Analysis[ edit ] The opening chords present all the pitch materials of the piece. They are of two kinds: 1 "resonant" chords made by superposing two major, minor, augmented, diminished triads sometimes with an added seventh or ninth , to form basically "harmonic" structures, and 2 "anti-resonant" or "noisy" chords based on chromatic relationships and containing a large number of seconds and fourths, giving them a more "inharmonic" character Guigue and Onofre , These chords are progressively horizontalised, creating "a syntactic flux between structurally opposite and intermediate constituents" MacKay , The treatment of tempos also serves to govern the overall form.

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At that time, Berio tended to reject traditional musical notation in a manner similar to Earle Brown or Christian Wolff. In his instructions on the score, Berio writes, a B natural must sound throughout the piece. The sound-source should preferably not be visible. This can be an oscillator, a clarinet , a pre-taped oboe, or something else. 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.

The first section goes from measure 1 to measure 92, and is primarily written in temporal 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. 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.

Like a reverberating chamber, the development of Chemins IV mirrors and shatters the elements of Sequenza VII, sometimes 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.


02Berio - Sequenza II Arpa

Walter Trampler , for whom Chemins III was written, believed it had in fact been composed first and the Sequenza then extracted from it Uscher —83 , — The relationship of the three works is described by Berio as being "something like the layers of an onion: distinct, separate, yet intimately contoured on each other; each new layer creates a new, though related surface, and each older layer assumes a new function as soon as it is covered" Smalley Analysis[ edit ] Sequenza VI exploits the harmonic possibilities of a fundamentally melodic instrument. It does this in two ways: first, by implying harmonies with melodic lines circling continuously through a small number of fixed pitches and, second, by presenting long series of three- and four-part chords in which the pitches are kept sounding by means of across-the-stings tremolo Smalley The work alternates these two gestural ideas melodic and chordal , producing a sectional form based on changes in texture, gestural predominance, and shaping processes. The opening A section is an exposition dominated at first by the tremolando chords, but also using short melodic segments to articulate phrases and create internal fluctuations.


Sequenza IV


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