letzten a hr ze hn te n
beuhrnt g ew or de n a rb ei te t
B er i
wi
L uc ia n
a n d ie se m
Z yk lu s v o
»work in proqress«. E in ig e g ew ir kt ,
e nt st an de ne n
B er io s , .S eq ue nz e S o o -S tO ck en :
S eq ue n e n
h ab e
D le s
s t~ nd ig e
e . na n ce r , d a s v ar ia ti v S pi eg e[ un ge n
d ie se r A rb ei t
ln e n ge r
K o op e ra t io n
I nt er pr et e
ne
(1995)
Di
V ir tu o si ta t
u n se re r Z e i
fiihlg,
S pa nn un ge n s ez e
hr
z wi sc he n n s u me n
de
n o w en d g e
Vo
oe
e in e
• D ia lo g
w i c he n
. Se qu en ze n
i n i hr e I nt el li ge nz , hi I mp ul se n un
zu
vo
Ur
. Se qu en z
X II I m es t
q an z n eu en , e ig e
um di
v or de rg ru nd ig e
K on ne n
s en t
v ie lm eh r
de
n te rp re te n
i hr e S e ns ib il it il t
un
i hr e T e eh ni k
b ew e
g es te r
un
A us d u c
ei
h eu t
a uf zu he be n
n t i nf lu en c
si
du
d 'a ut re s p il !c e
d e p lu s g ra nd e
I'autre, Ie p ro lo ng e me n
n iq ue s
c or r- po s e u
p ou r
e s i n st ru me nt s
d e l a 5 e q ue nz a
d e 1 99 5 ( pr ov is o r er ne n s eq ue n e s s im p
d e c in q
s ev o r -I a. r
[ e l ie n d eC IS i e nt r s en ta to n d e a ,o n
o nc ev o
te
e s p l u d iv er s
l a d e rr ue re ) di
m in u e s B er i
i l a d ec ri t c e . di ao gu e
t re s l ar g eu
n st ru me n
c om m
re
e tr o t e
c oo pe -
d e p os si bi lt e
t ec h
o ri qn a
en
d e a ~o n
d e m an ie r
u pe r e le ,
un
t ec hn iq u
e r i nt el le du e l e
e t ' ar ts te -i nt er pr et e a n e nt r
D an s s o
l i' nt er pr et e
o ls te s d e n o r e e po qu e
s en t c eu x q u s av en t e vo lu e d e r ec he rc h
un
e le ~ s on t d e t in ee s
f as ci na n
v ir tu os it e
m oy e
pa
s e VOlt r ed ef in i
c re at iv it e
c om m
la S e q u e n z X I I pour accordcon.
e nt en d f ar e d e
t en si on s e nt r
p ro du c o n
a ux qu e e s
p re se n e r
« Le s m e e ur s
de
I e cceur d e c e tt e oeuvre.
d e v ou lo i
n ec es sa ir e e t c o
t ec hn iq ue ,
e t r es ou cr e
1958
L 'N ab l~ ~c mc n
ou
m ar qu e
u n p an or am a
v ir tu os it e La
I i' de e d e 1 3 co mp os it io n
e s p er tn cn t
d e r en o
p ou r f lu te , q u r em on t
t ec hn iq ue ,
e . l a s en s. tn ht e e l a
t or iq u e
e t e s n te rp re te s
excepd 'a vt re s
ics e ff et s d e m ir oi r e s p l u
C Eu vr e e n d e ve n i- » , t c s SequenzCls r ep re se nt an t
e nr e
d u c om p os it eu r
d im en s o ns .
p a l a v a r ia ti on ,
y l d e B er io , d en t o n p eu t
ans que B e n o t r a
«oeuvre e n d e ve n ir .
un
Las trerze Sequenzas presentees ici, dent l a g e n es e
u tl is an t
s o b es ch r e be n
p iq ue s
m me n
ra on
ge
a l d a e n ts ch ei de nd e
s eh r t re ff en d ek
di s eh r
S eq ue n
i n d ie se n k ur ze n
v ie l u m fa ss en d e
we z u S uc h
e nt st an de n
e tz te n
g eh l e s n ic h
m o de r
s ch 6p fe ri sc he n
a l M it e
b ie te n
M in ia tu re n
i nt el le kt ue ll e
narn-
M b gl ic hk ei te n
b an dw er kt ic v- te ch n s ch e- n
h a B en o m i S it e a u s ei n
b es te n S o li st e
» Se qu en ze n
w ir d V ir tu os it a
B er i
vo
un
s in d das geheime
e m K om p n i
J ah r 1958 b r z u v or er s
P ra se nt at io n
w i s en . D ie se n b es ta r d iq en ,
s ei ne m I ns tr um en t
s in d d re iz eh n
d e i ne rt .
d iv e
d ep lo ie nt .
zwischen
b i z eh nm in Ut ig e S in n
u o nn e l e . C e r ta i ne s SequenU5 liens o'une pertitio»
r ar e s en t c el le s q U I o . n l
iano B e r io . V o ic i q u ar a nt e
se sent pour a.nsi dir dNachees d 'c eu vr e
u nt er -
C E u vr e a l s e m g ro Be s w or k
n s r um en t
de
g le ic hs a
unterschiedlichsten
S eq ue n e n
u nt e s ch ie d c he r
f On f
de
di
d u .r a .r 1 t c es . d er n i. e re s d .e' cc nn ie s
connu Ie succes des Sequenzas
vaitle s u c e c yc l d e p ie ce s 5 01 15 te s, q U f or me n
tur B e o s K om po n e re n
P a no ra m a s pi el te ch n is ch e
au
W er ke n
di
a r rn i l e Q ? u vr e s. c o r np o se e s
B e o s e in -
s ei ne r W er k
e i f as zi ni er en de s
f u r A k ko r de o n
un
Un
Z e nt ru m
F I6 t
er technische
un
50
J ah re n
e rf ol gr e c he s
S tu c
V er ne tz un g
s in d k en nz ei ch ne n
proqresse b eg re ie n
mtlchte
s pa te r
F or ts p n ne n
v ie rz i
u ng la ub lc h
au
l aB t s ic h sein g e ~ am t e
e ig en tl ic h
b at te n
ei
ist
K om po si to ne n
S ei t n un m eh r
haben s ic h a u g rO i3 er e
a nd er e
a bg es p i t er t
«,
m od er ne s
d an s u n
t ex t
de
pa
n te l
p er sp ec tv e
d 'h ie r e t c e l e d 'a u c ur dh u
e t c 'e xp re ss io n. »
pre-
e t s o n n st ru me n h is en
LUCIANO BERI ("1925)
oche di tuciano
0 5I Z. I O
nat negli.ul\im dl! .c.. en.III hanno.ra99 .iunto. l a f e rn e del~e5 E ' q . U . I i ' r 7 z e u es t c id o peZ21 solistici, un "work In progress dl incredi-
I'l
Be e.
bile successo ilcornpositcr
a lt r b ra n e l B er io , altre appaiono.
i nt lu en za t
s o a t d a o pe r
p i g ra nd i
I c on t n u
n es s r a
o ss i d e p ro lu ng am en t
Fompinnung,
t u re ) , s o r
lavora ol"mal da quarantanni.
in progress
~ipotrebb
s u o pe r
brev min iatur
( 19 95 ) i l v i rt uo sr sr n tnteressa
virtuosismo oeosiv
teen-c
u nc a PIU
interpreti rinemati
cinque
ua t'i dea cornposluv
pelese Sid
i nt es o i n s en s
l'i nterprete
n uo v
Beri
indis pen5iltlll~ 'tri l'i nterprete
be
"~Im igliorr sol, s! del nostro terrlPQ- modern nell 'lr 1le lli genza l a c r a ti vi t
di espressione".
capaci di muoversi in un'arnpi di ie
un affa
Fe;W,RIQUE
oggi, adoperando
prosnettiv
In
lero strvrnenti
AMa~ELI"IG
p ou r
S eq ue nz a I V f o r p ia n
K la vi e
v oi c
VOI~
18'16]
( 19 55 )
d e f em m
p e v oc e f em mi ni l
$OP"lno
LUISACASr,llANI,
lu
[8'1SI
h ar p ( 1 6 3
f u F ra ue n~ ti mm e
A I c o- np os i
( 19 66 )
[1
'051
p e pianoforte
F t O R .' ~ l B O F F A R O
rBpporlll aile su
[6'581
que
nell a sen$ibilit ~
storic
per lldulo
sequenza III for w om an '
SeqUf'nl'd
cescntto questo
Sequenzii':
Ie tensio n! ' r
Se ue za IIfo
p i a mp io , c om e trel: d'union
ilsuo strurnem
[6'021
f o flute (19S8)
S eq ue nz a
SOP"I"CH<~Rlt~
B er i v u l e h e I I
ha apprupria tarnsnt
[53221
D IS C
fu FIOte. pour f lu t
i n ~ f fe tt i i l
offron
p ar ti co la r
dr ~billt {l tecnl(o-artigianali:
costante
" Ce rC d
II
5equerlza XII per accoro.on
"dialoqo
sene quel
(h
dlec rnmut, di curata). dall
v ie n d ef in lt o i n u n s e ns a d e t ut t intelle !tual
veristiv«
dell a tecnlc esecutiv< ~egli strurnerm JDil le teroqsnei:
(i oenere tr
1<1presentaz icne
nella tecnic
d el l
diver~e slaccetta-
centrale
p e f la ut o ( 19 58 ) a li a s u u lt im a ( al rn en o p e i l m em en to ) t or e n o
C O MP A C
alia su lrnera opera, d l c u I e SequMi!e
Letredlci Sequenz!', nate il1SIrena collaborazione (o sciria te nanora-na dell e potemia lit a
Sequenzas
henno
per cos dire, corne "jrBmmen'tl"
v ar ia zi on s ( co n I e s u e
appll car
cost.tuis cortc un specie dl arcane nude
Inquest
5eqUl'rliU!
s~llenti de lavcro cornpositiv c dl Berio, al p un t
(ar~t!eristlch
terrnine "wor
co
Alcune
di ri50lve~
f U r P o sa u n
cor-e ,new di
SoNN' SLUCHIN
lI
S e u e z < V I f o v io l
fur Bratsche CHRI>TOPHl
( 19 6
[12·13J
pour alt o
DE~IMDIN"
---,--------------------~========~--~----------------------------------~
[iJ
COMPACT
D IS C
S eq ue nz a
V I f o o bo e ( 19 69 )
[47'441
pou hautbois LASZL
T W D OR O
f o v io li n
( 19 76 )
fur Klarinett
f o c la ri ne t
( 19 80 )
[13'33]
per clarinetto
pou derinette
resonanc
fu Trompete in r es on an t
[14'03J
(1984)
L in d K la vi er re so na n
p e t ro rn b
indo
p ou r t ro mp et t r is cn an z
en ut
d i p i an of or t
GABRIELE C A S S O N E
Sequenza fiir G it ar r
'.'
SC
COMPACT [iJ
XI fo
156'46J guitar
(1987-88
p ou r g ui ta r
p e chitarra
115'191
ELIOT FISK
II
S eq ue nz a fU
F ag ot t
pour saxophon
W o rl d P r em i er e R e c o rd in g
A L AI N D A M IE N S
e t p ia n
IX b f
C O NO L JE R
IX
II fo
a ss oo n
p ou r b as so n
PAKAL GALLOI
( 19 95 )
p e f ag ot t
118'31)
[8'15J
( 19 9
A N ZE L LC T I
fO Alt-Saxcphon
[12'57J
" C a ns o " *
pour accordeo
H R I 5 T IA N W I R T H
J E AN N E- M AR I E
and pian
II fo ac or io
Sequenza
pou violon
S eq ue nz a
S eq u n z fu Akkordeo
HADADY VIII
!l
II
[6'541
alto
pe sassofon
contralt
Th
individual Sequenzas wer
verses fo th
writ te
by th
Italia
auth or Edoardo
i n 1 99 4 a n 1995. In p er fo rm an ce , e ac h v er s c a b e r ec i e d b e o r t h respective S!?qvenZ
Sanguine!i
R e co r di ng s : P a ri s IReAM Studi /E Recording Producer and Tonme~st:;[~all0/1 9r' .6/1995 12/1995 7 /1 9 Recording E,n gln eer,' Jurg~n ance n gl ne er ) H el mu t B ur k ugri e qu en za s I-IX' XII)' "a~s rens (Sequenzas IX b, XIII) Editing: Helm ut Burk
7 /1 99 7
Publishers Univ ersal Edit ion, Vienna Ver>es by Edoardo Sanguineti : tr ·1 Explanatory text to th Se ansat.on by Stewar ueruos. LUCiano Berlo, translation d0 smond-Srnlth vr
1998 D e ut sc h e
G r a mm o ph o n
uenze s o LUCIan Berio GmbH, Hamburg
e u ~ ch e G ra mr l1 op ho n G mb H
bu
A~~~ Ph~~~: ~~lnYd~~~:/~~les Cflris Thomildi Paola Agosti (LUisa Castellani. f'h,Jna Mulas (Gabnele Cassone); Private Collection (Eliot Fisk iope RaE 'derstorf (Chri!.tlan W,rth); All Direction: Hartmu
Pnnted
In
Germany
Pfeiffer
by/lmpnme
en RFA pat Neef, Wittrngen
isthe music of rnuslc accordin
hrif tstcll ers V er s des Italieniscne .Sequenza. entstande 1994 99 ligen »Secuenza reziuert w er de n L uc ia n
Di
5 an gu in et i
Edoardo
k on n e
to Luciano.") fu
b e Autfllhrungen
iede eiozelne v o r c le r jewei-
land. De Dichte
uberqab seiner
Komponis tenfreun
die Text
mi fol-
gende Worten: .In(ip , sequentl i sequentiarurn, quae es m U S l C m u s i ca r u m secunum c l~ nu rn . » E ~eginnt h.er die S eq ue n d e S eq ue nz en . d i nac Lucia no di MU5i~ alle r Musik ist.e) I:~criv ai
italie
Sangulneti
Edoardo
~crit en 1 99 4- 19 9
u n p o~ m p ou r c ha qu e et farrf ainsi office
SequenZd d e S er io . A u c on ce rt , c e p oe me s p eu ve n ~ I' r recites d'introductions aUK piece musicales, Berroet d e l on qu e a nn ~e s d cn na n n ai ss an c ( 19 63 -1 96 5
tcst Gliprese lazlone per Je 1 99 8
of sequences whic
Ausdruc K cr hn t
Traduction fran~il is des po~mes Sangulnetl: programme de I'IRCAM avec I'J lm~ble auto rrsdtion de tr D eu ts ch e G ra mm op li o G mb H ( ; u c e ur s (SequenzillLes lexte r e e na t n ' e ~ Se e (u e f'~ye/~le nz a o n l!t~ e C fl t p a r Luciano Berio el tr"d~ils par Jean-Claude CorOIl rio by
sequenc
B er l una E d oa rd o S a rr g ul n el i verblndet eme langjahrig Zusammenarbeit , die III den Kornpositio nen .Eplfanie (1959-1961), » Ls bo rn tu s I I ( '1 96 3- 19 55 ) u n . A- Ro nn l? « (1974/1975) ihre kunstle ris chen
Spencer
eO ev ~ In fu hr un gs te xt ez u d e . Se qu en z , oB rd o S an gU ln ~l l C hr is ti d UbersetZUrl'J: K ar l D ie tr ic h G rd w e n e : LUCiano Beno.
