenza IXc'' for bass clarinet) *''Sequenza X'' (1984) for trumpet and piano resonance *''Sequenza XI'' (1987) for guitar *''Sequenza XII'' (1995) for bassoon *''Sequenza XIII'' (1995) for accordion *''Sequenza XIV'' (2002) for cello (reworked in 2004 by Stefano Scodanibbio as ''Sequenza XIVb'' for double bass) Several of these pie ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sequenza VII
''Sequenza VII'' (composed 1969) is a composition for solo oboe by Luciano Berio, the seventh of his fourteen '' Sequenze''. The sequenza calls for extended technique. In 1975, Berio used ''Sequenza VII'' as part of ''Chemins IV'', which included an orchestra of eleven string instruments. In 1993, Claude Delangle adapted the work for soprano saxophone, naming the revised work ''Sequenza VIIb''. ''Sequenza VII'' was written for Heinz Holliger. Background ''Sequenza VII'' was written in 1969, just after Berio composed his ''Sinfonia''. At that time, Berio tended to reject traditional musical notation in a manner similar to Earle Brown or Christian Wolff. Like his other sequenzas, Berio meant for ''Sequenza VII'' to be played by a virtuoso who was not only proficient technically but who had a "virtuosity of the intellect" as well. Structure and analysis The piece is built around a drone played on a B natural, which typically comes from an offstage source. In his instructions o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sequenza XI
''Sequenza XI'' for solo guitar (1987–1988) is one of a series of Sequenzas by Luciano Berio. Written for the American guitarist Eliot Fisk, it is an innovative investigation into the dramatic and virtuosic possibilities of musical performance. Form The composition is in four large sections, and sets out from the six pitches of the open strings of the guitar. The composer asserted that two intervals are important elements in the work: the perfect fourth (which is the interval found between most neighbouring pairs of the guitar's strings) and the tritone, which leads to a different harmony of Berio's devising. Usage ''Sequenza XI'' is a standard work for guitarists who have chosen avant-garde modern classical music as a part of their repertoire, e.g., Denis Sung-Hô (performed ''Sequenzas'' with members of the ensemble intercontemporain), Stefan Östersjö, Todd Seelye, Mats Scheidegger, Geoffrey Morris, Pablo Gómez, Pablo Márquez, Alan Thomas, Jürgen Ruck, Nico Couck, etc. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sequenza X
''Sequenza X'' is a composition for trumpet and piano by Luciano Berio, the tenth in his series of sequenza, pieces with this title. The work was commissioned by the Los Angeles Philharmonic for Thomas Stevens (trumpeter), Thomas Stevens, and premiered by him on November 19, 1984. The piece is dedicated to Ernest Fleischmann, managing director of the Los Angeles Philharmonic from 1969 to 1997, who convinced Berio to write a Sequenza for trumpet, despite years of resistance to the idea. Stevens received the music only nine days before the premiere."Sequenza X Comes Full Circle". International Trumpet Guild. Feb. 17, 2008. http://old.trumpetguild.org/news/08/0813cassoneberio.html. ''Sequenza X'' is for trumpet and piano, however the piano is only used as a resonator. Berio requires the pianist to depress the keys on the piano without sounding the instrument. By playing the trumpet into the piano, the strings are made to Sympathetic resonance, sympathetically resonate. The effect i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sequenza IV
''Sequenza IV'' for solo piano (composed in 1965–66, revised in 1993) is the fourth in a series of solo '' Sequenze'' by Luciano Berio that started with the publication of ''Sequenza I'' for solo flute (1958; rev. 1992). Analysis The opening chords present all the pitch materials of the piece. They are of two kinds: (1) "resonant" chords made by superposing two major, minor, augmented, diminished triads (sometimes with an added seventh or ninth), to form basically "harmonic" structures, and (2) "anti-resonant" or "noisy" chords based on chromatic relationships and containing a large number of seconds and fourths, giving them a more "inharmonic" character. These chords are progressively horizontalised, creating "a syntactic flux between structurally opposite and intermediate constituents". The resulting opposition between chords and fast, single-voice chromatic figures resembles the compositional alternation of clusters and melodic gestures in Karlheinz Stockhausen Karlheinz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sequenza XII
''Sequenza XII'' is a composition for solo bassoon, written by Luciano Berio in 1995 , and part of a series of fourteen '' Sequenze'' composed between 1958 and 2002. The work was written for, and dedicated to, the French bassoonist Pascal Gallois, who gave the world première on 15 June 1995. ''Sequenza XII'' is the longest of all the ''Sequenze'', at 19 minutes. As with the other works in the series, it reflects Berio’s fascination with virtuosity, "understood not merely as technical dexterity, but as a manifestation of an agile musical intelligence that relishes the challenge of complexity" . In ''Sequenza XII'', Berio makes deliberate use of the different registers and explores the physical limits of performance through extended techniques, for example, through different uses of the tongue to modify airflow, by writing notes and phrases that are so long they require the performer to use circular breathing, the use of ''glissando In music, a glissando (; plural: ''glissandi'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sequenza VI
