Sequenza III for voice The voice carries always an excess of connotations, whatever it is doing. From the grossest of noises to the most delicate of singing, the voice always means something, always refers beyond itself and creates a huge range of associations. In Sequenza III I tried to assimilate many aspects of everyday vocal life, including trivial ones, without losing intermediate levels or indeed normal singing. In order to control such a wide range of vocal behaviour, I felt I had to break up the text in an apparently devastating way, so as to be able to recuperate fragments from it on different expressive planes, and to reshape them into units that were not discursive but musical.
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And what are the boundaries of a piece of music? Is an instrument bounded by the reality of the individual piece someone happens to be playing on it, so that all exists when you hear a violinist play, say, a solo Bach partita is that single piece, that single player, and that single instrument?
And is a musical work like an island, cut off from the rest of music history by a sea of difference so that the perimeter of one piece never impinges on the coast of another? A place to start with Berio? Each sequenza sequence is a compositional love-letter from Berio to the repertoires and possibilities of each instrument. But each of the Sequenzas is essential listening and essential Berio.
Others of my favourites are number III for voice, composed in for his ex-wife Cathy Berberian, the voluptuously violent Sequenza VI for viola, number XI for guitar, which distils and transcends the traditions of classical and folk guitar into 15 minutes, and number XII for bassoon, which bassoonist Pascal Gallois plays in an apparently never-ending cycle of circular breathing, creating a continuous sound from the his instrument for an almost unbelievable 18 minutes — just one of the examples where Berio pushes an instrument and a performer, to their limits, and beyond.
The Sequenzas were themselves starting points for another series of works called Chemins, pathways through the material of the Sequenzas but exploded and amplified into new contexts, scored for larger instrumental groups or even for different solo instruments.
Listen to what Berio does in Chemins II , based on the viola sequenza. The vocalists simultaneously provide a commentary on what is happening in the performance "where now? Within the framework of the whole five-movement piece, Sinfonia listens to itself, so that its final movement does to the piece what the third movement does to Mahler.
Coro makes a kind of meta-world music by turning a poem by Pablo Neruda into a gigantic, dissonant lament, but it also uses folk texts from all over the world, from Polynesia to Peru, to create what Berio himself described as "the plan for an imaginary city which is realised on different levels, which produces, assembles and unifies different things and persons, revealing their collective and individual characters, their distance, their relationships and conflicts within real and ideal borders".
Andrew Clements writes passionately about Coro here.
A guide to Luciano Berio's music
Apparently he scared some listeners so much that they forgot to really listen, preferring to bring instead a grab-bag of adjectives that they could apply to most prominent composers of the period: "cerebral," "soulless," and their Roget equivalents. For me, Berio depended less on "intellectual" manipulations than many, especially his compatriot Luigi Nono. Indeed, his music showed a reliance, sometimes an over-reliance, on intuition and the feelings of the moment. I remember a story once told me by a composition professor with a masters in math who had gotten a grant to work at the Princeton computer-music project. This was in the days before synthesizers and PC-sequencers indeed, PCs , when computers took up large rooms, programs were typed on punch cards or teletype machines, and a composer had to specify all the components of a single note, including wave forms and overtones.
Sequenza III (author's note)
Each solo explores the fullest possibilities of the individual instrument. The concert also includes the poetry written by Edoardo Sanguineti that precedes each solo. This is the first time that the complete Sequenza will be presented in Canada, and the concert features an outstanding group of soloists. Please see page Petric tours the world as a much-in-demand classical accordionist.
BERIO CELLO SEQUENZA PDF
Conversely, Sequenza IX grew out of a piece for clarinet and electronics later withdrawnoriginally known as Chemins V ; NB it is not the same as the work with the same title which originates from Sequenza XI. List of compositions by Luciano Berio — Wikipedia His reputation was cemented when his Sinfonia was premiered in The third, final version which I premiered in Los Angeles in February differed from the second version not only in details of the percussive sections, but also in numerous additions to the melodic sections, especially towards the end cwllo the piece. Unsourced material may be challenged and removed. Articles lacking sources from September All articles lacking sources All stub articles. Berio made a living at this time by accompanying singing classes, and it was in doing this that he met the American mezzo-soprano Cathy Berberianwhom he married shortly after graduating they divorced in Wikimedia Commons has media related to Luciano Berio.
And what are the boundaries of a piece of music? Is an instrument bounded by the reality of the individual piece someone happens to be playing on it, so that all exists when you hear a violinist play, say, a solo Bach partita is that single piece, that single player, and that single instrument? And is a musical work like an island, cut off from the rest of music history by a sea of difference so that the perimeter of one piece never impinges on the coast of another? A place to start with Berio?