Luciano Berio. Glosse per quartetto d'archi (1997). Vienna; London: Philharmonia Partituren in der Universal Edition, [1998], c1997. [Note in Ital., Eng., 1 p.; score, 20 p. ISMN M-008-05969-8; Philharmonia No.

DM 16; duration: 23'.] Luciano Berio. Re-call per 23 strumenti (1995).

Vienna: Universal Edition, [1998], c1995. [Orchestration, 1 p.; score (in C), 39 p. ISMN M-008-05921-6; UE 31 082. DM 48; duration: 4'.] Luciano Berio. Sequenza XIII (chanson) for Accordion. Vienna: Universal Edition, [1997], c1996.

(loose-leaf; large format, folded). ISMN M-008-05661-1; UE 30 377. DM 48.] Giuseppe Verdi/Luciano Berio. 8 romanze per tenore e orchestra (1991). Adattamento orchestrale di Luciano Berio.

Vienna: Universal Edition, 1994, c1991. [Instrumentation, 1 p.; score (in C), 83 p. ISMN M-008-01278-5; UE 19 915. DM 88; duration: ca. 25'.] Luciano Berio. Sequenza IXc per clarinetto basso in si[flat]. Adaptation by Rocco Parisi, 1998.

Vienna: Universal Edition, c1998. [Score, 11 p. ISMN M-008-05964-3; UE 31 234. DM 22; duration: 13'.] Luciano Berio.

Title: Luciano Berio - Catalogue of Works, Author: Universal Edition, Name: Luciano Berio - Catalogue of Works, Length: 64 pages, Page: 1, Published. Of the flute Sequenza I, or the by now classic lyrical intensity of works written for Cathy Berberian, such as Circles or Sequenza III – bears witness to the confident authority. In 1958, Luciano Berio completed Sequenza No. 1 for solo flute. It is the first of thirteen pieces for solo performer in the Sequenza series.

Brin pour guitare (1990/1994). Adapte par Bruce Charles. Vienna: Universal Edition, c1996, c1990. ISMN M-008-04831-9; UE 30 302. DM 12.] Luciano Berio.

Folk Songs for Voice and Orchestra (1973). (Original version for voice and seven instruments, 1964.) Vienna; London: Philharmonia Partituren in der Universal Edition, [1998], c1973.

(Berno Odo Polzer, Marie-Therese Rudolph) in Ger., Eng., Fr., 6 p.; instrumentation, 1 p.; score, 63 p. ISMN M-008-05920-9; Philharmonia No. DM 29; duration: 23'.]. Luciano Berio. Voci (Folk Songs II) per viola sola e due gruppi strumentali (1984).

Vienna: Universal Edition, [1997], c1984. [Instrumentation, 1 p.; score, 124 p. ISMN M-008-05777-9; UE 31 122. DM 64; duration: ca. 30'.] Luciano Berio.

Ritorno degli snovidenia: per violoncello solo e piccola orchestra (1976). Milan; Vienna: Universal Edition, [1994], c1977, c1985. Eravamo Giovani In Vietnam Pdf. [Score, 12 p. DM 29.] Luciano Berio. Psy per contrabbasso solo (1989). Vienna: Universal Edition, [1997], c1989.

ISMN M-008-02857-1; UE 30 272. DM 12.] Luciano Berio. Sequenza IV for Piano. Korrigierte Neuauflage 1993. London; Vienna: Universal Edition, 1993, c1967.

[Score, 17 p. DM 28.] Luciano Berio.

6 encores pour piano. Vienna: Universal Edition, [1991], c1990. [Score, 20 p. DM 26.] Contains: Brin (1990); Leaf (1990); Wasserklavier (1965); Erdenklavier (1969); Luftklavier (1985); Feuerklavier (1989). Universal Edition has issued several works by the well-known Italian composer Luciano Berio (b. 1925) within the last ten years.

