Luciano Berio's 'Sequenza' series has now reached double figures. In a ten-minute single span the trumpet stutters and sings its way through a 'text' that is unashamedly thematic in its use of pitches, intervals and rhythmic groupings.
Luciano Berio's 'Sequenza' series has now reached double figures. In a ten-minute single span the trumpet stutters and sings its way through a 'text' that is unashamedly thematic in its use of pitches, intervals and rhythmic groupings.
Luciano Berio's 'Sequenza' series has now reached double figures. In a ten-minute single span the trumpet stutters and sings its way through a 'text' that is unashamedly thematic in its use of pitches, intervals and rhythmic groupings.
1; Encore, for Orchestra; Sequenza X, for Trumpet by Luciano
Berio Review by: Arnold Whittall Music & Letters, Vol. 67, No. 4 (Oct., 1986), p. 447 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/735177 . Accessed: 04/06/2014 17:46 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. . Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Music &Letters. http://www.jstor.org This content downloaded from 143.106.201.140 on Wed, 4 Jun 2014 17:46:26 PM All use subject to JSTOR Terms and Conditions Berio, Luciano, Duetti per due violini, Vol. 1; Encore, for orchestra: score; Sequenza X, for trumpet. (Universal, Milan, 1982, 1981, 1984, ?6.50, ?9.45, ?8.45.) Berio's 'Sequenza' series has now reached double figures, with only cello, horn and bassoon of the principal orchestral instruments unprovided for. Sequenza X is scarcely a revelation, either in terms of the series or of the subject instrument, but it is a characteristically mordant, resourceful display-piece, snatching continuity from the jaws of fragmentation. In a ten-minute single span the trumpet stutters and sings its way through a 'text' that is unashamedly thematic in its use of pitches, intervals and rhythmic groupings. Berio, as always, skilfully avoids the arbitrary in a sequence of events that treats both F and D as pivotal, and in which a wide range of musical figures creates the sense of developing variation of thematic material more textural or gestural than motivic. At fairly frequent points the trumpeter is directed to play towards the inside of a 'perfectly tuned grand piano with the lid fully open'. The pianist has a 'silent' role, depressing the keys for chords notated in the score and sustained either with fingers or pedal. Berio also asks that the piano be slightly amplified. The range of the trumpet's own colours is enhanced by varieties of tonguing, the use of valve tremolo and by placing the hand over the bell. Mutes are not required. The febrile lyricism of Sequenza X, powerfully dramatic, spontaneously expressive, is very much Berio's own. His creative confidence, not least in his willingness to use repetition in ways which have nothing minimalist about them, is heartening, and is also richly evident in the set of 34 violin duets, written between November 1979 and March 1983 and intended, the preface notes, 'for school violin teaching'. Violin students should indeed seize on these short pieces, for they are often delightfully straightforward, yet strong in character. Each is given the name of someone known to or admired by Berio. Bartok, Boulez, Stravinsky, Maderna, Pousseur are all here, though not Stockhausen or Nono, and it is naturally tempting to see an element of musical or even personal portraiture. 'Stravinsky' (one of the pieces Berio feels can be played by beginners) is almost starkly simple in its white-note, folk-like style, whereas 'Boulez' is ornate, refined, requiring subtlety and needle-sharp precision. Berio's ability to transform very basic melodic formulae into pointed and personal statements without self-consciousness is remarkable. Most of the pieces would undoubtedly benefit from a security of technique and maturity of approach that only fairly advanced students could aspire to. But that is scarcely a serious limitation and they must be among the very best educational pieces by a major composer to be published since Bartok's time. Encore is a three-minute jeu d'esprit, an extract from Act II of the opera La vera storia (1978) that served to fulfil a commission from the Rotterdam Philharmonic Orchestra in 1981. The orchestra was celebrating its 60th anniversary, and Encore, a miniature display-piece, sustains its good-humoured ebullience from start to finish. It should certainly end a concert rather than act as a curtain raiser?especially a concert where the audience deserves the reward, after heavy and demanding contemporary items, of being reminded that modern music can be light-hearted without casting off all avant-garde attributes. Arnold Whittall Birtwistle, Harrison, Clarinet Quintet; Pulse Sampler, for oboe and claves; Duetsfor Storab, for two flutes. (Universal, London, 1985, 1981, 1983, ?6, ?8.15, ?3.25.) Harrison Birtwistle's Clarinet Quintet, a 22-minute work in one movement, was written in 1980: the first composition with so neutral a title in a work-list reaching back to 1957. Birtwistle has used the terms 'movement' and 'cantata' but never 'sonata' or 'symphony', and the Clarinet Quintet was his first evocation of so potentially classical a form. Nevertheless, the title does not portend the composer's sudden conversion to neo- Classicism, and the music's initial gesture?the familiar E-centred cluster?is enough to indicate that this is a work of consolidation, perhaps even another by-product of the labour 447 This content downloaded from 143.106.201.140 on Wed, 4 Jun 2014 17:46:26 PM All use subject to JSTOR Terms and Conditions
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