Keywords: Berio; Sequenza VII; Chemins IV; Extended Techniques RV/JLV. Berio reworked Sequenza VII in a version for oboe and 11 strings in and in. “Sequenza V IP by Luciano Berio: Background, analysis and performance show a picture of the oboe and assign numbers to each key. While this may. Find composition details, parts / movement information and albums that contain performances of Sequenza VII, for oboe on AllMusic. Luciano Berio. Sequenza .
|Published (Last):||17 October 2010|
|PDF File Size:||14.62 Mb|
|ePub File Size:||12.58 Mb|
|Price:||Free* [*Free Regsitration Required]|
The sequenza calls for extended technique. At that time, Berio tended to reject traditional musical notation in a manner similar to Earle Brown or Christian Wolff. The piece is built around a drone played on a B natural which typically comes from an offstage source.
In his instructions on the score, Berio writes. The sound-source should preferably not be visible. This can be an oscillator, a clarineta pre-taped oboe, or something else.
Sequenza VII, for oboe
beeio The intensity should be kept to a minimum with quite small variations. The B natural should give the impression of lending a slight resonance to the oboe.
For much of the piece, Berio notates measures in seconds instead of bars although there are some sections of the work that use traditional rhythmic notation. Jacqueline Leclair breaks down the piece into three sections.
Oboe Classics – oboe+: berio and beyond; CD by Christopher Redgate (oboe) and friends
The first section goes from measure 1 to measure 92, and is primarily written in dequenza notation, leading it to have a “free or improvisatory” quality.
Leclair argues that the beginning and end of the section are “very similar to the beginning and end of the piece” and that the middle part of it is “the most sustained and calmest section of Sequenza VII. According to Leclair, it contains the climax of the work, and the part after the climax “can be thought of as a large-scale ritardando or calming front he sqeuenza 2 sections’ much more frenetic character. A strict interpretation of Berio’s markings would make the piece be just under seven minutes, but performance times can vary, with the dedicatee, Heinz Holligerperforming it in between eight and eight and a half minutes.
Berio’s Chemins series took several sequenzas and placed them in orchestral settings in order to give “a commentary organically tied to it and generated by it.
Chemins IVfor oboe and eleven strings, can be listened to as a commentary to my Sequenza VII for oboea commentary that amplifies and develops certain harmonic aspects of the original Sequenza.
The Sequenza becomes in fact the generator of new instrumental lines, which in turn make explicit its latent polyphony around a pivot — an ever-present B — that puts into perspective all the subsequent harmonic transformations.
Luciano Berio: Sequenza VII
Like a reverberating chamber, the development of Chemins IV mirrors and shatters the elements of Sequenza VIIsometimes receiving their anticipated echo in such a way that for the listener the oboe part seems generated by the eleven strings. The piece was premiered on May 20, at the Conservatoire de Strasbourg.
The edition includes the original and an edited version by Leclair. From Wikipedia, the free encyclopedia. Retrieved July 15, Retrieved July 16, International Double Reed Society. Centro Studi Luciano Berio. Un re in ascolto Cronaca del luogo.
Sequenza VII, for oboe | Details | AllMusic
Luciano Berio, around the time of the composition.