{19S9-1961), Laborintus ( 19 63 -1 96 5 a n A-Ronne ( 19 74 /1 97 5) , T h p oe t p re s en t e t h t ex t t o 11is composer frie nd with th followin words "Inopi sequenti a sequenli arum, quae est lfiu sic d mUSlcarum secundu begins the l uc ia nu m , ( "H e r
post
du
lu
e t A - R o rr n e
( 1 97 4 /1 9 7 5) .
nguinet ant travaill ensemble depui (1959-1961), LaboriMus 1/
Epifanie
En remettant
se teJ(te au cornpesitevr,
Ie
confie .Incipit sequentia sequentiarum, qua es musica mUSICdrumsecun
l uc i n ur n. s (.Ainsl
m us iq ue Be lo n
commence la sequence dessequences,
qu es la rnuslque
des
L ue i n o. s
per Ie Sequenze S0l10 s ta t s cn tt i d a E do ~r d S an gu in et i i r i l 1 99 4 possono essere recitii!i prima dell'e~e,uzla ne del reldtivo brano Luciano
versi iotroduttrvi
il 1995,
B er i e d E do ar d
S an gu in e! i s o n l eg al i o a u n
l un g
a mi ci z. a d al l
l or o c ol ta bo ra -
zrons sono nate Ie cernposizioni Epdanlf' (1959-1961), Laborintui /I ( 19 63 -1 96 5 C o q ue st e p ar ol e i l poeta ha offert al composito-e test per A - R o n n e ( 19 74 -1 97 5 Ie Sequenze: "lncipit sequenti a sequentiarurn. lucianum
quae es rnusic muskaruin
secundu
Luciano Berio: .Sequenzas
The 'lit le S e q u e n z a
butdid contribut
u nd er li ne s
a lw ay s t ak e a s I
he fa
p Oi n o f d ep ar tu r
Inall thei ,nd,v,duailty ha
SequenLas
t hr ou g
th
w it h t h
th
m on od i
trumpet, trombone),
i nt en ti o
h ar mo ni c d is co ur s
i ns tr um en t
of suggesting
i te ra to n
m et ap ho ri ca l
s en se , a s t h
er
( il ut e
«"rtal
p oy ph on y
tuos
III
disassociati n
s o a s t o t he n r ec on st it ut e t he m of instrumental Of th
i n Sequenza an gestu res
various element
m os t o bV IO US a n
a l w he n b as so o
type of listening
based
characteris tics, an
thei
b e u nd er st oo d
s up er po si ti o
In
o f d if fe ri n
Aswell asInvestigating
d ep th , i n t h
Sequenzes
be
element
t ra ns fo rm ed ,
of performin
v ir -
behaViour,
a s m us ic a u ni ti es . T ha t' s
fo VOiceand S e u en z
11
ea
fo
trombon
o f a n e le ga n
head. Vir tuosit
ofte
th
On
I ns tr um en t
preoccupations an P ag il ni nl , w ho s
an
he
e xt er na l
spring
from
conflict
t en si o
have in common
b et we e
v.rtuos.t
is
e ve n i f
an
a n e mp t
m us ic a i de a a n
corr ssabou when tecnnica
performance stereoty pes prevail over th
w or ks , m uc h a s I l ov e t he m d i
f in ge r th
l it tl e t o d is tu r
Idea asISth th
o pe n u p
p at h
last p ia n
Stocxhausen etc.). an o f b ot h t ec hn ic a a n
h is to r
ne
o rk s deman
an
o lu ti on s ( a
t he n t ho s
of interpreter
m od er n i n i n te l ig en ce , s en si bi li t in wit hin
I mp os e a lt er e
e ch nc a
th
r el at io ns hi p
w it h t h
In
Bach's violin Parti tas,
o f D eb us s
t ra vi ns ky , B ou le z
t he y f un ct io n a t t h
h ig he s l ev e
i nt el le ct ua l v ir tu os it y T h b es t s ol o p er fo rm er s o f o u o w a n t ec hn iq u
a r t ho s
wide historic a perspectiv e and of resolvrnq th
ativ demands of past an
present employm
wh
t im e
a r c ap ab l
o f a ct -
tensions betw een th
cre-
thei instruments asmean 01researc
and expression. Their virtuosity isnot confined to manua dexterit y no to phil ologica specialization
Although they ma operate at diff ering level of understandin g, they are
a bl e t o c om mi t t he ms el ve s t o t h o nl y t yp e o f v ir tu os it y t ha t i s a cc ep ta bl e t od ay , t ha t n am e m a a ls o c ou n a s t h p os e a n
p er fo rm er , a n
c el eb ra ti o
b ea r w it ne s
of to
p ar ti cu la r u nd er st an di n h um a
Another element that unif ie s th S e q u e n z a s i ns tr um en t i s i i t e l
I 'v e e ve r r es pe c t o v ir tu os it y
f am il ia r a sp ec t of vir tuosit
i nn ov at iv e e xp re ss iv e d im en si on s
Beethoven's
f ut il e a n tll,]t th S e q u e n z a s
r at he r d ia ph an ou s c re at ur e w it h a gi l
al to
an
i ns tr um en t
b et we e
ismy ow
case wit h o f m US IC ,
p ie c o f t h e m u i c I la ng u
p at he ti c a s m ig h
b e a n y a t e mp t
sens that music a instruments
b y u s in g t he m a n b y t r yi n
t o u nd er st an d
g e T ry in g t o I nv en t
in en
l an gu ag e T h c om po se r c a c on tr ib ut e t o t h
ne
e vo lu ti o
o ft e
c om -
S it ua ti on .
c an no t r ea ll y b e c ha ng ed , n o c a t he y b e d es tr oy ed , n o i nd ~e d i nv en te d
etosc I ma g
pi
instanc of tensio
a n w it h i t e q ua l y c om -
I 'v e a ls o a t
m us ic a c om me nt ar y o n t h r ap po r b et we e
and instrument
w ha t h ap pe n
s pr in g
d ev el op in g
a nd , a bo v
h ou l
an
charademtic s
speCifiCtechnic al aspect t o d ev el o
p ie ce s a lm o
o bo e c la ri ne t
polyphoni
e xp os it io n
modes of action and instrumenta t im e t ri e
0 1 t he s
o f d ef in in g a n
part on th rapid transitio n between diff eren
s im ul ta ne ou s
th
io
o f h ar mo ni c f ie ld s f ro m w hi c
other musica functions. Infac almos alllhc
i n o mm o
m el od y a n e ss en ti al l
d ea li n
I~
t ha t h e o ns tr u
a s e qu en c
to th development of Vio li technique. Anothe
a ri se s w he n t h n ov el t a n c om pl ex it y o f m us ic a t ho ug h
m us ic a
ne
on isa
g ra mm at i a l r ul e i n o u
o f m us ic a i ns tr um en t
o os r factum,
t h c om pl e
that evolution, refl ecting asit does socia l technological an economic conditions n o m er el y m us i a l a n n um be r o f l is te ne r f ou nd l a tt ra ct e ta
a co us ti c o ne s A t t h
an
i nf lu en ce d t h
of th
t h e ve r- la rg e s pa ce s n e ed e
c on st ru ct io n
b y t h s lo w a n
en
d ig ni fi e
an
th
e nu r
t o a cc om mo da t
th
o f i ns tr um en t
an
P er ha p t ha t' s a no th e
and
g ro wm g
t he m
t ec hn iq ue s o f a l I ns tr um en ts . I '
t ra ns fo rm at io n
n d v oc al ) t ec hn iq ue s a cr os s t h e c en tu ri e
18
o nl y
n at ur e o f
pro-
m uc h
o f i ns tr um en r ea so n w hy , i n
all m y S e q u e n z a s I'v never 'tried to change the genetic il1~eri!~nc of the Inslrurnen't
nor sough! 10use it "against S eq ue nz a
it ow
('d ture.
most strongly charsctenzed tiall y hdrrnoni
to suggeSt, throug
o f l is te ni n tw
th
melodically. II wa my
Spee 01transformation,
of differing s O l m d charilc ters and differing figures,
T h c od e g ov er ni n
th
part 'fol asolo flute. Nowadays
t io n~ hi p b et we e
e xp l f. l a n
B ar oq u
e r a l ow e
when writin
l rn pl id t
re
an
co(l(entratio n poly phoni
o n t o w ri t
fo monodi
vir tua polyphon
typ
f iJ gu e In
instruments, th
reld
ha 't be invented
anew an stands at th crux 01musical creativ ity
Sf!quenziJ wa writte
In '195 fo Severino Gazzelloni
c ha mb e
m us i
an
b ec om in g
o n r e m p or , 1 i i m m e d i at e l y otter graduating
In
iJ
Inrer~
m em be r o f h e E ns em b
1979. S i nc e t h e n s h e h a s g i v e t h e lirs;
performiJllCeS of a n i m pr e ss iv e n u m b e o f w o rk s , i nc lu d in g P ie r r Boulpz's Memoria Ie, U l io t C a n er ' Esprit rude/Esprit deux an As
iJ
Ion-tbet Ti~l's Chu Ky
r e a c he r , t o o , s h e s p e c ia l iz e s In c o nr e m po r ar y m u s i ,m
f o f lu t
n o r o n l / lO / o
a n d t ap e . c h ai r a t
t h e P a ri s C o ( )s e rv a m ir e b u t h e s g i v e n m a s te r cl «s s e er t h C e n lr e A c a nt h I' S a n o else w h e re , f O C Us in g i o s rt ic u te r o n r h e W O r k s o f
10
LUCldllO
(OU9 .'jnd r i gi d n o i se s :
S e r i o a n d P i e rr e B O l J le z .
v e o f te n e xp lo re d c er t I n s pe ci l. c t ec bn ka l a so cc t
of chdllenglng, as In Sequenza /I
'fo harp, th
conventional
\0
n ot lc n o f t h
instrurnen: French "impressionism obvio u
h,15
left
iJS
with
rather limit e
characteris tic were that of lendin
with long blo n
tresses, capabl
of drawin
visio n of th Ila rp, as if its mos
itself to th attentions of loosel rob.edgirls from it nothmg more than seductiv
glls~
sandI. Bu th harp also ha anothe harder stronger more aggressive tace Sequenza 1/
seeks to Ill umin ate certai
ly: ~ometllT1es It m us t s ou n
Sf'quenzclll w a w ri tt e
of t he s e f .c e s e v e
making the
throug
it.
t h e h a r p u n d e P i er r eJ~mera t r h P a r i S Conservatwe
s t ud i e
n d , a r m e d w l r two premiers prix. J o in e d t h e O"npsU s e q u e n tl y d e c : Jd i n g c o p u rs u e witI'! w ho m s h
appear simultaneous-
forest Wit h th win d blowin
l ik e
i n 1 96 3 'IOf Francis Pierre.
F r ee J er iq u e 'C i lm b r el in g
Th fiautisl Sophie C h e rr ie r s tu d ie d at the ParisConse('ll.3loirt!,winning plemler~ pri for flute a n
ur
I'v tned In my Sequenzi1s to prOVide c om m e nt ar y o n t h relation between t h e v l rt u o
sequence o f h a rm o ni c f ie ld s Illat generate, ill the
maximu
h ar p
so d n h iS i n st ru me nt , a n
ways, other m u s i c a l functions, W it hi n t h w or k a n e s se n
discourse, in COnstant evolu tion, is develope
and alfernation
fel
I1av(>
f o f lu t
Sequenz,) h,n as Itss ta rt in g p o -n t
IIfo
h a v e h e a r d c h ai n s o f c o lo u rs , musc;ularly .:J9gressM~.
a n d h er e beginS y o u d e s ir e , which i s t h e d e /m u m o f m y d e si r music; is t h d e si r o f d e s ir e s
mtent.on
Sequenza
i)(et!r
b e s a p p ea re d b ot h
Nati onal
F r a n c e, o n l y s u b -
salois 1' A m o n g r h m a n y l e ad m g o rc h es t ra s
me an
a br oJ d a r
r h O rc he sr r
P h h ~1 ~
m O l 1 l q ue d e R a d i o trsrce. I h p O r c h p5 I f e N a f l O n . J 1d e L y o n a n d t h e E n s e m b l e O r c h e s tr a l dp P a ri s. S h e h a s b e e n
Sequenza WJn!
