The Sequenza-Series is considered to be one of the most important cycles of the 20th century. Luciano Berio: Sequenza I for flute | UE 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. Berio Sequenza Audio Recording and Saunders Bite. Posted on . Luciano Berio’s Sequenza no.1 for flute is one of my favorite pieces.

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AllMusic Featured Composition Noteworthy. One big influence on Berio that I think really should be mentioned is that of the musicians around him, namely, his wife at the time, Cathy Berberianfor whom he wrote the third Sequenza.

Then for the rest of the day I do my Helen stuff, read, hang out with family, watch dumb and smart stuff on Youtube, study Jazz. Jazz Latin New Age. Introspection Late Night Partying. This is luxury, as I have said.

Being a creature born myself in midth century, I am hoping the good people of Universal Edition will forgive me. I was talking to another local flutist who had worked with Berio on the Sequenza. 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. Share on facebook twitter tumblr.

I would argue that in this context, these matters require even more consideration. AllMusic relies heavily on JavaScript. This is one reason it is not my favorite piece to listen to. The main reason is that my body feels soooo much better when I keep my practice time to only a few hours a day.


Only recently did I beiro to know she composed herself. I am unashamedly playing from the old edition. Luciano Berio’s Sequenza I for flute is an example of a partially indeterminate musical form. Although watching oneself opens another can of worms.

I am allowing myself a luxury. But contact me or Rebecca first, because she has made significant changes to the score since my last performance in Berlin September which I am not sure Ricordi has published yet.

I also love teaching it; it has so much to offer in terms of technique especially articulation! Rainy Day Relaxation Road Trip.

Berio | Helen Bledsoe, Flutist

It was so cold that it has taken my skin and lips days to recover. Specifically for the SequenzaI consider the soul of the work to be in the long, held-out notes. Well, I have news for you, Sr. But I do own the new addition, and am finding it more useful than ever this time around to answer questions about timing.

Sequenza I, for flute

Drinking Hanging Out In Love. Works for Flute Solo. Sustained pitches are set against fast passagework, high is set against low, aggressive against introspective: The old version has been in my memory for about 20 years now.

I have only the following reservations: I find it very revealing though. 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. Some time ago Sequsnza posted about recording the Berio Sequenza for Flute.


While that may make for a better performance, the audio does have some issues of timing; some passages could have been more accurate regarding speed and length, had I been looking at the score.

Sequenzas; Due Pezzi; Musica Leggera; etc. This is how I want to feel during the recording. The melodic and harmonic content of Sequenza I grew out of Berio’s serial-influenced language, resulting in a highly controlled employment of pitch. Sexy Trippy All Moods. I was with my family in St. Romantic Evening Sex All Themes. But the Dutch premiere is scheduled for the Concertgebouw May Nevertheless, neither you nor I can assume that a work without a traditional tonal center and without traditional harmonic relationships is devoid of centers and relationships entirely.

The pitch materials of Sequenza Lucino are initially simple, consisting primarily of descending chromatic scale passages that incorporate octave displacement and rhythmic ambiguity. This juxtaposition of regulated versus improvisatory musical materials, however, was not the main impetus behind Sequenza I. Please enable JavaScript in your browser to use the site fully.

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