Developing Concepts of Musical Style
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Review of Berio's Sequenzas
1 JMM – The Journal of Music and Meaning, vol.7, Winter 2009. © JMM 7.7. http://www.musicandmeaning.net/issues/showArticle.php?artID=7.7 Halfyard, Janet, ed., Berio’s Sequenzas: Essays on Performance, Composition and Analysis (Aldershot: Ashgate, 2007). (Reviewed by Emma Gallon) 1 Berio’s Sequenzas (1958-2002) Although Berio has verified that the title Sequenza refers to the sequence of harmonic fields established by each of the series‟ fourteen works for a different solo instrument, the pieces are also united “by particular compositional aims and preoccupations – virtuosity, polyphony, the exploration of a specific instrumental idiom – applied to a series of different instruments”. (Janet Halfyard, “Forward” in Halfyard 2007: p.xx) These compositional aims in their various manifestations are explored in all of the essays in this book without exception, and both Berio‟s understanding of the terms, their relation to the pieces‟ signification and their implications for the receiver, be it performer, listener or analyst will be discussed below. Further details on Berio’s Sequenzas can be found on the Ashgate website at http://www.ashgate.com. The introduction to the book by the late David Osmond-Smith, leading authority on Berio and key in establishing Berio‟s reputation in Britain, focuses on the simultaneous musical commentary that the parallel Chemins series provides as the text of the Sequenza unfolds, and contrasts it with the difficult and almost prosaic retrospective commentaries that the musicologists in this book must undertake verbally in order to unweave the complex polyphonic strands of past echoes and present formations that Berio knots together. -
Luciano Berio's Sequenza V Analyzed Along the Lines of Four Analytical
Peer-Reviewed Paper JMM: The Journal of Music and Meaning, vol.9, Winter 2010 Luciano Berio’s Sequenza V analyzed along the lines of four analytical dimensions proposed by the composer Niels Chr. Hansen, Royal Academy of Music Aarhus, Denmark and Goldsmiths College, University of London, UK Abstract In this paper, Luciano Berio’s ‘Sequenza V’ for solo trombone is analyzed along the lines of four analytical dimensions proposed by the composer himself in an interview from 1980. It is argued that the piece in general can be interpreted as an exploration of the ‘morphological’ dimension involving transformation of the traditional image of the trombone as an instrument as well as of the performance context. The first kind of transformation is revealed by simultaneous singing and playing, continuous sounds and considerable use of polyphony, indiscrete pitches, plunger, flutter-tongue technique, and unidiomatic register, whereas the latter manifests itself in extra-musical elements of theatricality, especially with reference to clown acting. Such elements are evident from performance notes and notational practice, and they originate from biographical facts related to the compositional process and to Berio’s sources of inspiration. Key topics such as polyphony, amalgamation of voice and instrument, virtuosity, theatricality, and humor – of which some have been recognized as common to the Sequenza series in general – are explained in the context of the analytical model. As a final point, a revised version of the four-dimensional model is presented in which tension-inducing characteristics in the ‘pitch’, ‘temporal’ and ‘dynamic’ dimensions are grouped into ‘local’ and ‘global’ components to avoid tension conflicts within dimensions. -
Estudo Comparativo Entre Edições Da Sequenza I Para Flauta Solo De Luciano Berio: Subsídios Para Compreensão E Interpretação Da Obra
UNIVERSIDADE DE SÃO PAULO ESCOLA DE COMUNICAÇÕES E ARTES CIBELE PALOPOLI Estudo comparativo entre edições da Sequenza I para flauta solo de Luciano Berio: subsídios para compreensão e interpretação da obra São Paulo 2013 CIBELE PALOPOLI Estudo comparativo entre edições da Sequenza I para flauta solo de Luciano Berio: subsídios para compreensão e interpretação da obra Dissertação apresentada ao Programa de Pós-Graduação em Música da Escola de Comunicações e Artes da Universidade de São Paulo para a obtenção do título de Mestre em Música. Área de concentração: Processos de criação musical Orientadora: Profa. Dra. Adriana Lopes da Cunha Moreira São Paulo 2013 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. Catalogação na Publicação Serviço de Biblioteca e Documentação Escola de Comunicações e Artes da Universidade de São Paulo Dados fornecidos pelo(a) autor(a) Palopoli, Cibele Estudo comparativo entre edições da Sequenza I para flauta solo de Luciano Berio: subsídios para a compreensão e interpretação da obra / Cibele Palopoli. -- São Paulo: C. Palopoli, 2013. 180 p.: il. Dissertação (Mestrado) - Programa de Pós-Graduação em Música - Escola de Comunicações e Artes / Universidade de São Paulo. Orientadora: Adriana Lopes da Cunha Moreira Bibliografia 1. Sequenza I 2. Luciano Berio 3. Análise musical 4. Performance musical 5. Música do século XX I. Moreira, Adriana Lopes da Cunha II. Título. CDD 21.ed. - 780 Nome: PALOPOLI, Cibele Título: Estudo comparativo entre edições da Sequenza I para flauta solo de Luciano Berio: subsídios para compreensão e interpretação da obra Dissertação apresentada ao Programa de Pós- Graduação em Música da Escola de Comunicações e Artes da Universidade de São Paulo para a obtenção do título de Mestre em Música. -
Les Conséquences Du Travail Empirique De Luciano Berio Au Studio Di Fonologia : Vers Une Autre Écoute Martin Feuillerac
Les conséquences du travail empirique de Luciano Berio au Studio di Fonologia : vers une autre écoute Martin Feuillerac To cite this version: Martin Feuillerac. Les conséquences du travail empirique de Luciano Berio au Studio di Fonologia : vers une autre écoute. Musique, musicologie et arts de la scène. Université Toulouse le Mirail - Toulouse II, 2016. Français. NNT : 2016TOU20100. tel-01945269 HAL Id: tel-01945269 https://tel.archives-ouvertes.fr/tel-01945269 Submitted on 5 Dec 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 5)µ4& &OWVFEFMPCUFOUJPOEV %0$503"5%&-6/*7&34*5²%&506-064& %ÏMJWSÏQBS Université Toulouse - Jean Jaurès 1SÏTFOUÏFFUTPVUFOVFQBS Martin FEUILLERAC le mardi 15 novembre 2016 5JUSF Les conséquences du travail empirique de Luciano Berio au Studio di Fonologia : vers une autre écoute ²DPMF EPDUPSBMF et discipline ou spécialité ED ALLPH@ : Musique 6OJUÏEFSFDIFSDIF LLA CREATIS %JSFDUFVSUSJDF T EFʾÒTF Jésus AGUILA Jury : François Madurell (PR, Paris IV Sorbonne) Pierre Albert Castanet (PR, Université de Rouen) Stefan Keym (PR, -
Library Orders - Music Composition/Electronic Music
LIBRARY ORDERS - MUSIC COMPOSITION/ELECTRONIC MUSIC COMPOSER PRIORITY TITLE FORMAT PUBLISHER PRICE In Collection? Babbitt, Milton A Three Compositions for Piano score Boelke-Bomart 9.50 Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 1, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 2, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 3, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 4, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 5, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 6, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Music for strings, percussion, and celesta score Boosey & Hawkes Inc. 0.00 YES Berbarian, Cathy A Stripsody : for solo voice score C.F. Peters Corp. 18.70 Berg, Alban A Violin Concerto score Warner Brothers Music Pub. 0.00 YES Berio, Luciano A Sequenza V, for trombone score Warner Brothers Music Pub. 19.95 Berio, Luciano A Sequenza VII; per oboe solo score Warner Brothers Music Pub. 15.95 Berio, Luciano A Sequenza XII : per bassoon solo score Warner Brothers Music Pub. 35.00 Berio, Luciano A Sinfonia, for eight voices and orchestra score Warner Brothers Music Pub. 125.00 Boulez, Pierre A Marteau sans maître : pour voix d'alto et 6 instruments score Warner Brothers Music Pub. -
Form and Virtuosity in Luciano Berio's Sequenza I
University of Alberta Form and Virtuosity in Luciano Berio's Sequenza I by Ian Knopke A thesis submitted to the Facuity of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts Department of Music Edmonton, Alberta Fa11 1997 National Library Bibliothèque nationale of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Sireet 395. nie Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Li'brary of Canada to Bibliothèque nationale du Canada de reproduce, loan, distnbute or seU reproduire, prêter, distriiuer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. la fome de microfichelfilm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be p~tedor othenvise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. The objective of this thesis is an analysis of Luciano Berio's Sequenza I, for solo flute, using the composer's own published comments on the compositional system used in creating the piece. Additional insights into this system are provided by materials relating to an earlier composition, Nones, for orchestra. -
