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Berio Sequenza

Author: srattle
Date: 2010-03-11 20:39

Hi everyone,

I am reworking the Berio Sequenza at the moment, and I would like to know what your approaches to the multiphonics section are.

I know, and have the solution that Tony Pay has come up with, and I know what is written in the part (which as I gather is for full boehm) and I have a few methods which I have come up with, none of which I am 100% happy with.

I would be very interested in hearing what you all do with this section, not necessarily what you would do, but what actually works for you.

Thanks
Sacha

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Re: Berio Sequenza

Author: cigleris
Date: 2010-03-11 21:39

When I've performed this in the past I've always used the multiphonics that come about from the fingerings that are used for the (middle) C and D. These for me have always worked. I performed this as a student and asked Lamberto Coccioli about this section and what Berio's thoughts were on it. He said that it was a restful place in the middle of the madness that is the Sequenza and that whatever harmonic you came up with would work.

After my performance I asked him what he thought and what Berio might have thought generally and specifically about that moment and he was quite complimentary.

All the best with it

Peter Cigleris

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Re: Berio Sequenza

Author: srattle
Date: 2010-03-11 21:59

Thanks Peter,
when you perform it, do you also change the surrounding notes to 'match' the multiphonics? I've also tried editing the notes so that the intervals somehow work with the multiphonics, as to what Berio also wrote.

I will try to write out exactly what my theory would be when I have a little more time

Sacha

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Re: Berio Sequenza

Author: cigleris
Date: 2010-03-11 22:59

Sacha,

I keep everything as it is. I think really experimentation is the key with the multiphonics. I think as long as the multiphonic has some semblance of harmony, like what Berio originally wrote, then you can't go far wrong.

Peter Cigleris

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Re: Berio Sequenza

Author: Christopher Bush
Date: 2010-03-12 17:10

A clarinetist who worked with Berio also told me that the composer was okay with just any old multiphonic, but that it must be a multiphonic. This came with the added quote that it needed the multiphonic "in order that it (the Seq) be the ultimate 20th century clarinet work." That always made me chuckle.

However, when I play the Sequenza, I play the multiphonics with the written pitches, but with different octave displacements. If you're interested, I'm sure that I can dig up the fingerings somewhere.

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Re: Berio Sequenza

Author: liam_hockley
Date: 2010-03-12 20:04

In the 2005 edition I have the fingering for multiphonic III is:

xxxC#|xxxF#
x

and multiphonic IV:

xxxC#|xxx
x

I think these may be the fingerings Christopher Bush was referring to, as they seem to play those dyads up an octave (though the tuning is a little off in multiphonic IV).

-Liam

Post Edited (2010-03-12 20:04)

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