The twelve scores considered here fall into the two large categories of new works published for the first time and earlier works published in an altered format. Within these two large categories arise several subgroups that include original works, arrangements, new versions (adaptations), study scores, solo parts, new or corrected editions, and collections. In this review, I shall consider each of the published scores with respect to these categories and conclude with some general remarks about their significance in Berio's compositional career. Berio composed his Glosse per quartetto d'archi in 1997, and the Philharmonia pocket score followed a year later. The work is dedicated to Leonardo Pinzauti on the occasion of his seventieth birthday and was commissioned by I Teatri di Reggio Emilia in conjunction with the IV Concorso Internazionale per Quartetto d'Archi. This medium-length quartet in one movement makes considerable technical and musical demands, including various extended techniques, on all members of the quartet. Berio's Re-call per 23 strumenti was composed in 1995, and publication in score format followed three years later.

License Mtkey Vita Scene Manual. The work, dedicated to Pierre Boulez on the occasion of his seventieth birthday, is scored for a large chamber ensemble of piccolo, flute, oboe, E[flat], clarinet, 2 B[flat] clarinets, bass clarinet, bassoon, 3 trumpets, 2 horns, 2 trombones, tuba, 2 violins, 2 violas, 2 violoncelli, and double bass. A medium-length piece of four minutes, Re-call challenges the players by requiring special techniques, including one for the brass players coined 'doodle-tonguing.' With relatively straightforward meter changes and instrumental interactions, performance requirements are manageable for a good contemporary ensemble.

Published in a large format performing edition, Sequenza XIII (chanson) for Accordion was composed in 1995 for Teodoro Anzellotti and dedicated to Gianni Coscia. This is the most recently published addition to Berio's series of works composed for solo instruments inaugurated in 1958 with the Sequenza for flute. The accordion Sequenza, like the other similarly titled pieces, is an extended virtuoso work both musically and technically. Berios decision to compose for accordion, an instrument whose repertory has been defined largely by ethnic and folk performing traditions, is a sign of postmodern cultural influences that have encouraged composers to broaden and dehierarchize the musical canon. Berio completed the 8 romanze per tenore e orchestra originally as a setting of eight songs by Giuseppe Verdi for voice and piano.

The songs, to poetry of various authors, include 'In solitaria stanza,' 'Il poveretto,' 'Il mistero,' 'L'esule,' 'Deh, pietoso, oh Addolorata,' 'Il tramonto,' 'Ad una stella,' and 'Brindisi.' Berio's orchestration includes traditional woodwind and brass pairs, tuba, timpani, a small array of percussion, harp, and the full complement of strings. This twenty-five-minute work was first performed in 1990 by Jose Carreras and the English Chamber Orchestra. NEW VERSIONS OF EARLIER WORKS.

Sequenza IXc per clarinetto basso in si[flat] was adapted in 1998 by Rocco Parisi from the Sequenza per clarinetto in si[flat] of 1980. This new version for bass clarinet of the original clarinet Sequenza follows upon another reworking of the original piece for alto saxo-phone (Sequenza IXb) of 1981. The score of this eight-minute work consists of eleven single sheets appropriate for solo performance. Like its model, Sequenza IXc assumes the performer's virtuoso technical and musical skill, including a variety of alternate tunings of individual notes.

Bruce Charles adapted Berio's 1990 piano work Brin in 1994 to form Brin pour guitare. This brief work makes moderate technical demands upon the guitarist. The original piano version was recently reissued in an anthology (see below). STUDY SCORES. Universal has recently issued two study scores of previously published works, making two of Berio's significant compositions more accessible to analytical and musicological investigation.

Berio first conceived his Folk Songs of 1964 for voice accompanied by seven instruments. In 1973, he fashioned a new version of the piece for voice and orchestra that was then published in large-score format. The newly published study score now makes this twenty-three-minute work available in a smaller format that is easier to use. In Folk Songs, one of the composer's better-known works, Berio 'arranges' eleven folk songs from various European and North American countries into movements that imaginatively project a folk quality while respecting but not simply recreating the musical style of each song.

