# Favorite(s) of Berio's Sequenze



## Trout (Apr 11, 2011)

As someone who is becoming more familiar with Berio's _Sequenze_, I'd be very appreciative if you could please tell me your favorite(s) as well as any other interesting information regarding history, techniques, recordings, or other comments.

The _Sequenze_ are 14 pieces for a different solo instrument (with Sequenza X having the trumpet playing into piano so the strings resonate) that Berio wrote throughout his career, from 1958 to 2002. From what I know, they're considered some of the most significant works of the last century as they pushed the boundaries of solo instrument writing. Most, if not all, of them have been added to the instrumental repertoire, much to the chagrin of many a musician because of their extreme technical difficulty! But they, by no means, come across as vapid, virtuosic showpieces. I personally find them on the whole to be wonderfully engaging with plenty of musical substance.

I don't think I've heard them enough to give an informed opinion, but I'd really like to know yours!

Here's a Youtube playlist of the Naxos performances: https://www.youtube.com/playlist?list=PLdDv9WURxErM7AqUicxyuE0idskNu2MJv.


----------



## tdc (Jan 17, 2011)

Good thread idea, I would also like to know more about these excellent works. At the moment Sequenza VIII is my favorite. It is a virtuosic and intense piece that was something Berio considered compositionally as a "personal debt" to the violin, it is also an homage to J.S. Bach's Chaconne for solo violin.


----------



## Kjetil Heggelund (Jan 4, 2016)

Other than the guitar sequenza, I've only heard/seen the one for trombone. The one for guitar is fantastic, I tried to play it, but not live. It's one of the masterpieces of modern guitarmusic.


----------



## Vaneyes (May 11, 2010)

FWIW guitarist Norbert Kraft is the producer and engineer of this album. I like 'em all, and it's surprisingly good cocktail party music.


----------



## starthrower (Dec 11, 2010)

I have the Naxos set, but I can't remember any of the pieces. Too much music, too little time.


----------



## Retrograde Inversion (Nov 27, 2016)

I think VII for oboe might be the one that has made the most impression on me. It's quite easy to hear how its pitch structure is centered around a single middle note (B natural, from memory) and it also features a number of interesting timbral fingerings and some lovely soft multiphonics. I also very much like the freshness of I, and the added aspect of theatre in III and V, including the
famous "why?" in the latter.

I wish he'd written one for marimba, though.


----------

