He was taught how to play the piano by his father and grandfather, who were both organists. During World War II he was conscripted into the army, but on his first day, he injured his hand while learning how a gun worked and spent time in a military hospital. He was unable to continue studying the piano because of his injured hand, so instead concentrated on composition. In came the first public performance of one of his works, a suite for piano. 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 Berberian , whom he married shortly after graduating they divorced in Berio wrote a number of pieces that exploited her distinctive voice.

Author:Voodoojas Zulkitilar
Language:English (Spanish)
Published (Last):15 January 2009
PDF File Size:11.74 Mb
ePub File Size:15.37 Mb
Price:Free* [*Free Regsitration Required]

Analysis[ edit ] The opening chords present all the pitch materials of the piece. They are of two kinds: 1 "resonant" chords made by superposing two major, minor, augmented, diminished triads sometimes with an added seventh or ninth , to form basically "harmonic" structures, and 2 "anti-resonant" or "noisy" chords based on chromatic relationships and containing a large number of seconds and fourths, giving them a more "inharmonic" character Guigue and Onofre , These chords are progressively horizontalised, creating "a syntactic flux between structurally opposite and intermediate constituents" MacKay , The treatment of tempos also serves to govern the overall form.

There are three types of tempo usage Thomas , : a single tempo is used for a long span of music, providing a sense of stability, stasis, or even tension different independent tempos governing short gestures are juxtaposed within a single section the tempo is made to accelerate or decelerate to underline the particular gestures The chordal opening soon dissolves into the turbulent "centre" of the piece, featuring tremolos and bursts of notes within a narrow registral span.

Concealed beneath this active surface of this section are repetitions and extensions of the chords from the beginning of the piece constituting a long repeated pitch sequence containing internal recurring sequences. These relationships become more evident as the turbulence subsides toward the end of the section, finally coalescing into a conclusion of staccato chords similar to those at the outset of the Sequenza Flynn , References[ edit ] Flynn, George W. Musical Quarterly 61, no.

Halfyard, foreword by David Osmond-Smith, — MacKay, John. Interface—Journal of New Music Research 17, no. Thomas, Philip. Contemporary Music Review 26, no. Further reading[ edit ] Doll, Zoe Browder. Halfyard, foreword by David Osmond-Smith, 53— Hermann, Richard.

Eastman Studies in Music, no. Rochester: University of Rochester.


Sequenza I, for flute

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 actual realization of such guidelines is left to the player in such a way that specific elements in the score will vary with each performer and each performance. This kind of "open" structure allows for flexibility within an otherwise rigorous form. This juxtaposition of regulated versus improvisatory musical materials, however, was not the main impetus behind Sequenza I.


Luciano Berio



Sequenza I For Flute


Related Articles