A Brief Analysis by John A. In 1958, Luciano Berio completed Sequenza No. The piece opens with an altered 12-tone row (see Ex.
Sequenza X (1984) for C trumpet was Luciano Berio's second Sequenza for a brass instrument, having been preceded in 1966 by Sequenza V for trombone. Like the drone in Sequenza VII for oboe, an additional layer of sound is called for in Sequenza X. The performer is directed at particular instances to play directly into a piano that has the damper pedal depressed, allowing the strings to resonate sympathetically. Aside from this, the trumpet is treated in a more or less conventional manner; Berio here avoids the extended palette of multiphonics, unusual articulations, microintervals, and other novel devices found in most of the other Sequenzas. Rapid dynamic contrast and the solid harmonic foundation that governs the pitch material (easily identifiable as Berio's) lead to a buildup of melodic gesture as the piece grows more complicated; eventually, the work encompasses the entire practical range of the trumpet. Sequenza X was written for Thomas Stevens and was premiered by him in 1984 in Los Angeles.
Appears On
The intention of this study is to provide a holistic approach to interpretation of Berio's Sequenza IV, illuminating some of the complexities and ambiguities of the score and offering possibilities for performance. Comparison of the original with the revised version of the score is shown to offer considerable insight upon performance decisions. Analytical observations are applied to the practical issues of interpretation and projection, such as the articulation of melody, phrasing, clusters and grace-notes. Consideration is given to stylistic issues, such as the appropriation of tonality and its implications for performance, and the use of time and rubato.
Keywords: Analysis, Berio, Interpretation, Performing Tradition, Piano, Style
Comments are closed.
|
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |