111:
opening A section is an exposition dominated at first by the tremolando chords, but also using short melodic segments to articulate phrases and create internal fluctuations. These melodic figures gradually increase in prominence over the course of this section. The A' section develops the chordal gestures, while the B section focuses instead on the melodic ideas, using the tremolando gesture as an articulative device at first. In a reversal of the process found in the exposition, the tremolando chords gradually increase in frequency over the B section. A'' restates the chordal material and, in its second subsection, introduces a heightened level of activity. The concluding B' section then serves as a coda.
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exploits the harmonic possibilities of a fundamentally melodic instrument. It does this in two ways: first, by implying harmonies with melodic lines circling continuously through a small number of fixed pitches and, second, by presenting long series of three- and four-part chords in which the pitches
74:
then extracted from it. The relationship of the three works is described by Berio as being "something like the layers of an onion: distinct, separate, yet intimately contoured on each other; each new layer creates a new, though related surface, and each older layer assumes a new function as soon as
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The work alternates these two gestural ideas (melodic and chordal), producing a sectional form based on changes in texture, gestural predominance, and shaping processes. The sections may be summarized as a pattern of AA'BA''B', with the A' and A'' sections each divided into two subsections. The
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Holmes, Reed Kelley (1981). "Relational
Systems and Process in Recent Works of Luciano Berio", 2 volumes. PhD diss. Austin: The University of Texas at Austin.
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220:(October 1971). "Berio Sequenza VI; Chemins II; Chemins III. Walter Trampler (viola)/Juilliard Ensemble, LSO/ Berio RCA SB 6846".
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The
Modification and Instrumentation of a Famous Hornpipe as a Merry and Altogether Sincere Homage to Uncle Alfred
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50:, to whom the score is dedicated. It also forms the core of two other Berio compositions,
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Osmond-Smith, David (October 1975). "Berio and the Art of
Commentary".
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MacKay, John (1988). "Aspects of Post-Serial
Structuralism in Berio's
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was written, believed it had in fact been composed first and the
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Quattro versioni originali della "Ritirata notturna di Madrid"
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it is covered". Two further works were evolved from
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103:are kept sounding by means of across-the-strings
58:(1969), which adds an orchestra to the forces of
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688:Studio di fonologia musicale di Radio Milano
265:(1–2 (Fall–Winter/Spring–Summer)): 286–293.
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54:for viola and nine instruments (1968), and
773:Music dedicated to ensembles or performers
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251:Uscher, Nancy (1982–83). "Luciano Berio,
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255:for Solo Viola: Performance Practices".
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398:Concerto for Two Pianos and Orchestra
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783:Contemporary classical compositions
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29:, part of his series of fourteen
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758:Compositions by Luciano Berio
305:Journal of New Music Research
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21:is a composition for solo
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624:Requiem of Reconciliation
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258:Perspectives of New Music
83:for orchestra (1969) and
788:Instrumental solo pieces
46:was written in 1967 for
642:Thema (Omaggio a Joyce)
768:Compositions for viola
91:and orchestra (1972).
666:Recital I (for Cathy)
778:Process music pieces
617:A Garland for Dr. K.
352:List of compositions
702:(completed in 2002)
634:Other compositions
460:Instrumental music
308:17, no. 4:224–238.
763:1967 compositions
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468:Cinque variazioni
374:Cronaca del luogo
223:The Musical Times
196:(1592): 871–872.
189:The Musical Times
154:Osmond-Smith 1975
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676:Related articles
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384:Orchestral works
367:Un re in ascolto
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288:Further reading
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64:Walter Trampler
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218:Smalley, Roger
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655:Laborintus II
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27:Luciano Berio
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295:Sequenzas IV
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142:Smalley 1971
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48:Serge Collot
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693:Tempo Reale
683:Polystylism
526:Vocal music
436:Différences
359:Stage works
253:Sequenza VI
166:Holmes 1981
100:Sequenza VI
85:Chemins IIc
81:Chemins IIb
68:Chemins III
66:, for whom
56:Chemins III
44:Sequenza VI
18:Sequenza VI
752:Categories
534:Folk Songs
303:Interface—
129:, 286–287.
115:References
77:Chemins II
60:Chemins II
52:Chemins II
422:Due pezzi
404:Rendering
717:Category
699:Turandot
649:Epifanie
541:Sinfonia
475:Sequenza
168:, 73–75.
95:Analysis
72:Sequenza
32:Sequenze
553:A-Ronne
443:Circles
175:Sources
105:tremolo
39:History
728:Portal
450:Kol-Od
279:832877
277:
244:955060
242:
210:959202
208:
156:, 871.
392:Nones
275:JSTOR
240:JSTOR
206:JSTOR
23:viola
560:Coro
297:and
87:for
514:XII
502:VII
301:".
267:doi
232:doi
228:112
198:doi
194:116
25:by
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512:,
510:XI
508:,
504:,
500:,
498:VI
496:,
492:,
490:IV
488:,
486:II
484:,
299:VI
273:.
263:21
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134:^
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506:X
494:V
482:I
479:(
335:e
328:t
321:v
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144:.
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