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Proquest Dissertations INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly fi'om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter &ce, while others may be fi'om any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing fi-om left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zeeb Road. Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 LUCIANO BERIO'S SEQUENZA XICHITARRA SOLA: A PERFORMER'S PRACTICAL ANALYSIS WITH PERFORMANCE EDITED SCORE by Gerd Wuestemann Copyright C Gerd Wuestemann 1998 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Paitial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN PERFORMANCE In the Graduate College THE UNIVERSITY OF ARIZONA 1998 UMI Ntimber: 9829361 Copyright 1998 by Wuestemann, Gerd All rights reserved. UMI Microform 9829361 Copyright 1998, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 2 THE UNIVERSITY OF ARIZONA GRADUAXE COLLEGE As members of Che Final Examinacion Commiccee* ve cerclfy chac ve have read the documenc prepared by Gerd Wu6Stem3nn entitled Luciano Berio's Sequenza XI per Chitarra Sola: A Performer's Practical Analysis with Performance Edited Score and recomnend chac it be accepted as fulfilling the requlrenents for the Degree of Doctor Of Musical ArtS Trof. Thomas Patterson Date - f Dr. CaiVol McLaughlin Date Patr^'ck Neher Date — Prof. Daniel Asia Date / ' Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the dociunent to the Graduate Cullege. I hereby certify chat I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. Director Date 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under the rules of the Library. Brief quotations fi^om this document are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: 4 ACKNOWLEDGEMENTS The author wishes to offer thanks to Maestro Luciano Berio, who graciously received me in his home and patiently answered a myriad of questions over a period of two days. Being allowed to discuss a work with its composer is always a wonderful opportunity. It is especially rare to be given the chance to discuss a work of such magnitude with one of the greatest living composers. Maestro Berio's comments were important in providing direction and enlightenment for the author's subsequent investigation of the work. Further thanks are due to Mr. David Tanenbaum, who inspired in the author a greater interest and deeper understanding in Berio's music and gave much direction to the initial stages of this study. Deepest gratitude is owed to Mr. Thomas Patterson, whose inspiration, guidance and encouragement has helped to shape this document. A Dissertation Summer Grant from the University of Arizona supported this research. It enabled the author to travel to Italy for a personal interview with Luciano Berio and to visit Universal Edition in Vienna, Berio's publishing house. Finally, the author wishes to extend thanks to each of the members of his graduate committee, Thomas Patterson, Carol McLaughlin, Patrick Neher and Daniel Asia, for their efforts and support 5 DEDICATION The author wishes to dedicate this document to Mr. Alfred Lamson, dear friend and mentor. Mr. Lamson's friendship has been a tremendous source of knowledge, even though he is not a musician at all. His wit and story telling are urmiatched and he certainly is a great humanist Mr. Lamson also possesses the rarest of qualities; a true sense of humor. The author feels deeply indebted to Mr. Lamson for his inspiration and support. 