Kami This is how I want to feel during the recording. I was talking to another local flutist who had worked with Berio on the Sequenza. The video has not been issued yet, but I hope that when it comes out it will offset my disquiet. I also love teaching it; it has so much to offer in terms of technique especially articulation! Specifically for the SequenzaI consider the soul of the work to be in the long, held-out notes. I practice like this with either one or two movements of Bach.
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Kami This is how I want to feel during the recording. I was talking to another local flutist who had worked with Berio on the Sequenza. The video has not been issued yet, but I hope that when it comes out it will offset my disquiet. I also love teaching it; it has so much to offer in terms of technique especially articulation! Specifically for the SequenzaI consider the soul of the work to be in the long, held-out notes.
I practice like this with either one or two movements of Bach. This winter break has been very stressful. This is one reason it is not my favorite piece to listen to. Family can be stressful, my son is at a difficult age, I myself am at a difficult age. 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.
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. Here is the link. 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. The recording is available through the Musikfabrik Label, which is a digital platform that offers multiple download choices — please browse the catalogue, you might find other recordings that interest you!
I find it very revealing though. Her theatricality, her agility, never cease to inspire me. In general, there are rules of thumb for atonal solo works. 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.
But now back in the saddle of my bicycle in the temperate zone of Northwestern Fluute, I have hit my stride. 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: I am allowing myself a luxury. I have only the following reservations: I love her recording of the vocal Sequenza too, but I just came across a recent recording of the Sequenza no. But I do own the new addition, and am finding it more useful than ever this time around to answer questions about timing.
It was so cold that it has taken my skin and lips days to recover. But the Dutch premiere is scheduled for the Concertgebouw May 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. No rehearsals or teaching this early in the year.
So I warm up, play Bach for sound, articulation, style and focus. Although watching oneself opens another can of worms. I am unashamedly playing from the old edition. Some time ago I posted about recording the Berio Sequenza for Flute. Here is an example of her graphic score, Stripsody https: Being a creature born myself in midth century, I am hoping the good people of Universal Edition will forgive me.
These could be, for example, long, held-out notes or notes that follow a rest. 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.
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 luxury, as I have said. So if you are interested in a massive, expressive, sighing, ranting piece for bass flute with low B, please check it out!
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. While that may make for a better performance, the audio does have some issues of timing; some passages could have been more accurate regarding speed and length, had I been looking at the score.
I was with my family in St. The old version has been in my memory for about 20 years now. 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.
Well, I have news for you, Sr. TOP Related Articles.
Sequenza I, for flute