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EXTENDED TECHNIQUE AND POLYPHONIC WRITING IN LUCIANO BERIO'S SEQUENZA XIV

Published online by Cambridge University Press:  03 April 2023

Silvio Ferraz  and
William Teixeira
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Abstract

This article discusses the use of extended techniques by Luciano Berio (1925–2003), focusing on his Sequenza XIV, for cello, finished in 2002. Our analysis attempts to demonstrate how Berio uses new ways of playing the instrument to create a kind of polyphony. The article references a large number of writings by Berio himself, including sketches, drafts and early manuscripts of Sequenza XIV, including exchanges between the composer and Rohan de Saram, for whom he wrote the piece.

Type
RESEARCH ARTICLE
Information
Tempo , Volume 77 , Issue 304 , April 2023 , pp. 73 - 83
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Copyright
Copyright © The Author(s), 2023. Published by Cambridge University Press

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References

1 Ferraz, Silvio, ‘Diferença e repetição: a polifonia simulada na Sequenza VII de Luciano Berio’, Cadernos de Estudos: Análise Musical, 1 (1987)Google Scholar.

2 Berio, Luciano, Remembering the Future (Cambridge, MA: Harvard University Press, 2006), p. 125CrossRefGoogle Scholar.

3 Berio, Luciano, ‘Forme’, Contrechamps, no 1 (Lausanne: L'Age d'Homme, 1983)Google Scholar.

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5 Osmond-Smith, David, Berio (Oxford: Oxford University Press, 1991)Google Scholar.

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7 Berio (1983), p. 84.

8 Rohan de Saram, interview with William Teixeira, London, January 2014.

9 On the subject of stereometrics, see Ligeti, György, ‘Aspects du langage musical de Webern’, Neuf essais sur musique. Contrechamps, vol. 10 (Lausanne: L'Age d'Homme, 2001)Google Scholar.

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11 Berio, Luciano, Sequenza XIV, front matter (Wien: Universal Edition, 2002)Google Scholar.