Sequenza VI

Sequenza VI is a composition for solo viola by Luciano the B section. A'' restates the chordal material and, in its
Berio, part of his series of fourteen Sequenze.
second subsection, introduces a heightened level of activity. The concluding B' section then serves as a coda
(Holmes 1981, 7375).

History
3 References

Sequenza VI was written in 1967 for Serge Collot, to

whom the score is dedicated. It also forms the core of two
other Berio compositions, Chemins II for viola and nine
instruments (1968), and Chemins III (1969), which adds
an orchestra to the forces of Chemins II. Walter Trampler, for whom Chemins III was written, believed it had in
fact been composed rst and the Sequenza then extracted
from it (Uscher 198283, 28687). The relationship of
the three works is described by Berio as being something like the layers of an onion: distinct, separate, yet
intimately contoured on each other; each new layer creates a new, though related surface, and each older layer
assumes a new function as soon as it is covered (Smalley
1971). Two further works were evolved from Chemins
II: Chemins IIb for orchestra (1969) and Chemins IIc for
bass clarinet and orchestra (1972) (Osmond-Smith 1975,
871).

Holmes, Reed Kelley (1981). Relational Systems

and Process in Recent Works of Luciano Berio, 2
volumes. PhD diss. Austin: The University of Texas
at Austin.
Osmond-Smith, David (1975), Berio and the Art
of Commentary, Musical Times, 116 (1592 (October)), pp. 87172
Smalley, Roger (1971), Berio Sequenza VI;
Chemins II; Chemins III. Walter Trampler (viola)/Juilliard Ensemble, LSO/ Berio RCA SB
6846, Musical Times, 112 (1544 (October)), p.
973
Uscher, Nancy (198283), Luciano Berio, Sequenza VI for Solo Viola: Performance Practices, Perspectives of New Music, 21 (12 (Fall
Winter/SpringSummer)), pp. 28693.

Analysis

Sequenza VI exploits the harmonic possibilities of a fundamentally melodic instrument. It does this in two ways:
rst, by implying harmonies with melodic lines circling
continuously through a small number of xed pitches and,
second, by presenting long series of three- and four-part
chords in which the pitches are kept sounding by means
of across-the-stings tremolo (Smalley 1971).

4 Further reading
MacKay, John (1988). Aspects of Post-Serial
Structuralism in Berios Sequenzas IV and VI".
InterfaceJournal of New Music Research 17, no.
4:22438.

The work alternates these two gestural ideas (melodic and

chordal), producing a sectional form based on changes
in texture, gestural predominance, and shaping processes. The sections may be summarized as a pattern
of AA'BA''B', with the A' and A'' sections each divided
into two subsections. The opening A section is an exposition dominated at rst by the tremolando chords, but also
using short melodic segments to articulate phrases and
create internal uctuations. These melodic gures gradually increase in prominence over the course of this section. The A' section develops the chordal gestures, while
the B section focuses instead on the melodic ideas, using
the tremolando gesture as an articulative device at rst.
In a reversal of the process found in the exposition, the
tremolando chords gradually increase in frequency over
1

5 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Text and image sources, contributors, and licenses

5.1

Text

Sequenza VI Source: https://en.wikipedia.org/wiki/Sequenza_VI?oldid=728218274 Contributors: Hyacinth, Jerome Kohl and Cote d'Azur

5.2

Images

File:CD_icon.svg Source: https://upload.wikimedia.org/wikipedia/commons/f/f3/CD_icon.svg License: LGPL Contributors: All Crystal

icons were posted by the author as LGPL on kde-look Original artist: Everaldo Coelho (YellowIcon);
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5.3

Content license

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