Luciano Berio, Cavaliere di Gran Croce OMRI (October 24, – May 27, . Sequenza XI for guitar (–88);; Sequenza XII for bassoon ();; Sequenza XIII for accordion “Chanson” ();; Sequenza XIVa. Sequenza XII for bassoon (). Sequenza XII is a kind of “meditation” based on the fact that the bassoon, perhaps more than any other wind instrument. Download Berio – Sequenza XII for Bassoon Short Description. Download Berio – Sequenza XII for Bassoon Description. View more Comments.

Author: Vudolkis Akizshura
Country: Djibouti
Language: English (Spanish)
Genre: Video
Published (Last): 9 January 2016
Pages: 257
PDF File Size: 18.31 Mb
ePub File Size: 20.99 Mb
ISBN: 349-2-57871-208-8
Downloads: 44125
Price: Free* [*Free Regsitration Required]
Uploader: Kijora

He is noted for his experimental work in particular his composition Sinfonia and his series of virtuosic solo pieces titled Sequenza and also for his pioneering work in electronic music. Berio was born in Oneglia now part of Imperiaon the Ligurian coast of Italy.

He was taught how to play the piano by his father and sequenzw, who were both organists. During Sequrnza War II he was conscripted into the army, but on his first day, he injured his hand while learning how a gun worked, and spent time in a military hospital. He was unable to continue studying the piano because of his injured hand, so instead concentrated on composition.

In came the first public bxssoon of one of his works, a suite for piano. Berio made a living at this time by accompanying singing classes, and it was in doing this that he met the American mezzo-soprano Cathy Berberianwhom he married shortly after graduating they divorced in Berio wrote a number of pieces which exploited her distinctive voice.

InBerio went to the United States to study with Luigi Dallapiccola at Tanglewoodfrom whom he gained an interest beruo serialism. He became interested in electronic musicco-founding the Studio di fonologia musicalean electronic berioo studio in Milan, with Bruno Maderna in He invited a number of significant composers to work there, among them Henri Pousseur and John Cage. He also produced an electronic music periodical, Incontri Musicali.

seqquenza InBerio returned to Tanglewood, this time as Composer in Residence, and inon an invitation from Darius Milhaudtook a teaching post at Mills College in Oakland, California. In he began to teach at the Juilliard Schooland there he founded the Juilliard Ensemble, a group dedicated to performances of contemporary music.

Inhe again married, this time to the noted philosopher of science Susan Oyama they divorced in All this time Berio had been steadily composing and building a reputation, winning the Bassoonn Italia in for Laborintus II. His reputation was cemented when his Sinfonia was premiered in InBerio returned to Italy.

Luciano Berio

In he opened Tempo Realea centre for musical research and production based in Florence. He was active as a conductor and continued to compose to the end of his life. Luciano Berio died bassopn in a hospital in Rome.

He was an atheist. He was noted for his sense of humour. He spent a two-hour seminar at a summer school in the United States analysing Beethoven’s 7th Symphonydemonstrating that it was a work of radical genius. The next day he gave another two-hour seminar, with a completely straight face, showing why it was hopelessly flawed and a creative dead-end.


Berio’s electronic work dates for the most part from his time at Milan’s Studio di Fonologia. One of the most influential works he produced there was Thema Omaggio a Joycebased on Cathy Berberian reading from James Sdquenza ‘s Ulysseswhich can be considered as the first electroacoustic composition in the history of western music made with voice and elaboration of it by technological means. English and Italian, Hebrew and the Neapolitan dialect. InBerio completed O King bwssoon work which exists in two versions: The piece is in memory of Martin Luther Kingwho had been assassinated shortly before its composition.

In it, the voice s intones first the vowels, and then the consonants which make up his name, only sequejza them together to give his name in full in the final bars. The orchestral version of O King was, shortly after its completion, integrated into what is perhaps Berio’s most famous work, Sinfonia —69for orchestra and eight amplified voices. The voices are not used in a traditional classical way; they frequently do not sing at all, but speak, whisper and shout.

The third movement is a collage of literary and musical quotations. A-Ronne is similarly collaged, but with the focus more squarely on the voice. It was originally written as a radio program for five actors, and reworked in for eight vocalists and an optional keyboard part. The work is one of a number of collaborations with the poet Edoardo Bfriowho for this piece beerio a text full of quotations from sources including the BibleT. Eliot and Karl Marx.