Luciano Berio Study
A STUDY OF THE CRITICAL RECEPTION AND THE DISSEMINATION OF LUCIANO BERIO’S WORKS Nena Mary Beretin Bachelor of Arts, University of New England Master of Music (Musicology), University of Sydney Associate Diploma of Performance (Guitar), AMEB Associate Diploma of Music Teaching, University of Sydney A thesis submitted in partial fulfillment of requirements for the degree of Doctor of Philosophy University of New England May 2015 ABSTRACT This thesis focuses on the critical reception and the dissemination of Luciano Berio’s works in North America, the United Kingdom and Australia. The ongoing performances and recordings of Berio’s music rely on public interest. This study investigates the critical reception of Berio’s music in order to differentiate the composer’s accessible works from those that the public and music promoters shun. I evaluate the critical reception of Berio’s music within the parameters of psychological, cultural and sociological theories to provide an insight as to why some works will have continuing performances within the commercial arena. Conversely, I examine Berio’s and other modernist composers’ attitudes towards their listening and purchasing audiences. I also discuss Berio’s perceptions of the press and whether the composer felt misrepresented or misunderstood by critics. Audiences attuned to tonal classical repertoire describe modernist music as ‘complex’ and ‘difficult’ for the listener. In turn, this becomes a major impediment to the promotion of modernist music via concert halls and recordings, as music promoters and entrepreneurs are unwilling to back performances that are unlikely to be financially viable. Yet some modernist works have secured enduring popularity. -
C:\Documents and Settings\Hubert Howe\My Documents\Courses
Alphabetical Listing of Musical Works by Luciano Berio (1925-2003) Agnus for 2 female voices and 3 clarinets Allelujah I for orchestra Allelujah II (1956-8) for orchestra, 19' A-RONNE for 8 voices, 32' A-RONNE for 5 actors, 32' A_RONNE for tape, 32' Air for Soprano and 4 Instruments for soprano and chamber ensemble, 6' Bewegung for baritone and orchestra Call (1985) - St. Louis Fanfare, for brass ensemble, 4' Calmo for soprano and 7 instruments Chamber Music (1953) for voice and ensemble, 8' Chemins I for harp and orchestra Chemins II (1967) for chamber ensemble, 15' Chemins III (1968) for viola and orchestra, 15' Chemins IV (1975) su Sequenza VII for oboe and strings, 10' Chemins V (1992) for guitar and chamber orchestra, 20' Circles (1960) for female voice, harp and two percussionists, 20' Concertino for solo clarinet, solo violin, harp, celeste and string orchestra, 11' Concerto II - Echoing Curves (1988) for piano solo and two instrumental groups, 30' Concerto for Two Pianos and Orchestra (1972-3), 25' Continuo (1989) for orchestra, 20' Corale (1981) su Sequenza VIII for violin, 2 horns and strings, 15' Coro (1974-6) for voices and instruments, 60' Cries for 6 or 8 voices Différences (1958) for ensemble and tape, 17' Discours II for five trombones Due pezzi “Two pieces”, 1951) for violin and piano Duetti for two violins E VO for soprano and chamber ensemble, 4' Eindrucke (1973-4) for orchestra, 11' El mar la mar (1952) for soprano, mezzo-soprano and 7 instruments, 12' Epifanie (1959-61, rev. 1965) for female voice and orchestra, 40' -
SANTA FE CHAMBER MUSIC FESTIVAL July 19–August 24, 2020 Season 48
SANTA FE CHAMBER MUSIC FESTIVAL July 19–August 24, 2020 Season 48 505.982.1890 ■ SantaFeChamberMusic.com BELOW: New York Philharmonic String Quartet, John Storgårds. OPPOSITE PAGE: James Gaffigan, Ran Dank. ON THE COVER: Clockwise from top left: Richard Goode, Dover Quartet, Leila Josefowicz, Tony Arnold, Gilles Vonsattel, Escher String Quartet. WELCOME TO OUR 2020 SEASON! It’s another exciting summer at the Santa Fe Chamber Music Building on the momentum of the 2019 season, the Festival Festival, filled with classics of the repertoire, lesser-known gems, expands its piano-vocal recital series from three concerts to five world premieres, and a brand-new stage work—plus we’re four, presenting towering works of the art-song repertoire like expanding a recently launched series and, as always, featuring Mahler’s Songs of a Wayfarer and Beethoven’s To the Distant some of the most extraordinary artists in the world. Beloved while featuring seven powerhouse performers: mezzo-sopranos Michelle DeYoung and Sasha Cooke, tenor Legendary pianist returns to the Festival for Richard Goode Paul Groves, countertenor Jakub Józef Orliński, and pianists the first time in years to present a solo recital of works by Calio Alonso, Pei-Yao Wang, and Michał Biel. Mozart, Brahms, Debussy, and Chopin, and violin superstar Leila Josefowicz makes her Festival debut performing Solo recitals this season feature, in addition to Richard Goode, Messiaen’s Quartet for the End of Time with pianist Gilles pianists Ran Dank, Benjamin Hochman, Nicolas Namoradze, Vonsattel, -
Sequenza I Para Flauta Sola De Luciano Berio
SEQUENZA I PARA FLAUTA SOLA DE LUCIANO BERIO SARA GARCÍA ARANGO UNIVERSIDAD EAFIT ESCUELA DE CIENCIAS Y HUMANIDADES DEPARTAMENTO DE MUSICA MEDELLIN 2015 SEQUENZA I PARA FLAUTA SOLA DE LUCIANO BERIO SARA GARCÍA ARANGO Monografía de grado presentada como requisito parcial para obtener el título de Magister en Música Asesora: Mg. Elizabeth Osorio UNIVERSIDAD EAFIT ESCUELA DE HUMANIDADES MAESTRÍA EN MUSICA MEDELLIN 2015 Nota de aceptación: ________________________________ ________________________________ ________________________________ ________________________________ Presidente del Jurado ________________________________ Jurado ________________________________ Jurado Medellín, febrero de 2015 3 CONTENIDO LISTA DE EJEMPLOS ............................................................................................. 5 LISTA DE ANEXOS ................................................................................................. 6 RESUMEN ............................................................................................................... 7 INTRODUCCIÓN ..................................................................................................... 8 1 LA FLAUTA EN EL SIGLO XX ......................................................................... 11 2 LUCIANO BERIO ............................................................................................. 13 2.1 BIOGRAFÍA ............................................................................................... 13 2.2 BERIO Y LA “OBRA ABIERTA” ................................................................ -
Luciano Berio's “Sequenze”
Experiment and discourse: Luciano Berio’s “Sequenze” Stefan Drees Central to the “Sequenze” is a new understanding of virtuosity, which together with experimental techniques also leads to unusual sound effects. These can also be seen in Berio’s later ensemble and orchestral works. 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”. -
Download Booklet
557661-63 bk Berio US 3/13/06 11:21 AM Page 12 Also available: Luciano BERIO Sequenzas I-XIV for Solo Instruments Flute • Harp 8.559260 Soprano • Piano Trombone • Viola Oboe • Violin Clarinet • Trumpet Guitar • Bassoon Accordion • Cello Saxophones 8.559261 8.557661-63 12 3 CDs 557661-63 bk Berio US 3/13/06 11:21 AM Page 2 Luciano BERIO Also available: (1925-2003) Sequenzas I-XIV CD 1 63:02 2 Sequenza IXa for clarinet (1980) 14:01 Joaquin Valdepeñas 1 Sequenza I for flute (1958) 5:16 Recorded on 25th and 26th October, 2003 Nora Shulman Recorded on 21st November, 1999 3 Sequenza X for trumpet in C and pianoresonance (1984) 17:08 2 Sequenza II for harp (1963) 9:28 Guy Few Erica Goodman Recorded on 1st and 2nd October, 2000 Recorded on 7th October, 2000 4 Sequenza XI for guitar (1987-88) 16:28 3 Sequenza III for female voice (1966) 7:37 Pablo Sáinz Villegas Tony Arnold Recorded on 10th and 11th May, 2003 Recorded on 26th January, 2002 CD 3 58:48 4 Sequenza IV for piano (1966) 10:56 Boris Berman 1 Sequenza XII for bassoon (1995) 16:18 Recorded on 17th June, 1998 Ken Munday Recorded on 10th and 11th January, 2004 5 Sequenza V for trombone (1965) 5:34 Alain Trudel Recorded on 4th May, 2000 2 Sequenza XIII for accordion (chanson) (1995) 8:16 Joseph Petric 6 Sequenza VI for viola (1967) 14:53 Recorded on 18th December, 2000 Steven Dann 8.559259 Recorded on 17th and 18th June, 2002 3 Sequenza XIV for cello (2002) 13:09 Darrett Adkins 7 Sequenza VIIa for oboe (1969) 9:17 Recorded on 29th and 30th May, 2004 Matej ·arc Recorded on 11th and 12th January, 2002 4 Sequenza VIIb for soprano saxophone (1995) 7:15 Wallace Halladay CD 2 60:09 Recorded on 12th and 13th February, 2004 1 Sequenza VIII for violin (1976) 12:32 5 Sequenza IXb for alto saxophone (1981) 13:50 Jasper Wood Wallace Halladay Recorded on 16th and 17th December, 2000 Recorded on 5th and 6th September, 2003 All tracks recorded at St John Chrysostom Church, Newmarket, Ontario, Canada.