The Sequenza series is one of the most remarkable achievements of the late twentieth century - a collection of virtuoso pieces that explores the capabilities of a solo instrument and its player, making extreme technical demands of the performer whilst developing the musical vocabulary of the instrument in compositions so assured and so distinctive that each piece both initiates and potentially exhausts the repertoire of a new genre. In this book contributors demonstrate the richness of this repertoire and the many levels on which Berio and these landmark compositions can be considered.
The Sequenza series is one of the most remarkable achievements of the late twentieth century - a collection of virtuoso pieces that explores the capabilities of a solo instrument and its player, making extreme technical demands of the performer whilst developing the musical vocabulary of the instrument in compositions so assured and so distinctive that each piece both initiates and potentially exhausts the repertoire of a new genre. In this book contributors demonstrate the richness of this repertoire and the many levels on which Berio and these landmark compositions can be considered.
Janet K. Halfyard is a senior lecturer at UCE Birmingham Conservatoire. Her research includes work on Luciano Berio, Cathy Berberian, extended vocal technique and performance practice issues in contemporary repertoire, and she is active as a performer with the contemporary music ensemble, decibel. Her publications also include work on film and television music: she is the author of Danny Elfman's Batman: a film score guide (2004) in the Scarecrow Press Film Score Guide series and has contributed to European Film Music (2006) in Ashgate's Popular and Folk Music series.
Inhaltsangabe
Contents: Foreword; Introduction, David Osmond-Smith. Part 1 Performance Issues: Rhythm and timing in the two versions of Sequenza I for flute solo: psychological and musical differences in performance, Cynthia Folio and Alexander Brinkman; Rough romance: Sequenza II for harp as study and statement, Kirsty Whatley; Phantom rhythms, hidden harmonies: the use of the Sostenuto pedal in Berio's Sequenza IV for piano, leaf and sonata, Zoe Browder Doll; A dress or a straightjacket? Facing the questions of structure and periodicity posed by the notation of Berio's Sequenza VII for oboe, Patricia Alessandrini; Shadow boxing: Sequenza X for trumpet and piano resonance, Jonathan Impett. Part 2 Berio's Compositional Process and Aesthetics: Provoking acts: the theatre of Berio's Sequenzas, Janet K. Halfyard; The Chemins series, Paul Roberts; The compass of communications in Sequenza VIII for violin, Eugene Montague; Sequenza IX for clarinet: text, pre-text, con-text, Andrea Cremaschi; Proliferations and limitations: Beroi's reworking of the Sequenzas, Edward Venn. Part 3 Analytical Approaches: Vestiges of twelve-tone practice as compositional process in Berio's Sequenza I for solo flute, Irna Priore; Sonic complexity and harmonic syntax in Sequenza IV for piano, Didier Guigue and MarcÃlio Fagner Onofre; The nature of expressivity in Berio's Sequenza VI for viola, Amanda Bayley; A polyphonic type of listening in and out of focus: Berio's Sequenza XI for guitar, Mark D. Porcaro; ...and so a chord consoles us: Berio's Sequenza XIII (Chanson) for accordion, Thomas Gartmann. Bibliography; Discography; Index.
Contents: Foreword; Introduction, David Osmond-Smith. Part 1 Performance Issues: Rhythm and timing in the two versions of Sequenza I for flute solo: psychological and musical differences in performance, Cynthia Folio and Alexander Brinkman; Rough romance: Sequenza II for harp as study and statement, Kirsty Whatley; Phantom rhythms, hidden harmonies: the use of the Sostenuto pedal in Berio's Sequenza IV for piano, leaf and sonata, Zoe Browder Doll; A dress or a straightjacket? Facing the questions of structure and periodicity posed by the notation of Berio's Sequenza VII for oboe, Patricia Alessandrini; Shadow boxing: Sequenza X for trumpet and piano resonance, Jonathan Impett. Part 2 Berio's Compositional Process and Aesthetics: Provoking acts: the theatre of Berio's Sequenzas, Janet K. Halfyard; The Chemins series, Paul Roberts; The compass of communications in Sequenza VIII for violin, Eugene Montague; Sequenza IX for clarinet: text, pre-text, con-text, Andrea Cremaschi; Proliferations and limitations: Beroi's reworking of the Sequenzas, Edward Venn. Part 3 Analytical Approaches: Vestiges of twelve-tone practice as compositional process in Berio's Sequenza I for solo flute, Irna Priore; Sonic complexity and harmonic syntax in Sequenza IV for piano, Didier Guigue and MarcÃlio Fagner Onofre; The nature of expressivity in Berio's Sequenza VI for viola, Amanda Bayley; A polyphonic type of listening in and out of focus: Berio's Sequenza XI for guitar, Mark D. Porcaro; ...and so a chord consoles us: Berio's Sequenza XIII (Chanson) for accordion, Thomas Gartmann. Bibliography; Discography; Index.
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