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Sequenza III (author's note) | Centro Studi Luciano Berio - Luciano Berio's Official Website. Home. Sequenza III (author's note) Sequenza III for voice (1965) The voice carries always an excess of connotations, whatever it is doing.
Sequenza (Italian for "sequence") is the name borne by fourteen compositions for solo instruments or voice by Luciano Berio. The pieces, some of which call for extended techniques, are: Sequenza I (1958; rev. 1992) for flute; Sequenza II (1963) for harp; Sequenza III (1965) for female voice; Sequenza IV (1965) for piano; Sequenza V ...
19 de abr. de 2018 · Lauren Jones, soprano.www.kallisti-ensemble.comLuciano Berio (1925-2003), en su exploración de las múltiplesfacetas de la voz femenina, compuso la Sequenza I...
Entre otras composiciones de Berio destacan Circles (1960), Sequenza III (1966), y Considerando I (por Cathy) (1972), todas ellas escritas para Berberian, y una serie de obras de teatro como Un rey escucha, una colaboración con Italo Calvino, entre los más conocidos.
3 de jun. de 2010 · Inspired by Berberian's extraordinary vocal prowess, Berio set out in Sequenza III to create a catalog of vocal gestures that encompassed the gamut of effects and techniques. Sequenza III...
Características de la obra. Las piezas, algunas de las cuales requieren técnicas extendidas, son: Sequenza I (1958; ap. 1992) para flauta. Sequenza II (1963), para arpa. Sequenza III (1965) para voz de mujer. Sequenza IV (1965) para piano. Sequenza V (1966) para trombón. Sequenza VI (1967) para viola.
The present essay explores the compositional continuity between Luciano Berio‟s use of vocal timbres in Sequenza III (1965), Circles (1960), his magnetic tape transformations of pre-recorded vocal materials in Thema (Omaggio a Joyce) (1958),1 and his mixture of vocal and electronic sounds in Visage (1961).2 .
