Having studied abroad with Dallapiccola at Tanglewood, he became involved with composers such as Boulez, Stockhausen, Ligeti and Kagel. He taught extensively at Harvard, Tanglewood and Julliard, giving highly regarded lectures on music and composing. His interest in electronics led him to take up an important position at IRCAM and he latterly founded his own research centre for new music, the Tempo Reale, back in Italy. These fourteen pieces for various solo instruments are among the most often performed contemporary solo pieces of in the world. A central theme in all the Sequenzas is that of virtuosity, evident not only in the technical difficulties presented, but also in the treatment and writing style for the instruments.
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You can help Wikipedia by expanding it. From Wikipedia, the free encyclopedia. Behind the motivic structures, though, lies a study of the acoustic properties of the clarinet, considered and translated into songlike melody.
Jazz Latin New Age. Several of these pieces became the basis of larger works: A Day in the Life of a Clarinet. This article does not cite any sources. Folk Songs Sinfonia A-Ronne.
AllMusic Featured Composition Sequrnza. Classical composition stubs Compositions by Luciano Berio Cycles music. Genre Chamber Music Classical. Unsourced material may be challenged and removed. September Learn how and when to remove this template message.
From that piece he drew Sequenza IX, which in spite of its computer-influenced origins is perhaps the most traditionally melodic of all of the Sequenza works.
Berio Sequenza IX
Apparently he scared some listeners so much that they forgot to really listen, preferring to bring instead a grab-bag of adjectives that they could apply to most prominent composers of the period: "cerebral," "soulless," and their Roget equivalents. For me, Berio depended less on "intellectual" manipulations than many, especially his compatriot Luigi Nono. Indeed, his music showed a reliance, sometimes an over-reliance, on intuition and the feelings of the moment. I remember a story once told me by a composition professor with a masters in math who had gotten a grant to work at the Princeton computer-music project. This was in the days before synthesizers and PC-sequencers indeed, PCs , when computers took up large rooms, programs were typed on punch cards or teletype machines, and a composer had to specify all the components of a single note, including wave forms and overtones. The professor worked four months of very full days to produce two minutes worth of music.
Sequenza IXa, for clarinet