an
{J
m e m b e r o f t b e E n s em b l e I nt e rC o n re m p or iJ i
IIIfor woman's
s in c e 1 9 9 3
voice
y ou r w or ds ' a n d w a n t
to
d e 5 1r oy t h e m , i n h a st e , y o u r w o rd s :
w a n t t o d e s tr o y m y s el f m e , f in a ll y t ru l y
Th voic
alw Jy~ carrie
wiih
It a n e xc es s o f c on no ta ti on s
F ro r t h
m os t i ns ol en t
nois
to 'the most exquiSit
to somethin frie
song th
voic alw ays signifie
othe than itself an create
't assimil ate into
something, alw
vast rang of associations
In Sequenza 11
mu,ical process many aspects of everyday voca behaViour
t ri vi a o ne s i nc lu de d t ho ug h w it ho u
a l ow in g t hi s t o d is ta nc e m e f ro m c er ta i
a s pe c t a n d voca behaviour a bl e t o r ec ov s
f ra gm en t
f ro m i t o n d if fe re n
t o l a w as t
t o r ec om pO s
them Into unit that ar no longer discursive bu mUsic al. Inother words, Ihad to make the tex homogeneous
and able to lend Itself to
proje c that essentiall
(OnsiSle
In Sequenza III the emphaSIS "shadows of meaning"
whic
i s p la ce d o n t h s ou n that accomp~n
s ym bo li s
o f V oc a g es tu re s o n
them on th associatiOns an conflict
they giv e rise Becaus of this Sequenza III can al~ be seen
cal dramaturgy whose p ri m c on ce r th interprete on he ow voice. SequenZil/l1 was written
is in
cl
eerrair 1 sense, the relationshi
betwee
teet:
hi ow
v o a l w ok s
w a f o h e t ha t
recent Opera, Outis, ari she haspedorme f ol k o n
r ra ng e e nt s
al
Ensemble InterContemporilln
ve th
w or l
Clos51calrepertory and is
ui
f re qu en t
dialogue between l T
Ad
III together wit
C ds t l la n an
Sh isequall
v is it o t o m an y o f t h
tt
in iSmo
Calmo an in
w or k
also teache
dw
Thepianist f/orent Mounte at the Pan Conservatolfe, chamber
iJ
musrClan.
rnc
th
Rattle
Pierre
au ez
I'
f t m r
an
eL
embarkmg on I'
contemporilry
sottoro
IS
ca er as
pedal.
both as sotoet soloist
he has per
w'th conductors of th statur
durmg
f w Gydrgy Ligeti Klaus Hubli!r, PhiliPPI?Fenelo
d to t e
and Germaine
'A
, ' r h
Hemz Holilger
. e 1988
d a
ned to the sustain in
s si g
premiers priX I'
wm
diversely cher acterized ta dl
compose,
ha been
member
time hehas give
01
of tn
tlie firs per-
jarfl?lI Since 1997 Florent
has taught at the Paris Conservstoire.
contemporary
at horne, howeve w or ld '
it
n e
time interpenetrate on ope simultaneously on t h o th e i n a c e t ai n s e s e V I t ua l a n keyboa ,a ydeCo Seouetv» IV was written ,n
performance
r ea te d t hl ? r ol e
Sequem
,]nd EIl5r:mble Mode
music on bebet! of th European Communit
12
interpreter"
transform myself witli my veins,
tiwrots.
of exploratio n throug
as
( ar me d w it h m an y l e
Luis a Castellani is Bena:Spreferred
many othe
up ioslde all you eye
development of
Si Simo Th Irafta Sopran
r p
shu myself
Seouetu » IV can be Viewed
and as
,n 1965 for Cathy Berberian
a I
myself agains all your many
to
study In mUSI-
3S
dra
w it h m y
of
eXorcisi the excessof connotatio ns by c om po si n t he m i nt o m us ic a u ni ty . H er e I S Markus Kutter's short, "modula r" text for SequenZd III: Giv e me f e w or d fora woma to sing truth allowing us to buil house without WOrryin g before ight Comes th
MiliJn an
ca
opera houses
of
t o the text so as to be
e xp re ss iv e l ev el s d n
leadin
i nl er -
hinge
h a d to bre~~ up a n s ee mi ng l
halls aswell asappe r'ng at the Opera Basrille, Paris,La
in th
f or em os t c on ce r
13
Sequenll
for trombone
to
sa
sa
SequelUd
(alg estures
wh
say why
a ~ a s l ud y
actlem simultaneously
11
and mutually tr~nsrorn1S t h e $ o ~ n
1 1 S 1 1 1 t ru m n t er pla yin an sin
Inor
transformation eVO
neous
)a
required (vo(~li latlo
in
strang
s
t
und(>~andillg u ni t
1 0 at t
the (lege!'e
of
an COmplicate
I ha rt h
ways SIlTiulld
fro
in
o ok ,
a sk e
I w an t
0d
vl/l on
t;11'
mUSicalCOmmen!dr on
~5t;:~~f~~;:t,
id 't
wntten in 1965 for Stuar Dempster
as
IS intended
of
C ol og n
As
homage t o G r ee k and
Sluchin slIJdif!d.n the ConserviJ(ory
B en n
I s a el t o lc h m ro 'J s an
f ou nd e
since
he wa
r il e
m e mb e
p ie ce s b y X en ak is ,
on t h
re
is the generativ e n u cl eu s 0 1 t h e piece.
w hi c
in h i h om e
o f T e lA v i . m t i l t h A c ad e m y 01 MUSIC In JeruS
k no w
hu
w ar de d
mad
busa
o f t h E ns em bl e
research
G lo bo ka l he
e ch ni qu e
n re rC on re mp o a i
G r s ey , D U a p o f ecoostics
el
f 'V ov e
c o s ru d
V in k
ha
G lo bo ! a r
experimental
h e h a g iv e
pr
in
mUSIC,
h e f is t p e
wh
be
Carter Ar I RC A M h e h a e ls a under-
an
an
p e f o m in g
w it h
o f contemporary.
s p ec ia li s
wn
num-
wilh
p ub l s he d
c on le mp or ar y
s ev e e ' p r z ew in ni n m us i
Of)
b oo k
t h e t r om b o n e .
sepalatln g ou ele ments of oo
e
Slale,
t
VOC
IS lh
hi~~i:as~:tll,
mUSical u r n I s . s e q u e n -
and Ins1rwnentalg!'sture
:e~9h:o~'r
11
Oneglla : he
Sl
lus geniu s ~~:Sl:::~:lt:nr~~~~t~~
o n o f i S pe rf or m n ( D Ul in g o n o f h ' . , In
an me mandann Iro
I 'n y school 1 1 1 5 garden
n am e w a all too notice of him, prevente ou ele ven di
(avow
me !ror
have th Oppor-
at Porto
M"UfIlIO,
wi
Wdf
once
b e y ou r v e
y ou r l iv i
c al m
s lo w silence
Ilvet!
en tal garden Wit tes to ~tl'al oranges ,m
Sequeriza VI fo vio l my capriCIOUS fvry my so
s tr ea m
ro
w hy ?) .
