''Sequenza IV'' for solo piano (composed in 1965–66, revised in 1993) is the fourth in a series of solo ''
Sequenze'' by
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 ...
that started with the publication of ''
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 Roccas ...
'' 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 Stockhausen (; 22 August 1928 – 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. He is known for his groun ...
's ''
Klavierstück X''.
The treatment of tempos also serves to govern the overall form. There are three types of tempo usage:
# a single tempo is used for a long span of music, providing a sense of stability, stasis, or even tension
# different independent tempos governing short gestures are juxtaposed within a single section
# the tempo is made to accelerate or decelerate to underline the particular gestures
The chordal opening soon dissolves into the turbulent "centre" of the piece, featuring tremolos and bursts of notes within a narrow registral span. There are also single notes and small clusters covering the piano's entire range. Concealed beneath this active surface of this section are repetitions and extensions of the chords from the beginning of the piece constituting a long repeated pitch sequence (containing internal recurring sequences). These relationships become more evident as the turbulence subsides toward the end of the section, finally coalescing into a conclusion of staccato chords similar to those at the outset of the ''Sequenza''.
References
Sources
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Further reading
* Doll, Zoe Browder. 2007. "Phantom Rhythms, Hidden Harmonies: The Use of the Sostenuto Pedal in Berio's ''Sequenza IV'' for Piano, ''Leaf'' and Sonata". In ''Berio's Sequenzas: Essays on Performance, Composition and Analysis'', edited by Janet K. Halfyard, foreword by David Osmond-Smith, 53–66. Aldershot, Hants; Burlington, Vermont: Ashgate Publishers. .
* Hermann, Richard. 1995. "Theories of Chordal Shape, Aspects of Linguistics, and Their Roles in Structuring Berio's ''Sequenza IV'' for Piano". In ''Concert Music, Rock, and Jazz since 1945: Essays and Analytical Studies'', edited by Elizabeth West Marvin and Richard Hermann, 364–398. Eastman Studies in Music, no. 2. Rochester: University of Rochester. .
* Miller, Robert. 1979. "A Style Analysis of the Published Solo Piano Works of Luciano Berio, 1950–1975". DMA diss. Baltimore: Johns Hopkins University, Peabody Institute.
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Compositions by Luciano Berio
1966 compositions
Compositions for solo piano
Contemporary classical compositions