Berio composed the first of his Sequenze in , for flute; it was published by Edizioni Suvini Zerboni. Having set himself the task of writing multi-voiced music . The Sequenza series is regarded as one of the most important cycles of the 20th century. In this series Berio discovers the capabilities of an instrument and its. November Berio’s Sequenza I has been a part of the modern flutist’s cannon ever since it’s publication in by Zerboni in Milan. The.

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Some time ago I posted about recording the Berio Sequenza for Flute. So many other projects have been realized since our session in January that there has been a large gap between recording and release, but we have made sure the recording is decent. I have only the following reservations: While that may make for a better performance, the audio does have some issues of flue some passages could have been more accurate regarding speed and length, had I been looking at the score.

The video has not been issued yet, but I hope that when it comes out it will offset my disquiet.

Sequenza I, for flute | Details | AllMusic

Although watching oneself opens another can of worms. The recording is available through the Musikfabrik Label, which is sdquenza digital platform that offers multiple download choices — please browse the catalogue, you might find other recordings that interest you! Here is the link.

I vlute performed the piece several times, and have no exclusivity — except for in the Netherlands Sorry! But the Dutch premiere is scheduled for the Concertgebouw May So if you are interested in a massive, expressive, sighing, ranting piece for bass flute with low B, please check it out!

But contact me or Rebecca first, because she has made significant changes to the score since my last performance in Berlin September which I am not sure Ricordi has published yet. This winter break has been very stressful.


I was with my family in St. Family can be stressful, my son is at a difficult age, I myself am at a difficult age. It was so cold that it has taken my skin and lips days to recover.

But now back in the saddle of my bicycle in the temperate zone of Northwestern Europe, I have hit my stride. I am allowing myself a luxury. Next week there are plenty of pieces to prepare, old and new, but I decided to forget about them and devote my practice time to concentrate on Berio.

The main reason is that my body feels soooo much better when I keep my practice time to only a few hours a day. This is how I want to feel during the recording. So I warm up, play Bach for sound, articulation, style and focus.

I practice like this with either one or two movements of Befio. Then for the rest of the day I do my Helen stuff, read, hang out with family, watch dumb and smart stuff on Youtube, study Jazz. This is luxury, as I have said. No rehearsals or teaching this early in the year.

So how do you prepare, follow the score or the recorded performance? I find it very revealing though. I was talking to another local flutist who had worked with Berio on the Sequenza.

Sequenza I, for flute

Well, I have news for you, Sr. I have also enjoyed watching Paula Robison speak on the subject. One big influence on Berio that I think really should be mentioned is that of the musicians around him, namely, his wife at the time, Cathy Berberianfor whom he wrote the third Sequenza.

Her theatricality, her agility, never cease to inspire me. Only recently did I come to know she composed herself.


Here is an example of her graphic score, Stripsody https: I love her recording of the vocal Sequenza too, but I just came across a recent recording of the Sequenza no. I am unashamedly playing from the old edition.


Being a creature born myself in midth century, I am hoping the good people of Universal Edition will forgive me. The old version has been in my memory for about 20 years now. But I foute own the new addition, and am finding it more useful than ever this time around to answer questions about timing.

Swquenza also love teaching it; it has so much to offer in terms of technique especially articulation! There is an unwritten book inside me about this work, but for now I would like to consider one aspect of the work that often gets ignored: This is one reason it is not my favorite piece to listen to.

Berio | Helen Bledsoe, Flutist

Nevertheless, neither you nor I can assume that a work without a traditional tonal center and without traditional harmonic relationships is devoid of centers and relationships entirely.

I would argue that in this context, these matters require even more consideration. In general, there are rules of thumb beri atonal solo beio. In free-tonal music there is also a hierarchy of intervals, the most important points of orientation being the prime intervals octaves, fifths, fourthsespecially when they form tones that draw attention to themselves.

These could be, for example, long, held-out notes or notes that follow a rest. Specifically for the SequenzaI consider the soul of the work to be in beroi long, held-out notes. Often there are rapid, virtuosic passages punctuated by the stillness of a single note, where the quality of sound and the relationship to its environment are of utmost importance.