6 TABLE OF CONTENTS LIST OF ILLUSTRATIONS 7 ABSTRACT 9 INTRODUCTION 10 BERIO'S SEQUENZA XI IN THE SEQUENZA SERIES 15 Similarities and Differences 15 The Series as a Catalogue of Modem Performance Practice 22 THE SEQUENZA XI PER CHITARRA SOLA 24 Superstructure 24 Textures 33 Idiomatic Virtuosity 39 Concept of Tonalities 50 Berio's Musical Language 55 PERFORMANCE SOLUTIONS FOR THE SEQUENZA XI. 60 Creative Solutions for Technical Problems 60 Technical Solutions for Musical Problems 64 SUMMARY 67 Sequema XI's Place in the Guitar Repertoire 67 APPENDIX A: THE COMPLETE EDITED SCORE OF SEQUENZA XI 69 APPENDIX B: ILLUSTRATION OF EDITED CHORDS 79 APPENDK C: PERMISSION FOR USE OF COPYRIGHTED MATERIAL 81 REFERENCES 82 7 LIST OF ILLUSTRATIONS FIGURE I Luciano Berio, SequenzaXI, pg.I, line I 24 FIGURE 2 Luciano Berio, Sequenza XI, pg. 1, line 2 25 FIGURE 3 Luciano Berio, Sequenza XI, pg.8, line 2 26 FIGURE 4 Luciano Berio, Sequenza XI, pg. 11, line 6 26 FIGURE 5 Luciano Berio, Sequenza XI, pg.l2, line 7 26 FIGURE 6 Luciano Berio, SequenzaXI, pg.5, line 6-10 28 FIGURE 7 Luciano Berio, Sequenza XI, pg.2, line 3 29 FIGURE 8 Luciano Berio, Sequenza XI, pg.2, line 8 29 FIGURE 9 Luciano Berio, Sequenza XI, pg.3, ln.8, pg.4, in. 1 30 FIGURE 10 Luciano Berio, Sequenza XI, pg.9, line 6&7 31 FIGURE 11 Luciano Berio, Sequenza XI, pg. 11, line 6 31 FIGURE 12 Luciano Berio, Sequenza XI, pg. 12, line 6 32 FIGURE 13 Luciano Berio, Sequenza XI, pg.9, line 5&6 36 FIGURE 14 Luciano Berio, Sequenza XI, pg.9, line 8 36 FIGURE 15 Luciano Berio, Sequenza XI, pg.4, line 7&8 37 FIGURE 16 Luciano Berio, Sequenza XI, pg.l2, line 1 38 FIGURE 17 Luciano Berio, Sequenza XI, pg.2, line 3 41 FIGURE 18 LucianoBerio,5eg'we/iraA7, pg.8, line 4&5 43 FIGURE 19 Luciano Berio, SequenzaXI, pg.6, line 1-4 45 FIGURE 20 Luciano Berio, Sequenza XI, pg.2, line 8 45 LIST OF ILLUSTRATIONS - Continued Luciano Berio, SequenzaXI, pg.4, In.5-9, pg.5. In 1-4 ,48 Luciano Berio, SequenzaXI, pg.5, line 4&5 .49 Luciano Berio, SequenzaXI, pg.l, line 1 .51 Luciano Berio, Sequenza XI, pg. 1, line 2 .52 Luciano Berio, Sequenza XI, pg. 1, line 2 .52 Luciano Berio, Sequenza XI, pg. 1, line 4 .52 Luciano Berio, Sequenza XI, pg. 1, line 4 .53 Luciano Berio, Sequenza XI, pg. 1, line 4 .53 Luciano Berio, Sequenza XI, pg. 12, line 7 .56 Luciano Berio, Sequenza XI, pg. 12, line 7 ,57 Luciano Berio, Sequenza XI, pg. 12, line 7 ,57 Luciano Berio, Sequenza XI, pg.2, line 4 .58 Luciano Berio, SequenzaXI, pg.9, line 6&7 .65 9 ABSTRACT The Sequenza XI per chitarra sola is a recent work of great significance for the guitar repertoire. Written by one of the most accomplished living composers, the Sequenza XI is also part of a series of works that demonstrates the state of instrumental composing in the 20'*' century. This study examines elements of the composition in regard to their significance for the performer. It also discusses problems in the execution of the piece and attempts to outline ways in which to overcome these problems. After discussing possible revisions with the composer, the author has included an edited version of the score as part of this study. The Sequenza XI is clearly linked to other works in the series of Sequenzas through their common concept of integrated development Berio's musical language often includes a very personal approach to tonality as well as a preference for meaningful virtuosity. A particularly effective compositional technique in the Sequenza XI is Berio's layering of sounds. The composer has a unique and individual understanding of lyricism in music that determines musical material and shapes structures. It is this lyricism that is often difficult to understand. Finally, the Sequenza XI was written as a challenge to the technical possibilities of the guitar. Furthermore, it was co-commissioned and written for Eliot Fisk, a performer with unusual physical and technical ability. For that reason, I have created the attached critical edition of the score of the Sequenza XI, making the work more approachable for the majority of guitarists. 10 INTRODUCTION Luciano Berio (b.l925) is considered the foremost Italian avant-garde composer of his time and one of the most influential composers in the 20**^ century.
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