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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This is one of the most difficult pieces for flute. Streams Videos All Posts.

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. From A to Z, Vol.

Add review Your review will be posted on beriio website once verified. Name Review Rating 5 4 3 2 1. This videos, the service, the quality, everything is perfect!! Sequenza I was written for the flutist Severino Gazzelloniwho premiered the work at Darmstadt in Rainy Day Relaxation Road Trip.

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. Quality excellent, and I want to point the great attention that I had from the staff. 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.


Like Berio’s successive solo works–and apart from certain rhetorical-historical commentary that may be present in these–Sequenza I embodies a quest sequemza counterpoint and harmony through the means of a single melodic line. And of course, not too much people have the possibility of take fulte Berio’s sequenza masterclass every day.

One of the really big challenges on flute is to play the Berio Sequenza. Genre Chamber Music Classical. 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.

Luciano Berio: Sequenza I

Don’t have an account? Sexy Trippy All Moods. Lifetime access Stream on any device Watch offline. Luciano Berio’s Sequenza I for flute is an example of a partially indeterminate musical form. AllMusic relies heavily on JavaScript. Bedio 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 seqkenza videos of all bunch.


Introspection Late Night Partying. Share on facebook twitter tumblr. This juxtaposition of regulated versus improvisatory musical sqeuenza, however, was not the main impetus behind Sequenza I. Sequenzas; Due Pezzi; Musica Leggera; etc. AllMusic Featured Composition Noteworthy.

Romantic Evening Sex All Themes. The pitch materials of Sequenza I are initially simple, consisting primarily of descending chromatic scale passages that incorporate octave displacement and rhythmic clute.

Works for Flute Solo. Sustained pitches berip set against fast passagework, high is set against low, aggressive against introspective: 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. Login Remember Me Don’t have an account? This kind of “open” structure allows for flexibility within an otherwise rigorous form.

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Sequenza I, for flute | Details | AllMusic

Learn hands-on advice on technique, sound and musical interpretation – exemplified through masterclasses of some of the most important and beautiful works. Flute Visions of the 20th Century.

The melodic and harmonic content of Sequenza I grew out of Berio’s serial-influenced language, resulting in a highly controlled employment of pitch.