Berio's Voci (Folk Songs II) per viola solo e due gruppi strumentali was composed in 1984 and first published in performance-score format. Berio scored this thirty-minute work for viola solo and two instrumental groups: group A--flute/piccolo, English horn, clarinet, bass clarinet, bassoon, horn, trumpet, trombone, I percussionist, 3 violins, 3 violas, 3 cellos, and double basses; and group B--2 flutes/piccolos, oboe, E[flat] clarinet, clarinet, bassoon, horn, trumpet, trombone, bass tuba, 2 percussionists, keyboard/celesta, 9 violins, 2 violas, 3 cellos, and double bass.

First performed by the Basler Sinfonie-Orchester with Aldo Bennici as soloist, Voci (Folk Songs II) is musically and technically challenging for both soloist and orchestra alike. Berio composed his Ritorno degli snovidenia per violoncello solo e piccola orchestra in 1976--77, and a score was published shortly thereafter. Now the solo part is issued separately by Universal in a format appropriate for cellists to learn the piece.

This nineteen-minute work challenges the soloist's technique and musicality, and was first performed in 1977 by Mstislav Rostropovich, with Paul Sacher conducting. NEW OR CORRECTED EDITIONS. Psy per contrabbasso solo was composed in 1989 and first published in the same year.

This two-minute work assumes a kind of baroque rhythmic and motivic impulse and entails no extended techniques. The newly published score makes no apparent changes to the first edition (Universal Edition 19327). The relatively large format of the new edition and the heavyweight paper lend themselves well to performance. Berio composed his Sequenza IV for Piano in 1965, and it was first published in 1967. Commissioned by Washington University in St.

Louis, this work was premiered by Eleazer de Carvalho in St. Louis, Missouri. The new corrected version was issued in 1993 in a format appropriate for performance. The anthology 6 encores pour piano gathers together six short pieces by Berio that were first published as single works between 1965 and 1990. The individual works, their dates of composition, and their order in the new collection are: Wasserklavier--1965 (3), Erdenklavier--1969 (4), Luftklavier--1985 (5), Feuerklavier--1989 (6), Brin--1990 (1), and Leaf--1990 (2).

The individual works range between one and two minutes in length. They vary in their degree of required technique, with their order in the collection moving from the least to the most technically demanding. The last work, Feuerklavier, first performed by and dedicated to Peter Serkin, certainly qualifies as a brilliant and showy encore piece. The collection of these several short piano pieces into one publication makes clear a performance context for the works and draws attention to this possibility for prospective performers. The compositions considered in this review range from among the most important in Berio's compositional output to those of less central significance. The various works in the Sequenza series are noteworthy in terms of their exploration of technical possibilities of voice and instruments and how such possibilities effect musical issues.

Furthermore, the addition of a work for accordion and the adaptation of another one for bass clarinet is indicative of the changing musical landscape over the more than forty years of Berio's involvement with this series of works. The new original works, Glosse for string quartet and Re-call for 23 instruments, are substantial additions to the composer's oeuvre that attest to Berio's continued compositional vitality.

The Verdi transcriptions for tenor in the 8 romanze confirm Berio's all-around musical interests and his activities not only as a composer but also as a conductor and performer. These orchestral renditions suggest an ongoing engagement with music of the past that is evident in such pivotal works as Sinfonia and the various folk-oriented works such as the 1964 Folk Songs for mezzo-soprano and seven instruments (and its 1973 orchestral version). Moreover, the publication of the study score of Voci (Folk Songs II) makes this important work more available for study.

Such attention to the issues of circulation should figure more prominently in the minds of publishers of contemporary music. The traditions of contemporary concert music will be sustained not only by the compositional output of recent composers but also by the discussions about recent music that only the easier availability of scores for study purposes can enhance.