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Vaughan Williams - String Quartets Nos. 1 & 2; Phantasy Quintet ~ Jackson/Maggini Quartet |
Berio: The Complete Sequenzas, Alternate Sequenzas & Works for Solo Instruments ~ Kelland Thomas |
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Listen to Samples and Buy MP3s
Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or
view the MP3 Album.
Disc 1:
Disc 2:
Disc 3:
Disc 1:
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Disc 2:
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Disc 3:
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On this CD:
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Sequenza I
Composed by Luciano Berio
with Sophie Cherrier
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Sequenza II
Composed by Luciano Berio
with Frédérique Cambreling
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Sequenza III
Composed by Luciano Berio
with Luisa Castellani
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Sequenza IV
Composed by Luciano Berio
with Florent Boffard
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Sequenza V
Composed by Luciano Berio
with Benny Sluchin
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Sequenza VI
Composed by Luciano Berio
with Christophe Desjardins
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Sequenza VII
Composed by Luciano Berio
with Lazlo Hadady
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Sequenza VIII
Composed by Luciano Berio
with Jeanne-Marie Conquer
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Sequenza IXa
Composed by Luciano Berio
with Alain Damiens
-
Sequenza IXb
Composed by Luciano Berio
with Christian Wirth
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Sequenza X
Composed by Luciano Berio
with Gabriele Cassone
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Sequenza XI
Composed by Luciano Berio
with Elliot Fisk
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Sequenza XII
Composed by Luciano Berio
with Pascal Gallois
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Sequenza XIII, `Chanson'
Composed by Luciano Berio
with Teodoro Anzellotti
Product Description
Amazon.co.uk Review
Luciano Berio has always looked at his Sequenzas as building blocks among his other compositions. These solo works, sometimes written for specific performers, exist as elements of other, larger works or as platforms upon which he's built extensive structures. This three-CD set is the first to collect all Berio's Sequenzas, and the performances are peerless. Berio's writing is, of course, unconventional, feeding off serialism and making complexity sound friendly. Sophie Cherrer's leaping flute on Sequenza I (1958) finds dozens of ways not to shriek, as does Gabrielle Cassone's Sequenza X for trumpet. There are two world-premiere recordings: Pascal Gallois's Sequenza XII for bassoon and Teodoro Anzellotti's Sequenza XIII for accordion (both 1995). Here Anzellotti conjures his playful 1998 recording, Satie on Accordion. Berio envisions these works as suggestive of polyphony in their architecture and impact, which is to say that the aggressive juxtapositions within a solo work fool the ear into believing that the soloist is a small ensemble. The melodies get multiplied, from initial statements into transfigurations and harmonic variations, making the pieces at once tremendously complex and demanding but also totally inviting. The constancy of these 13 works is evidenced by two of the harmonically richest performances, Benny Sluchin's Sequenza V for trombone (1965, originally composed for Stuart Dempster) and Eliot Fisk's Sequenza XI for guitar (1987-88). The dialogue between density and pinpoint nodes remains a thematic constant, rendered almost in parallel on the various instruments. This is a dynamic, vital document of 20th-century music, one that shouldn't be missed. --Andrew Bartlett
Luciano Berio has always looked at his Sequenzas as building blocks among his other compositions. These solo works, sometimes written for specific performers, exist as elements of other, larger works or as platforms upon which he's built extensive structures. This three-CD set is the first to collect all Berio's Sequenzas, and the performances are peerless. Berio's writing is, of course, unconventional, feeding off serialism and making complexity sound friendly. Sophie Cherrer's leaping flute on Sequenza I (1958) finds dozens of ways not to shriek, as does Gabrielle Cassone's Sequenza X for trumpet. There are two world-premiere recordings: Pascal Gallois's Sequenza XII for bassoon and Teodoro Anzellotti's Sequenza XIII for accordion (both 1995). Here Anzellotti conjures his playful 1998 recording, Satie on Accordion. Berio envisions these works as suggestive of polyphony in their architecture and impact, which is to say that the aggressive juxtapositions within a solo work fool the ear into believing that the soloist is a small ensemble. The melodies get multiplied, from initial statements into transfigurations and harmonic variations, making the pieces at once tremendously complex and demanding but also totally inviting. The constancy of these 13 works is evidenced by two of the harmonically richest performances, Benny Sluchin's Sequenza V for trombone (1965, originally composed for Stuart Dempster) and Eliot Fisk's Sequenza XI for guitar (1987-88). The dialogue between density and pinpoint nodes remains a thematic constant, rendered almost in parallel on the various instruments. This is a dynamic, vital document of 20th-century music, one that shouldn't be missed. --Andrew Bartlett
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