t h t , I d id n' t s te a a n
hisgarden,
l S dell r ro mb on ls t
Th
" w r ur n
t h A fl e
l O T h e Englisl1 version o f h i~ w dl 'u lr i- wh y
tdken
in
way In and out of 5 eq ue nz d tof
t he n did u nd er st an d
14
orange
is or c r a n
bo
an
would clamoer Over the was child lh
i l ar , d n
voice nl1d inst.u
achiev
a,
l it tl e p ag od
110
: ~ ~ r v : Ibp[ween S
f t
n t w
h~sto under e a s y m a t te r co rdin dting
of
havio u in orde to reconstit ute them in n
to laug
inS
A s I n S e q u e r u « /1/ for voic e, trie the rela tio ns between the Zil
r w or d
5,t;!
n9 11
men! must be cr~pulOlJSIYres~~:~:;~'L~:tr~~ :~:
the 5Upl'rpOSllion of rnU\I-
it
whethe
S e q t e nz «
V. lor trombone cen be uno dnd dctlons' the
or his VOic ean 'rile ~alJ~d prap °rrm,ercombln~ take tw
is au ie ce
wr
wh
and
IS complicated and eminEntly muslC
S e q we n zi l V I 'for vio la , writte
lo
sible sens of tl'1 31term, is
work of considerable difficult y (a Indirect , m d p e rh a p
r' the uncout
moder
perlormfr
11
the broadest anu most respon-
homage to Pag runrs Capr;w) whic h continuoLlsl
~nd t r an s to r m s t h e s a m e b a si c h e r- n on . c sequence, I t' s on the rela tio nship between module appe
only once Although th
Inthe years tha foll owed
that lire repeated frequently
pie c is prevale ntl
th unexpected an ali e formatio S eq ue nz a
repeats, deveteps
f or m a s tu d on reperirlon,
of
harrncni
1/1
an others wllie t nature,
It
ends wit
melody
V I a ls o b ec am e
s or t o f m ou l
suc as C h e m i n s /I (fo viola and runs instruments and C h e m i n s
f o o th e w or k
11/(fo viola and orches 15
t ra ) t he s t io n
f ur th e
of th
d ev el o
th
o ri gi na l w or k
Sequenza VI as
h ar mo ni C c ha ra ct er is ti c
the
h il e l ea vi n
ol
an
th
p ar t i nt ac t
s ig ni fi ca n S o o n e ca
a rt ic ul a consider
the Central element of an idea wit h three faces.
Sequenza VI was w ri tt e
B n a tu ra l t ha t m a b e p la ye d piarussrno. Sequenza V I I w a s w ri tt e
i n 1957 ta Serge Collot The Hungaria
T h m us i o f t h s ec on d h al f o f t h th French violis Christophe In
20th centur
Desjardins
tercor. temporam an of th Ensemble
he ha premif.red solo work
wh
Christophe
is cenrra
(0
ha been
'5 string quarte
th artistic concerns of
member
sinc
to hi
Desjardins studie
hi
with Serg
GlUranna in Berlin HIS w or k w it h L UC ia no B e ri o l e for clarinet, v/Ola dnd orchestra, piece tiis Amsterda Concertgebou III 7997
of the Ensemble
1990 durrri
by Ivan Fedele Deni Cohen. Patric
ers, In 7990 Philippe Boesmans dedicate ensemble
whic
Marcland an
Surfing fo Viol an
time oth-
chambe
ColIO! in Pari ilnd With Brun t o t h c o p os it io n
o f Alternatim
received its first performance
the
VII f o
est Followin hisgradu~ti on ap t h H un ga ri a S ta t S ym ph on y il1lfliJil y as solo obOist w. InterContemin 1980 and 10lnlng nsem to ar Orchestra, befor movm rke wit many international orches poreir. fven at tha early date, he ha already wo t h C hi ca g S ym ph on y an rres such as t h P hi l Ulszl6 Hadady Orchestra. In addition fa tvs professorshi at th Pans Conserv.Horre, give regul,)'r masterclasses ali over th
S eq ue nz a V II I f o
your profil e is one of my frenZied landscapes, held at itis
fals fire of love that is insignificant:
sometim e tio ns an as
dramati
b y a s or t o f p er ma ne n
one
between 'the extrem
th slo wness of th
c er ta i
f ix ed ne s
Composing
increaSingly insis tent presenc i s no t
i th ou t m em on e
of th
With Sequenza VII ( as w i t s oo n
16
th
IS
asit
f o m e a v er y e x pr es si v a n
velocity of th
p ro lo ng e
of cerldin interval c o a ng la i
th
~ bs en c
Sequenz,)
instrumenta
a n the
(the perfect fif th, fo example whiC
i n Tristan)
" an al y e d
byth
ofth
11 W3S
v:.
c la ri ne t t ru mp et , b as -
c on sa n
s ol o p ar t IS
p re se nc e o f
" to n
",
r m ring and
ai
ap ev struments in exis tence If almost all
camp ex In
very restrrcte
CrlOK
a s f a a s t he y w il l g o Seque ns
en
v id e
i~no longer virtue as
Sequenza VIII if Chilconne
nlques
th
nz
of instrumental VIII present
(Aa
lean constantly upo tw note s k ' r at he r d iv er s I e c om pa s f o
Sequenza
poly phon
v ir tu a p ol yp ho ny . I n t hi s S eq ue nz a t h er
articula
my other 5cquenzi!s o f s o r st i b ch av .o u
work's progress such
o f c er ta m n ot e
S eq ue nz a f o f lu te , t ro mb on e
c on ti nu e m y s ea rc h for
placed In perspective,
c on l ic t
mUSica processe that sustai
o f r eg is te rs , t h
yw
oy au that yo sr my vocative
I s e a s o n o f t h mo Sequenza VII i s i nh ab it e
it
worl
distance
it is dead
In
v io li n
have multiplred my VOic es
ilnd no
o bo e
L as zl o H a tre Franz Liszt Academy
ObOISf
w it h y or g in 1979, he worke
for you
Sequenza
en
i n 1969 fo Hein Holl.qer.
)W nd
possibilitie s an broader an more
,asi ra
ha on
pr
pr re d i s t
s t
.om
p as t p re se n a n f ut ur e c oe xi s
Sequcnza VIII w a w ri tt e
i n 1 97 6 t o C ar l
C hl ar ap p
17
of
member
the violin
stUuled
premie prix ,
a wa rd e
e E
t t e A
S eq ue nz a I X b f o a lt o s ax op ho n I985 a n d I Sd l s
In
q U i J rt I ! t
Ir
IS
u ns ta bl e
yOII.
rillS f ra C lu re d
f or m of m in e
S e q ue n z a I X for clarinet (and IX likE dlmost al melodies S eq ue nz a
develap~
IX
two different
p it c
Sequenza
wa wntte
IX
w a w ri tt e
e qu en za l
o h
les redwndancy
consta f
W ir t
l e H a a ne r
t e mp o ra l f' !
n~) IS
In
e~SClice l o n
m e lo d y an
I &) d in g
s in o :
1m
60th birthday l n a ls o t h sioned g il /f !
t ha t h e h as r
s ol oJ 5 i n E ll io t c el eb re t
r eg ul a
i r 2 0t h
m iu te rc li lu e
mon ogue
ways fix e
In
the sam
by great mobilit y.
