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Sequenza III for woman's voice (1966); Sequenza IV for piano (1966); Sequenza V for trombone (1966); Sequenza VI for viola (1967); Sequenza VII for oboe (1969) (rev. by Jacqueline Leclair and renamed Sequenza VIIa in 2000); Sequenza VIIb for soprano saxophone (adaptation by Claude Delangle in 1993); Sequenza VIII for violin (1976);
Written in 1966 for Stuart Dempster, it has since been performed and recorded by Vinko Globokar, Benny Sluchin, Christian Lindberg, and others.
People also ask
Who wrote Sequenza V?
Who wrote Sequenza III?
What does Sequenza stand for?
Is there a sex and violence sub-text to Sequenza V?
Work introduction. Berio wrote Sequenza III for a virtuoso singing actress – such as Cathy Berberian, his wife and the work’s dedicatee. Singing is only one of the many expressive modes the human voice has, and Berio makes use of a number of them. His explanation of the symbols used in the score lists 15 techniques, among them “salvoes of ...
All of these concerns merge in Sequenza V – along with an explicitly theatrical dimension that transforms traditional expectations of the recitalist-audience rapport into a brand of performance art. Berio’s score includes stage directions detailing the trombonist’s demeanor and actions. The piece consists of two unequal sections.
Oct 22, 2008 · Extract. Between 1958 and 2002, Berio wrote fourteen relatively short works, each called Sequenza.As a collection of pieces for single instruments, or single instruments in combination with other sound sources, they provide a temptingly concise repertory of materials for musicologists eager to pin down the essence of Berio's compositional thought, as it evolved over time, and which is so ...
- Arnold Whittall
- 2008
Sequenza. Sequenza ( Italian for "sequence") is the name borne by fourteen compositions for solo instruments or voice by Luciano Berio. [1] 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.
Jun 29, 2007 · Barrie Webb. This article assembles the evidence available to inform an interpretation of Berio's Sequenza V. It details circumstances of its composition and discusses the importance of any ‘programmatic’ or theatrical element. It also demonstrates how careful analysis can inform issues of musical interpretation.
