Berio composed the first of his Sequenze in 1958, for flute; it was published by Edizioni Suvini Zerboni. Having set himself the task of writing multi-voiced music for the solo instrument, the compose. Luciano Berio: Sequenza I. Luciano Berio Sequenza I. Year: 1958 Scored for: for flute.

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Severino Gazzelloni When has a composer been so offended by performances of his piece that he would rewrite it after being so well received by both artists and critics alike? The Sequenza I was an early example of spatial notation, a technique that was subsequently utilized by many other composers. Coming on the heels of the rigid, total serialism of the ‘fifties, many performers embraced the work’s implicit freedom. The effort required to perform Sequenza I has always been considerable. Some passages are just challenging; others are unplayable.

At a culminating moment about halfway into the piece, an indication of four articulations per pitch class requires five pitches at a quarter note equals 70 MM. This requires playing twenty notes in less than a second. It is notable that the passage was not changed in the new version. With such exhilarating demands, composers often attempt to make the impossible the new normal.

Hearing Berio’s contemptuous words did nothing to inspire, and many of today’s performers prefer the first edition 3. But, after suspending judgment based on ego and expediency, is there something to be gained from Berio’s new information?

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Luciano Berio In order to thoroughly understand Berio’s performance expectations, at a minimum, a thorough rhythmic analysis and comparison of the two versions is required. To do this, it is necessary to create an overlay of the first and second editions. Though a very few pitch classes have been altered in the new edition, the real issues are meter, rhythm and dynamics. The rhythms are specified in traditional notation in the new edition and the meter is indicated as a quarter note equals 70 MM. This alone is clear evidence that all “Measures” are exactly the same length, and explains the meaning of his groupings of triplets, quintuplets and sextuplets. The indication corresponds to the first edition’s symbol of “measure” utilizing small ticks on the staff. By adding those indications to the second edition as measures, we can begin to see Berio’s desire for a greatly variable rhythmic subdivision of each measure.

The following analysis will refer to these superimposed measures. The systems on each page must be numbered, and the measures numbered for each system. All systems and numbers refer to the second, 1992 edition. Some of the measuring is ambiguous, but this process of adding bar lines will help avoid confusion as to the exact measuring of each system.