Berio – Sequenza XII for Bassoon – Free Download PDF

Another example of the influence of Sanguineti is the large work Coro premieredscored for orchestra, solo voices, and a large choir, whose members are paired with instruments of the orchestra. The work extends over roughly an hour, and explores a number of themes within a framework of folk music from baesoon variety of regions: Chile, North America, Africa.

Recurrent themes are the expression of love and passion; the pain of being parted from loved ones; death of a wife or husband. A line repeated often is “come and see the blood on the streets”, a reference to a poem by Pablo Nerudawritten in the context of the outbreak of the civil war in Spain.

Berio composed a series of virtuoso works for solo instruments under the name Sequenza. These works explore the full possibilities of each instrument, often calling for extended techniques.

Berio is known for adapting and transforming the music of others, but he also adapted his own compositions: Chemins IIfor instance, takes the original Sequenza VI for viola and adapts it for solo viola and nine other instruments. For Berberian he wrote Folk Songs ; a set of arrangements of folk songs. Transcription is a vital part of even Berio’s “creative” works. In “Two Interviews”, Berio mused sequehza what a college course in transcription would look like, looking not only at Franz LisztFerruccio BusoniIgor BsssoonJohann Sebastian Bachhimself, and others, but to what extent composition is always self-transcription.

Rather, each quotation carefully evokes the context of its original work, creating an open web, but an open web with highly specific referents and a vigorously defined, if self-proliferating, signifier-signified relationship.


Perhaps Bdrio most notable contribution to the world of post-WWII non-serial sequenzw music, bassoln throughout most of his works, is his engagement with the broader world of critical theory beroo by his lifelong friendship with linguist and critical theorist Umberto Eco through his compositions. Berio’s works are often analytic acts: In other words, it is not only the composition of the “collage” that conveys meaning; it is the particular composition of the component “sound-image” that conveys meaning, even extra-musical meaning.

The technique of the “collage”, that he is associated with, is, then, less a neutral process than basskon conscious, Joycean process of analysis-by-composition, a form of analytic transcription of which Sinfonia and the Nerio are the most prominent examples.

Berio often offers his compositions as forms of academic or cultural seqyenza themselves rather than as “mere” fodder for them. Among Berio’s other compositions are CirclesSequenza IIIand Recital I for Cathyall written for Berberian, and a number of stage works, with Un re in ascoltoa collaboration with Italo Calvinothe best known.

Berio’s “central instrumental focus”, if such a thing exists, is probably with the voice, the piano, the flute, and the strings. He wrote many remarkable pieces for piano which vary from solo pieces to essentially concerto pieces points on the curve to find, concerto for two pianos, and Corowhich has a strong backbone of harmonic and melodic material entirely based on the piano part. Lesser known works make use of a very distinguishable polyphony unique to Berio that develops in a variety of ways.

This occurs in several works, but most recognisably in compositions for small instrumental combinations. From Wikipedia, the free encyclopedia. List of compositions by Luciano Berio. This section does not cite any sources.

Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. Bwssoon Learn how and when to remove this template message. Archived from the original on 20 February List of music students by teacher: A to B Luciano Berio. Archived from the original on 12 July Retrieved 14 October American Academy ssquenza Arts and Sciences.

Verio 16 June Retrieved 8 November Il dialogo con la materia disintegrata e ricomposta, un’analisi di Thema Omaggio a Joyce di Luciano Berio.

Cambridge University Press, p. Archived from the original on July 5, Un re in ascolto Cronaca del luogo. Folk Songs Sinfonia A-Ronne.

A Garland for Dr. Twelve-tone and serial composers. Ernst von Siemens Music Prize. Laureates of the Wolf Prize in Arts. Retrieved from ” https: CS1 Italian-language sources it CS1 maint: Views Read Edit View history.

Sequenza XII, for bassoon

In other projects Wikimedia Commons Wikiquote. This page was last edited on 24 Novemberat By using this site, you agree to the Terms of Use and Privacy Policy.

Wikimedia Commons has media related to Luciano Berio. Wikiquote has quotations related to: