Luciano Berio, Cavaliere di Gran Croce OMRI (October 24, – May 27, . The first, Sequenza I came in and is for flute; the last, Sequenza XIV () is for cello. These works explore the full possibilities of. Sequenza (Italian for “sequence”) is the name borne by fourteen compositions for solo instruments or voice by Luciano Berio. Sequenza XIV () for cello ( reworked in by Stefano Scodanibbio as Sequenza XIVb for double bass). Luciano Berio: Sequenza XIV, for cello – Play streams in full or download MP3 from Classical Archives (), the largest and best organized.
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Sequenza – Wikipedia
I feel very honoured that Maestro Berio wrote this work for me. I feel also great bdrio that we did not have the opportunity to meet in Augustas planned, in order to finalise technical details.
Several times after my performances of Ritorno degli Snovideniawith Maestro Berio conducting, he wanted to know about the musical instruments of the country I came from, Sri Lanka, particularly the Kandyan drum which I have played myself since I was a boy.
The Kandyan drum is one of the main instruments of Sri Lanka, a country rich in rhythmic instruments. The ceremonies with which these instruments are ceolo date back to pre-Buddhist times. One fact about the Kandyan drum which interested Maestro Berio was that it has four sounds, two sounds on each end of this cylindrically-shaped instrument.
List of compositions by Luciano Berio – Wikipedia
He was amused to note that of the two instruments I played, one had four strings whilst the other had four percussion sounds! Maestro Berio later asked for tapes to celo sent of the drum rhythms, together with western-style notations which I notated for him so that he could follow the rhythms on the tapes.
One of the rhythms which he chose to use in the rhythmic sections of the Sequenza was a twelve-beat rhythm which he sometimes used quite freely with an added beat to make a thirteen-beat rhythm, and sometimes with one beat missing, making an eleven-beat rhythm. In the rhythmic sections of the Sequenza, there are no two presentations of seqenza rhythm with identical pitch in the left hand percussion on the strings of the cello. The bow is not used in these sections, the right hand playing the rhythm on the belly of the cello whilst the left hand fingers hit the strings in a percussive way, mostly simultaneously with the right hand.
The rhythmic section that opens the Sequenza in its third, final version did not exist in the version that I premiered in Witten in April The present percussive opening was introduced for the second version that I premiered in Milan in November The third, final version which I premiered in Los Angeles in February differed from the second version not only in details of the percussive sections, but also in numerous additions to the melodic sections, especially towards the end of the piece.
Many of the dynamic and timbre indications in the piece were added by me with the approval of the composer. You will regularly receive information about new scores with free downloads, current prize games and news about our composers.