The Sequenza-Series is considered to be one of the most important cycles of the 20th century. Luciano Berio: Sequenza I for flute | UE November Berio’s Sequenza I has been a part of the modern flutist’s cannon ever since it’s publication in by Zerboni in Milan. The. Berio Sequenza Audio Recording and Saunders Bite. Posted on . Luciano Berio’s Sequenza no.1 for flute is one of my favorite pieces.
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So many other projects have been realized since our session in January that there has been a large gap between recording and release, but we have made sure the recording is decent. I am allowing myself a luxury. The pitch materials of Sequenza I are initially simple, consisting primarily of descending chromatic scale passages that incorporate octave displacement and rhythmic ambiguity. I practice like this with either one beerio two movements of Aequenza.
Drinking Hanging Out In Love.
Sequenza I, for flute | Details | AllMusic
So if you are interested in a massive, expressive, sighing, ranting piece for bass flute with low B, please check it out! The old version has been in my memory for about 20 years now. But the Dutch premiere is scheduled for the Concertgebouw May The recording is available through the Musikfabrik Label, which is a digital platform that offers multiple download choices — please browse the catalogue, you might find other recordings that interest you!
Sequenzas; Due Pezzi; Musica Leggera; etc.
The video has not been issued yet, but I hope that when it comes out it will offset my disquiet. In general, there are rules of thumb for atonal solo works. It was so cold that it has taken my skin and lips days to recover. But I do own the new addition, and am finding it more useful than ever this time around to answer questions about timing. I also love teaching it; it has so much to offer in terms of technique especially articulation! Sexy Trippy All Moods.
Introspection Late Night Partying. So how do you betio, follow the score or the recorded performance? So I warm up, play Bach for sound, articulation, style and focus. I have performed the piece several times, sequnza have no exclusivity — except for in the Netherlands Sorry! These could be, for example, long, held-out notes or notes that follow a rest.
Sequenza I, for flute
The main reason is that my body feels soooo much better when I keep my practice time to only a few hours a day. Being a creature born myself in midth century, I am hoping the good people of Universal Edition will forgive me. There is an unwritten book inside me about this work, but for now I would like to consider one aspect of the work that often gets ignored: This winter break has been very stressful.
Only recently did I come to know she composed herself. No rehearsals or teaching this early in the year. The melodic and harmonic content of Sequenza I grew out of Berio’s serial-influenced language, resulting in a highly controlled employment of pitch.
But now back in the saddle of my bicycle in the temperate zone of Northwestern Europe, I have hit my stride. While that may make for a better performance, the audio does have some issues of timing; some passages could have been more accurate regarding speed and length, had I been looking at the score. Family can be stressful, my son is at a difficult age, I myself vlute at a difficult age. This is how I want to feel during the recording. Beio week there are plenty of pieces to prepare, old and new, but I decided to forget about them and devote my practice time to concentrate on Berio.
Like Berio’s successive solo works–and apart from certain rhetorical-historical commentary that may be present in these–Sequenza I embodies a quest for counterpoint and harmony through the means of a single melodic line. I was talking to another local flutist who had worked with Berio on the Sequenza. This juxtaposition of regulated versus improvisatory musical materials, however, was not the main flutd behind Sequenza I.
Sequebza for the SequenzaI consider the soul of the work to be in the long, held-out notes.
Sequenza I was written for the flutist Severino Gazzelloniwho premiered the work at Darmstadt in Often there are rapid, virtuosic passages punctuated by the stillness lucjano a single note, where the quality of sound and the relationship to its environment are of utmost importance. I would argue that in this context, these matters require even more consideration.
Her theatricality, her agility, never cease to inspire me. Berio notated the piece so that an individual staff line has a fixed duration, while the durations of individual notes are indicated proportionately–that is, a small distance between one note and the next denotes a short duration, whereas a greater distance denotes a longer duration.
Although watching oneself opens another can of worms.