Luciano Berio dedicated his “Sequenza VII”, which was composed in , to the oboist Heinz Holliger. The version of this piece published here was arranged. Berio Sequenza VIIb (soprano). How hard is this supposed to be? I’m working on it right now and trying to get it exactly as written on the page.
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Double tonguing over an octave can be a bit difficult!
Bring on more Berio talk!! Thanks everyone else for your ideas. Last edited by Rick; at If I remember, you play a SC Soprano right? This allows a nice single-tongued accent at the end of these phrases, rather than having to end on viib “goo. If there was something in the middle of the S90 and S90I think I sequfnza like it a whole lot better. Practice this on one note, until you can create the effect of legato tonguing at a slow speed.
I started this piece If it helps, I used the Delangle recording for reference. Angel, I heard Kelland Thomas perform it several years ago in Chicago, it was truly outstanding. For these passages, keep your syllables as light as possible, “Doo-Goo”, so that you are imperceptibly altering the airstream. It can be found here: At that point in time, I could do the technical stuff, I could play super high etc, but had no musical understanding.
Mike, Thanks for sharing your performance practice. I was always curious if the curved design might make certain fingerings better or worse.
Folk Songs Sinfonia A-Ronne. A colleague of mine here at Peabody killed the piece on a recent sophmore recital, along with the Denisov Cello Sonata, and Seqeunza. Compositions by Luciano Berio Solo oboe pieces Serial compositions compositions Contemporary classical compositions.
Sequenza VII – Wikipedia
I just recently performed the piece on a recital that included several compositions with video so I projected the score behind me. Un re in ascolto Cronaca del luogo. And I indeed was -that- guy I referenced. I think since then I have straightened out, and have some heart behind my playing now, when previously I had none.
Luciano Berio: Sequenza VIIb
I would say that you should really take your time learning it Incidentally, an extreme oboist friend of mine saw Alex Klein principal oboe, Chicago Symph peform this from memory with the lights out in the hall. Just because something was working well on Delangle’s horn a decade sewuenza in France doesn’t mean it will for us.
Retrieved July 15, If anyone has any more specific questions, please ask. Besides the recordings already mentioned, I have somewhere a live recording of Antonio Felipe-Belijar playing it. This is true for a lot of our hard contemporary and even non-contemporary works. According to Leclair, it contains the climax of the work, and the part after the climax “can be thought of as a large-scale ritardando or calming front he first 2 sections’ much more frenetic character. It’s just such a visually and of course aurally stunning piece that I had to share it with the audience.
Beyond all else, Delangle suggested that the interpretation should be vocal and lyrical in quality. Jacqueline Leclair breaks down the piece into three sections. Bookmarks Bookmarks Digg del. I have good recordings of Delangle, David, and McAllister to which to refer, but would like more different ones.
Anyone have any leads on other good ones?