CXLVII. BERIO, Luciano: Sequenza XIV for Violoncello

CXLVII. BERIO, Luciano (1925-2003)

Sequenza XIV for Violoncello (2002)
Éric-Maria Couturier, cello
(11:16)

The last of the 14 Sequenzas.

• I for flute (1958)
• II for harp (1963)
• III for woman's voice (1966)
• IV for piano (1966)
• V for trombone (1966)
• VI for viola (1967)
• VII for oboe (1969) (rev. by Jacqueline Leclair and renamed VIIa in 2000)
• VIIb for soprano saxophone (adaptation by Claude Delangle in 1993)
• VIII for violin (1976)
• IXa for clarinet (1980)
• IXb for alto saxophone (adaptation by the composer in 1981)
• IXc for bass clarinet (adaptation by Rocco Parisi in 1998)
• X for trumpet in C and piano resonance (1984)
• XI for guitar (1987-88)
• XII for bassoon (1995)
• XIII for accordion "Chanson" (1995)
• XIVa for violoncello (2002)
• XIVb for double bass (adaptation by Stefano Scobanibbio in 2004)

Performance instructions:

The instrument must be tuned in the following way:

It should be noted that it is clearly indicated in the score which G#'s must be played as an open string. All other G#'s may be fingered according to their context. No attempt has been made to transpose any part of the score. The written pitches are those which are to be heard, and therefore the player must find a suitable fingering wherever the third (G) string is employed.

Where the music is notated on two staves the player is to produce a percussive sound which follows the contours and rhythms of the lower staves, played by four fingers of the right hand on the body of the instrument. The best area -- somewhere on the belly -- will be determined by experimenting where it is possible to produce four differentiated sounds (derived from ceremonial Kandyan drumming from Sri Lanka) which range from high to low. During these sections the upper stave notates the simultaneous left hand finger percussion.