The Sequenza series is regarded as one of the most important cycles of the 20th century. In this series Berio discovers the capabilities of an instrument and its. Sequenza I is a composition written in by Luciano Berio for the flutist Severino Gazzelloni. “Rhythm and Timing in the Two Versions of Sequenza I for Flute Solo: Psychological and Musical Differences in Performance” by Cynthia Folio. 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.

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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.

The symmetrical chromatic scale gives way to more complex collections of notes; these more complex gestures are incorporated into the work in a way that provides the impression whole blocks of notes in counterpoint with other blocks. Flute Visions of the 20th Century.

Name Review Rating 5 4 3 2 1. This juxtaposition of regulated versus improvisatory musical materials, however, was not the brrio impetus behind Sequenza I.

AllMusic relies heavily on JavaScript. Sequenza I was written for the flutist Severino Gazzelloniwho premiered the work at Darmstadt in One of the really big challenges on flute is to play the Berio Sequenza. Genre Chamber Music Classical.


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Login Remember Me Don’t have an account? Quality excellent, and I want to point the great attention that I had from the staff. Sequenzas; Due Pezzi; Musica Leggera; etc.

Luciano Berio: Sequenza I

Lifetime access Stream on any device Watch offline. Works for Flute Solo. This is one of the most difficult pieces for flute. The melodic and harmonic content of Sequenza I grew seqquenza of Berio’s serial-influenced language, resulting in a highly controlled employment of pitch.

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Share on facebook twitter tumblr. Learn hands-on advice on technique, sound and musical interpretation – exemplified through masterclasses of some of the most important and beautiful works. This kind of “open” structure allows for flexibility within an otherwise rigorous form.

Sequenza I – Wikipedia

From A to Z, Vol. And of course, not too much people have the possibility of take a Berio’s sequenza masterclass every day. Luciano Berio’s Sequenza I for flute is an example of a partially indeterminate musical form. Don’t have begio account?

Sustained pitches are set against fast passagework, high is set against low, aggressive against introspective: It’s interesting in this video the point of view of Pahud, because he played for Berio itself, and as Pahud said, Berio wasn’t happy with his interpretation, but this make a completely different point of view from him Pahud and that’s why these is one of the most interesant videos of all bunch.


This videos, the service, the quality, everything is perfect!! The actual realization of such guidelines is left to the player in such a way that beroo elements in the score will vary with each performer and each performance.

Sequenza I, for flute | Details | AllMusic

Romantic Evening Sex All Themes. Berio’s precedents in this regard include the solo flute and other solo instrumental works of Bachbut the harmonic language of the twentieth century required a new approach to this “virtual polyphony. Please enable JavaScript in your browser to use the site fully.

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. The pitch materials of Sequenza I are initially simple, consisting primarily of descending chromatic scale passages that incorporate octave displacement and rhythmic ambiguity.

Get more for your money. Masterclasses Learn hands-on advice on technique, sound and musical interpretation – exemplified through masterclasses of some of the most important and beautiful works.

Spontaneity in performance, then, comes from the moment-to-moment adjustments of rhythm and performance gesture called for by Berio’s suggestive–rather than prescriptive–notation.