BERIO

$20 SCHOOLS’ TICKETS PROGRAM RESOURCES

SEQUENZA ITALIANA

SEQUENZA XIVb

One of the world’s most lauded chamber ensembles, the Australian Chamber Orchestra is renowned for

its inspired programming and unrivalled virtuosity, energy and

individuality.

Its unique programming extends across six centuries,

spanning popular masterworks, adventurous cross-artform

projects and pieces specially commissioned for the

ensemble.

Outstanding Australian violinist Richard Tognetti has been at the helm of the ACO

since 1989.

AUSTRALIAN CHAMBER ORCHESTRA

Italian composer known for his experimental music particularly

in the latter half of the 20th century.

His virtuoso solo works for various instruments, known as the ‘Sequenzas’, were “written

for performers whose virtuosity is above all a

virtuosity of knowledge”.

These works challenge the best of musicians often calling for a mastery of both percussive

sounds on traditionally orchestral melody instruments as well as modern extended techniques explored in many 20th & 21st

century art pieces.

It is piece like this that focus on the importance or score

interpretation when preparing for a performance.

ABOUT LUCIANO

BERIO

SEQUENZA XIVb

Is the final work in a long series of pieces composed by Berio throughout much of his career. Each of the pieces seeks to explore the breadth of possibilities on the instrument for which it was written.

Extended techniques that challenge both the physical capabilities or the instrument and the player are integral to the work. Sequenza XIV was the last work technically composed by Berio in 2002 while the adaptation XIVb for double bass was completed by Stefano Scodanibbio in 2004 after Berio’s death in 2003.

AURAL/ MUSICOLOGY Each sequence of Lessons provided by the ACO will focus on developing key skills: PERFORMANCE, COMPOSITION and

AURAL/MUSICOLOGY.

This sequence of lessons will focus on

PERFORMANCE

TECHNIQUES The extended techniques explored in this piece relate mostly to stringed instruments as this work is for the double bass. Below is a table outlining some of the techniques used in the score and how they should be performed:

MARKING EXPLANATION MARKING + BAR REFERENCE

EXPLANATION

diamond note head

The note is to be a harmonic Pont. ord/tasto Play near the bridge and then normally/or over the fingerboard

black triangle note head

The note is to be hit (battuto) with the ivory tip of the bow gliss. Tremolo

Play a glissando while also bowing a tremolo

inverted triangle + bracket

Excessive pressure on a slow drawn bow to produce a scratchy, harsh sound

Line between 2 notes

Slide from the first to the second note

Pizzicato (plucked) m.d.= mano destra = right hand II & III = 2

nd and 3

rd strings

Harmonics Perc. sul fondo = percussion sounds towards the bottom of the instrument No.s = finger to strike with m.s.= mano sinistra = left hand

The two staves are to be played at the same time. The R.H is playing harmonics while the L.H s playing percussive sounds on the body of the double bass.

MUSICIANS • Musicians have a very

important role when performing music written by a composer.

• One of their most important jobs is to interpret what the composer wants from the score they are working from.

• The score has all the information the composer wants the musician to use in order to perform the piece as they have intended.

REALISING THE SCORE ACTIVITY

1. Examine the first page of the score to this piece. Annotate ALL the score markings that you can. That includes dynamics, tempo markings, accents, fingering, etc). Colour coding your annotations is a great way to organise your work. When you think it’s complete swap with a classmate and see if you can add any more to theirs.

2. Watch this YouTube recording of a live performance of the piece (Florentin Ginot – Sequenza XIVb) and try to follow the first page of the score as you do. This will give you a great insight to what the score should sound and the performance should look like. This can be tricky with avant-garde works such as these.

PERFORMANCE PRACTISE ACTIVITY

When preparing a piece for performance there are several stages: STAGE 1 – NUTS AND BOLTS Learning the notes, the basic shape of the piece.

STAGE 2 – ADDING THE DETAILS/ANNOTATING THE SCORE This includes the phrasing, dynamics, expression, special techniques and any other playing instructions given on the score*. *If you are learning your piece from a brief chord chart or sparse score then this is where you need to add those details into your working score with annotations. This is called MAPPING THE SCORE.

STAGE 3 – PERFORMANCE REHEARSAL~ Finally you need to work on putting the first two steps into one polished performance. Recording yourself is an excellent way to evaluate this process. Performing for a classmate to give you some notes is also a good idea. ~Remember that practise is when you iron out nuts and bolts details, rehearsal begins when it’s time to polish (i.e.; the notes are already learnt!).