''Sequenza VI'' is a composition for solo viola by Luciano Berio, part of his series of fourteen '' Sequenze''. History ''Sequenza VI'' was written in 1967 for Serge Collot, to whom the score is dedicated. It also forms the core of two other Berio compositions, ''Chemins II'' for viola and nine instruments (1968), and ''Chemins III'' (1969), which adds an orchestra to the forces of ''Chemins II''. Walter Trampler, for whom ''Chemins III'' was written, believed it had in fact been composed first and the ''Sequenza'' then extracted from it. The relationship of the three works is described by Berio as being "something like the layers of an onion: distinct, separate, yet intimately contoured on each other; each new layer creates a new, though related surface, and each older layer assumes a new function as soon as it is covered". Two further works were evolved from ''Chemins II'': ''Chemins IIb'' for orchestra (1969) and ''Chemins IIc'' for bass clarinet and orchestra (1972). Analysis ' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sequenza V
''Sequenza V'' is a composition for solo trombone by Luciano Berio, part of his series of pieces with this title. Written in 1966 for Stuart Dempster, it has since been performed and recorded by Vinko Globokar, Benny Sluchin, Christian Lindberg, and others. The piece calls for many extended techniques including multiphonics (singing and playing at the same time), rattling a plunger mute against the bell of the instrument, glissandi, and producing sounds while inhaling. In addition, the trombonist mimes and must at one point turn to the audience and ask, "Why?" ''Sequenza V'' was composed as a tribute to Grock, called "the last of the great clowns" by . As a child of 11, the composer saw the clown perform and in the middle of his routine, Grock stopped, turned to the audience, and asked "warum?" ("why?"). This powerful performance had a lasting impact on Berio and he later said of it, "I didn't know whether to laugh or cry and I wanted to do both" . In 1994, BIS Records BIS R ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sequenza I
''Sequenza I'' is a composition written in 1958 by Luciano Berio for the flutist Severino Gazzelloni Severino Gazzelloni, born Severino Gazzellone (5 January 1919 – 21 November 1992) was an Italian flutist. Biography He was born in Roccasecca and died in Cassino. Gazzelloni was the principal flautist with the RAI National Symphony Orchestr .... It was first published by Suvini-Zerboni, but the notation was revised much later and this version published by Universal Edition in 1992. It is the first in a series of fourteen '' Sequenze'', each for a different solo instrument (or voice), the last composed in 2002. External links''"Rhythm and Timing in the Two Versions of Sequenza I for Flute Solo: Psychological and Musical Differences in Performance"''by Cynthia FolioAlexander R. Brinkman(chapter 1 in the book, ''Berio's Sequenzas'', ed. by Janet Halfyard – Ashgate Academic Publishers). Compositions by Luciano Berio Contemporary classical compositions 1958 composition ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Oboe
The oboe ( ) is a type of double reed woodwind instrument. Oboes are usually made of wood, but may also be made of synthetic materials, such as plastic, resin, or hybrid composites. The most common oboe plays in the treble or soprano range. A soprano oboe measures roughly long, with metal keys, a conical bore and a flared bell. Sound is produced by blowing into the reed at a sufficient air pressure, causing it to vibrate with the air column. The distinctive tone is versatile and has been described as "bright". When the word ''oboe'' is used alone, it is generally taken to mean the treble instrument rather than other instruments of the family, such as the bass oboe, the cor anglais (English horn), or oboe d'amore. Today, the oboe is commonly used as orchestral or solo instrument in symphony orchestras, concert bands and chamber ensembles. The oboe is especially used in classical music, film music, some genres of folk music, and is occasionally heard in jazz, rock, pop, an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Double Bass
The double bass (), also known simply as the bass () (or #Terminology, by other names), is the largest and lowest-pitched Bow (music), bowed (or plucked) string instrument in the modern orchestra, symphony orchestra (excluding unorthodox additions such as the octobass). Similar in structure to the cello, it has four, although occasionally five, strings. The bass is a standard member of the orchestra's string section, along with violins, viola, and cello, ''The Orchestra: A User's Manual'' , Andrew Hugill with the Philharmonia Orchestra as well as the concert band, and is featured in Double bass concerto, concertos, solo, and chamber music in European classical music, Western classical music.Alfred Planyavsky [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