_'~..J
E'Ql, v",",
er ' 1/ 0
el
for Deutsche
C/prmer C o n c e r / o
ne
til
IIiJ5
e w
at
I nt e rC o n premiered
II' f o c la r n e
an
op
wi» hh If
n.Ala
D am le n
E n se m b l
wa
c o mm l S
Claude Delangle
t ra ns fo rm in g
But seqvenzd Xfor
works w it h r h
on
intrinsi trumpet'
entirely (i cn sets Jsid t hi S S .qlJenza ther ment~" Th trumpe
E n s em b l
ilnd o i m e
in C o l m a r
ill t h e C o n s e rv a t oi r e
o ve rc om in g
I di om at i
and piano resonance fleeting refelence
In
th
G ab r e l
C a s on e
s ru d e d
na
i i J p p e a r e d as m od er n
m pe t
or "cosrneu
adjust
I w ay , a n p e h ap s it is preciselv this
most l a b O r i O U S
u mp e
of all
Seq~lenlJs.
S in c
hiS l 1. Jt ,v e U r i n e a n d
He h a
m~ljiCl~n,
d eb u
at
SO/Olst all over rh w o rl d , p e r fo r m in g v e v e t ru mp et .
Wit" them almost
198 for Thomas Stevens.
a n orchestral ns
(o
Sequenzas.
Israel national anthem HiJTikviJ).
'tr~mform3tions,
u~edina dlfect dnd n at u
was written
o f a n i ns tr um en t
of myprecedin
instead dispenses
to th
aren't even an tirnbIS
a sp ec t
ie rens (Onserv<1toire an
tb
Paris Con-
5 C ~ op l 1o n e c u er -
I n le r Co n te m po ra i n
10 he musica developmen
nudl'l whic h rnake5 S eq ue nz d
sequerlza
n te rn a
dl the
commit ted exponent o f c o n ten ! po ri lr y m u si c
dnd c.Jsually.
a t l en g th ,
r ap e .J
occasIon of LUCliinO Berio's
uc>mbles'
and piano resonance
er
18
.}no
a n d c / il S P me if! e c h o e s , in reflecrions
describe m y / i r l l i a ti o n s
A s~ lm "i lt in g
n s em b l
t h l rI an y
798S
en
b ie :
hiM wmter. new pieces for 1 1 / 5 award· w m nm 9
Xfo
an rein ormatio n bet\NI~e
most
en in 1980 f' aetenzed OrMiche Amgnon in 19 f o ( la ud e D el an gl e
i~ f or ma ti o
mm
orchestras and a ls o e l h e
F re n c
c on s r
note s tha a r a l
t be t t im e I S P ,e rr e B ou ,e z' s D'~I
an
t h $dJlophone with
frequently
ice)are sometime
u ur m
un ab
s to dt e
NUmCl'()llS c o m p o s e r s
eXCl1ange and .
er
servstoire <'lf1dsince Ih~r time h as b e e
t ha t t re m bl e
tor alto
f ie ld s o n o f
e gi st er , a n t h o th e
C h, i i a
v ~ . " ' ,r"cra
a n d i mm ob il e
m, yo
ic i s y o u , thiS f r ac r ur e d f r ac r a of m i n e rhalll'Cul'f15
Sequenza IXa for clarinet
YO a r
my frilglle
E qu al ly a
wo
composirlon
n e 1988 S a z bu r 011 b or n
horne i n c ha mb e
m us i
th
F es ti va l
ruture! an
Mllall.
In
nile,onJI an
n u me ro u
he ha
t ru mp e
concerto
an
repetto-
19
ry hi programmes teaches
ar
featur
both c/dssica an
the conservatory
seminars throughout
NOVaradn
In
Europe an
comemporar th
works. Gabriele Casson
School of MUSIC.and also tuns
Mila
Sequenza XI fo
bassoon
move ver slowly
the Unit ed Stiltes.
l oo k a t y o u f ro m all sides, explor
you facets,
touch you
pensively: Sequenza XI for guitar
find yo
ru
enclo se you witiur;
yo
circle and
inrerrup
Id Sequenza XI for guit ar wa concerne lomatl harmon that IS bound harmony' th pass
I nt e v a o f t h
g m n te d
ahretalSfo h Pr es en t, o n
rt
to develo tunin
etween these tw rt
ou
n5equenza
dialogue between t h e h e av i l at the instrurr-snr and
far-flun
harmonic territorie
XI two InStrumental
experimental VISiono th instrument n t .an
and gestural st les
thes tw Th dia lo gue betw
"histories the en 1e tw
aco nlzable figures.
cI
Sequenza XI w a w ri tt e
only wh
clessic et work w ro t
b ot h
20 '~-
)1'
des(nbed
in
my mor dlm enIS
ear
pur-
recoq-
instrument
Elio
Fisk wa privatel
taught fo
m'n
you, trembling:
torment you, terrifying:
n am e f o h im s If
bassoo
:y
a mo n
t h m an y
o n t h t ac t t ha t p er ha p
presents itself
artic ulatory possibilit ies and differing timbre and dynami if
circula r structure: it runs beck an
l or t
ter of the instrument, Wit continuousl signal th alternatio th
m or e t ha n d n o th e
abov al in th extrem
regis ter of it
as possessin contrastin g personalit ie~: wit differing morphologies,
i ns is te nt l
betwee
I di om at i
in
of th
l im it e
differing
characters. S eo ue nz e
gli ssand
betwee
th
XI
extrem
has
regis-
diversifie d tempo rela tio ns Recurrent figure
th dif ferin
i ma g
a lw ay s a cc om pl is he d W it h
ambit s of regis ter an of temp
I ns tr um en t
i s f r eq ue nt l
Although
t ra ns fo rm ed ,
t hi s i s
n um be r o f a rt ic ul at or y p ro ce du re s t ha t f or m an
organic par of the music 's progress. For example . the rapid alternatio n (real trernolandi) betwee
dis tan regis ter prod
ti1e f us io n o f a l t h
Among the prin cip al years
turn as on of th worlds greatest enists. B u i t i s n o
that Elio Fisk ha made
range
th
crea tio« of
esat time
coustic and harrnonk
Sequenza XII w a w ri tt e
1 98 7 and 1988 fo Elio Fis k
aymg IS ucrdno Beuo, e u a XI , Chemin VI for him In order to increase fll instru he ha a/so trdnswbe n um be r o f d P r g gcnm He reache dl the Mozarteu 111 Salzburg an at 'I ew Eng and Conservatory at Boston.
