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Jun 29, 2007 · His approach in Sequenza V invites comparison not only with Sequenza III, in which he treats Markus Kutter's ‘modular’ text as ‘a quarry for phonetic materials’ (Osmond-Smith, Citation 1991), but also with Visage (1961), ‘based on the sound symbolism of vocal gestures’ (LB), in which only a single word ‘parole’ (words) is ...
- Barrie Webb
- 2007
The text had to be homogeneous, in order to lend itself to a project that consisted essentially of exorcising the excessive connotations and composing them into musical units. This is the “modular” text written by Markus Kutter for Sequenza III .
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Is Sequenza V a'modular' text?
What is the “modular” text for Sequenza 3?
Why did Kutter write a'modular' text for Sequenza 3?
Who wrote Sequenza V?
series was Sequenza for flute in 1958. After a few years, Berio decided to extend this concept to other instruments which in the 1960s resulted in Sequenza II for harp (1963), Sequenza III for female voice (1965-66) Sequenza IV for piano (1965-66), Sequenza V for trombone (1966), Sequenza VI for viola (1967), and Sequenza VII for oboe (1969 ...
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 ...
composing them into a musical unity. Here is Markus Kutter's short, "modular" text for Sequenza III: Give me a few words for a woman to sing a truth allowing us to build a house without worrying before night comes In Sequenza III the emphasis is placed on the sound symbolism of vocal gestures, on the "shadows
Feb 5, 2008 · Written over a span of almost five decades, the “Sequenzas” sound like little that came before them; when they are heard together, a sort of continuity emerges.
Oct 24, 2017 · 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 ...
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