Now that we have explored the importance of understanding the composer’s intentions in the Berio score, let’s look at how this is applied to our own performance practise.

PERFORMANCE PRACTICE ACTIVTY • We will focus on STAGE 2 for this

activity. Choose a piece that you are either currently working or even one that you have previously performed. It would be best to choose a piece that you already know the basics of (the notes).

• Now that you have your piece chosen, make sure you have a printed copy of the first page or two of the score/music. If this is a piece you are currently preparing for an assessment you should be using ALL of the score*.

• *If you are performing a piece that only has lead sheet or tab you can still add in the details below to build a road map for yourself.

ANNOTATING THE SCORE This step helps to give you a ‘road map’ of how to perform the piece.

Mark in the following details in the score: • TEMPO - Highlight tempo markings and changes (include changes you add to the

performance as you practise).

• DYNAMICS - Highlight dynamic markings and changes (include changes you add to the performance as you practise).

• ARTICULATIONS - Circle articulations that are important to the performance (include tricky bits that you are ironing out through practise – perhaps in a different colour to draw your attention). Don’t forget to add in things like bowing, strumming, tonguing, fingering, malleting, etc., where applicable.

• PHRASING - Mark in important phrases that are shaping the performance. These might include interpretations that other performers have used that have seen/heard and would like to incorporate into your performance.

• INTERPRETATION - Add any words or descriptions that help you to shape the performance with emotion or feeling (eg; linger here, sadness evoked here, with anger, etc.).

PRACTISE TECHNIQUE • Once you have done this to the score start

to work on adding these details to your practise.

• Perform the piece (or part of it) to a classmate and ask them to follow your annotated score. This is a good way for you to get feedback as to whether the details are coming through in your performance. It’s like having a masterclass.

• You can also record yourself performing a section of the piece and then watch it back and follow your score to self-evaluate your process.

• Observe a classmate performing an excerpt or their whole piece whilst following their score to give feedback to them. This is an excellent process for you to critically watching another performer’s interpretation and practise technique.

SHARING YOUR PROCESS ENRICHES YOUR PREPARATION.

WATCHING SOMEONE ELSE’S PROCESS ENRICHES YOUR PREPARATION.

THE KEY IS TO PLAY, PLAY, PLAY!

AT THE CONCERT When you go to the concert, use the knowledge and skills we have explored and consider the following questions: How have the various works enabled the feature instruments in this program (violin, viola & double bass) to highlight their possible range and performance capabilities? Give examples of techniques or musical ideas used to illustrate your points. Identify which piece you were most interested in. This does NOT have to be the piece you found easiest to listen to, it may be the one you found most challenging. Give three reasons why you found the chosen piece to be so interesting. How could you possibly incorporate any of the techniques used into your own performance or composition work?

TEACHER’S NOTES Teacher's Notes for reference to the Draft Australian Curriculum: The Arts and NSW Stage 6 Music 1 & Music 2 Syllabus.

General

Capabilities

LIT – Reading and annotating the score excerpt. NUM – discussing the use of free time and meter in the work. ICT – Utilising internet resources. CCT – Critically discussing the set work and the students’ chosen pieces. PSC – Sharing personal responses to the set work and chosen pieces. EU – Working collaboratively with peers in the score and performance practice activity. ICU – Discussing the musical culture shift with modern avant-garde works.

Cross-Curriculum Links & Priorities English, Humanities and Social Sciences, Mathematics, History,

Language

Viewpoints 2 – Extend discussions into the links between the repetitive nature of

these works and that of cultural music of Asian regions (eg; Balinese,

Chinese).

TEACHER’S NOTES MUSIC 1

Topic Links

Music of the 20th & 21st

Centuries

Music for Small Ensembles

Music and the Related Arts

(Hermann & Stravinsky)

MUSIC 2

Topic Links

Music of the Last 25 Years

MUSIC 1

Outcome

Links

P – 2,3,5,6,7,8,10,11 H – 2,3,5,6,7,8,10,11

MUSIC 2

Outcome

Links

H – 2,3,5,6,7,8,10,11

NSW Stage 6 Syllabus Links –

OPPORTUNITIES FOR YOUNG MUSICIANS WITH THE ACO

Find out about more great opportunities with the ACO