Description Berio Sequenza I-Solo Flute-Universal Berio Sequenza I-Solo Flute-Universal (Dedicated to Gazzelloni) Composed in 1958. This is the latest edition following the previous edition in 1992. 6 mins duration. If you have any queries, please call All Flutes Plus on 020 7388 8438 (UK) or + 8438 (International) Product Delivery • All Flutes Plus accessories are dispatched within the UK by Royal Mail unless otherwise requested with a standard flat-rate of £2.50 per package. • All Flutes Plus endeavour to dispatch your order by return and availability of stock if received before 2.30pm. • For delivery outside the UK a secure courier service is used for overseas shipment.

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Vienna: Universal Edition, c1998. Sequenza I 3 Flute solo Universal Edition. UNIVERSAL EDITION Berio luciano - sequenza ixb. Flute Bestsellers by Universal Edition. Berio Sequenza Voice Her books on the art of flute playing are published by Universal Edition. Mediaman 3 0 Working Dogs. Berio: Sequenza I, for Solo. Clarinet Music - Solo (Unaccompanied)(Updated 1. 7)This page has music for solo clarinet (without. Items are in alphabetical order by composer on this.

This season’s concerts by the Berlin Philharmonic include a “sprinkling” of individual Sequenze by Luciano Berio. In these works Berio established a new understanding of virtuosity and positioned himself as a profoundly inventive magician of sound who integrates elements of theatrical action. Since the beginnings of instrumental music, unaccompanied performance by a soloist has repeatedly been misconceived as a monologic situation in which the musician uses his skills to establish a relationship with the listener in an instrumental or vocal discourse.

Unlike any other 20th-century composer, the Italian Luciano Berio has continually explored the possibilities of this situation over a period of more than four decades, and has created a series of fourteen compositions with the same name throughout: Sequenza. Contrary to its original meaning – namely in the sense of a melodic elaboration at the end of the medieval “Hallelujah” or as a repetition of melodic or harmonic elements at different pitches – Berio decided to choose this name as a reference to the constructive idea that every piece is based on a series of harmonic fields from which all remaining musical functions are derived. According to the composer, almost all of the Sequenze therefore aim “to elucidate and develop a harmonically perceived progression using melodic means”, whereby an “impression of polyphonic hearing” should be created “that is partially based on the rapid alternation between different characters and their simultaneous interaction”. “Polyphony” is – in particular with the tone generators that normally remain primarily monophonic – understood in a figurative sense and refers to the presentation and superimposition of diverging modes of action and different musical characters. This idea of a quasi-“virtual polyphony” is implemented by Berio, for example, in Sequenza I for flute (1958), by contrasting primary and secondary notes, tones and noise sounds, registers, timbres and expressive gestures with one another and at the same time superimposing conflicting actions such as the crescendo of the valve sound and the decrescendo of pitches. A comparable contrast is found in Sequenza XI for guitar (1987/88) as the collision of two levels that are different both technically and musically: differentiated specifications for strumming, plucking or fingering techniques, percussive elements and details such as the integration of optional re-tuning are important elements of a precisely considered choreography of hand and finger movements used by Berio to achieve a confrontation between two different instrumental, gestural styles – playing in the flamenco tradition and the “classical” method of performance.