ment repertory, , H tf
b et we e
American guitafls 1M0
bein armonl
sued
Th outstandin
er
bein th
h aV in g i t r oo t I n t h f la me nc o g ui ta r t ra di ti on , a n t h o th ;
classrca: qUll ar the
at
that transforming
Sequenza XII i s a k in d o f " me di ta ti on "
you, Idisrup yo
wm
ent
this wa an
ouente pseudo~ddn
again, my unnarura
i n 1995
ne
an comple
timbre generate
by
characteristics acti ve at tha moment
Pascal Gallais.
enist«: con em of th Fren(h bassoonist Pascal tJa/lois ar th
ne
repertor
fo hi chosen instrument and, at the Sdme time, the desire
t o p as s t hi s n e
r ep er to r
o n t o h i s tu de nt s
teaches the bassoo 1 98 1 a n
h a a lr ea d
He has been g iv e
th
at th
Pari Conservetoire. w he r
membe of the Ensemble InterConremporain f ir s
o er io rm en ce s
5tockhau5en's In Freundschaft fo solo bassoo
an
o f m an y n e th bassoo
he
since
w or ks , i nc lu di n versio
of Boulez's
Dialogue de l'ornbre double
21
S eq ue nz a an
so
XI
o r a cc o d io n
( ha r
the cardstrophe
" Ch an so n
us. g e nt l
c on s ol e
is wnivn,
In
tuciano
e n cl os m g
o u r b e e rt s . b u t it l e m a in s c o n f in e d . e n t r en c h e d :
D e r T i re l » S eq ue nz en . yo
h a a lr ea d
u se d tile a cc or di o
as
m en ta l g ro up s a n th
e nc ou nt e
1 0 1 I 1s 1 ru m e rH , a n
o t he r
ma
Iy looking o u s g r ow t h
ad1 th
p op u a r
of t h
to the f ut ur e
F un kt lo ne n
as
i n w h ic h
t i1 1 nk l n
w hc h I rI ~t ru rr l€ n
p os e 1 11 y s1 2 1
of the
m or e
ha
d ur in g
< ln y
recent
pr
C a lv in o
w o ul d
wit
s ac hl lc h
the accordion:
Hi)
rnern-
say) of tl'\ f~instrument ,n continu-
m sp lf e sel
th
c ou nt le s
h il S a lr ea d y
K a ge l
c co ro l
i n st ru m en t
R ih m
c om pO Se r p re m ie re d
S i oc kh a us e n
led I n K a r ls r u h
'5
an
l a rl y g iv e s i nt e rn a ti on a l
s om ew ha t
to find
p op ul is t
p l ac e for I{self to
Wflfe
/11
lnstrurnente ( Fl ot e P o sa un e
S ax on ho n
T ro mp et e
r en s e nt st eh en ,
spiel beruht. v e rs la nd en , w e i se n
d e t ei lw el s
are pieces dedi(
m a st e rc la s se s .
T eo do r
A n :t el lo rt i
/la,
P ol yp ho n e . al
l h, ,l t h e h i m -
s en , i nd e
10 111m by S e ri o
A n z e l o tr /
WiiS
w or ~
G l ob o l a r
I -I ot li ge r .
born 111A pu li a d n
s tu d
and
regu-
reaches
miert,
III m u s ik a lr s ch e r
Vo
de
V i u os i a t
z wi sc he n
W e{ hs e
u nt er -
Z us am m en -
von
Sinn
Aktlons-
v er su ch t
e in lg e
spe
de
V l u os e
K om m en la r i so li e e .
wn
e nt st eh e
ur
s l d an n
ei rn z u l a~ a ns to r
E i n he i t (lufs neue zur Erschelnung
T he at e
v er sc h e de ne n da
All
p ol yp ho ne n
I n st r um e n te l 1- C h ar a K le r e
fur S um r e «
s el n w ol le n d i e i
de ei
h ie r un ubertraqenen
m us ik al is ch e
k h S pl e w e ~ e
S eq ue n
t at -
A s pe k te n a u f den Grund IU gehen.
a be r ~ uc h c in e
E im a
und Oberl~gefung
h ab e i c z un ac hs t
t e ch l li s c he n
n a c hr n
un
- Se qu en z
d e s ti rn ml ic he n M er km al en ,
h er vo rs te cn en d
un
di
Or Po un
de
zu b ri ng en .
u ne .
o f e ns ic h h ch s e .
(h
v ir tu os er -t um .
a ue n werm d ie se s W o r
e r a bs ch at zl qe s
un
v le le lc h
da
un
S il d e in e
e le ga nt e
di
e tw a
D ie s lst d e
qe or
d e i ns tl um en ta le n S eq ue nz en .
va
s og a
mi
n ac h h dr -
O b oe , K la ri ne tt e
g le ic hz el tl ge n
wl
v or fu hr un q
su
zu verdeuthche
be
a u d er n r as cn e i hr e
u n d v o n v e rs c h ie d en e n
t ns tr ur ne n
so
un
f ol ge n
Wesen
F ag ot t) , e m E in dr uc k
C ha re kt er e
o e S tu cK e f as t i l" H l1 ~ 1
mt
m u sr ka ll sc he n
Wegen
vo ale
501"
strmrmqe
rile concert 11il1le nd , i n d o in g so, has
for it
(llld lender. I e od o r
T t o' ss in g en .
t ea ut en on .
m e lo di $c h e
de
A nl dg e
n9
. Se qu en le n
Z le l e in e
D ab e
I n d e n . Se qu en ze n
Inti'e f;)ce rh
V e rl au f a u
a ue h d i a nd er e
F as t d l t
g em em s am e
z u e nt wl ck el n
z i fi s ch e n h el p er i
d i T at :s < lc i1 e, d a l d i A us g
n er vc rq ah en .
de
monlkalen un
u nt er st re kb t mo sc
C h ar tl kt er is tl ~
s ch ie ch cb e
spontaneous
r on do ) o f my r e li l ti o ns h i
( a t ta l
n ts . SU
the songs o f t Il l
a ng os , a n j az z
d id n' t
H o ci ls tm a i
iJ cordi
e xp er ie nc e
rr is made: I '
t o the country,
r e ci € ti n lt lo n
i ns tr u
1 '< I mi he ~
Fo
rnWII-
Within
till'S!' precedents.
irnprovuauon
(a
to
SeQuen,a X l I I c er ta in l
"hioden"
3ppr
w ll l l
by t h w a
c lu bs , A rg en ti n a n
ha~ contributed
e x p er i en c e
yi
rm
50ngs ~ung dUring t ri p
d ec ad es . B u w it h
d if fe re n me
to c om e
t h er e fo r e
c la ss es , o f n ig h
e x pr es s io n
t we e
A nz el lo ll l
w h os e i de nt l1 y i ~ ( J et er rn in e
a cc om pa n m en t w o k in g
t im b r e m e d ia t o
W it h T eo do r
i 'l ' IS r o ot ed , a n
Vdr,ety of occasions,
on
Sequenze
Berio:
commonly:
IJS,
un
G e st en .
g em ei ns a ab
e in e h o
l ae he l
b li lf li ic he n
F al l
g es e l !
s in d
h er vo rr uf e M an ne s
1St
die
M rmm ma
m i f li nk e 23
