The Practice Guide for the Sequenza VII

Maxime le Minter

Exposition

The Practice Guide for the Sequenza VII (2020)

Maxime le Minter

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About this exposition

The Sequenza of Berio is for me a special piece from the oboe repertoire. It is one of the only piece coming from what we consider modern music which oboe players arriving to a certain level need to master because this piece is now being asked in most of international competitions and even sometimes for audition for certain ensembles. This piece is also one of the most challenging of our repertoire. Written in 1969, this piece includes many difficulties for the performer such as extended techniques and high level technical difficulties. Because of the many audio versions that are available, it is in our days possible to get an idea of how the piece can be performed. however, I have made in this research a comparison between two reference recordings and how many differences can be found. Some other versions of the piece have been made in order to help the performers to practice the Sequenza. Jaqueline Leclair wrote a “a” version that can be found when you buy the piece in the store. That version, with the allowance of Berio, is a measured version of the piece intended to help the performer play the piece in a literal way and gives guidance regarding the tempo and the necessary time for this piece to be performed. This version has been refused by Heinz Holliger, who argued in letters with J. Leclair about how difficult and out of context her version can be, compared to the normal version. We will see in this research that this version is actually irrelevant to the original concept/idea of the piece if performed literally and also that it brings more troubles that it solves problems because of the impossibility to perform the piece in such a tempo. The method I used to go through this process is, based on a reference recording, to show the difficulties point per point. For more clarity, I have divided the research per section, and I have put in each section the difficulties that were relevant to me, according to the comparison I have made between versions of the piece, and my own technical struggles. On each of those difficulties, there is a recording of the experimentation, including different ways of playing it, and a recording of which version is the easiest for the performer. Each result and their difficulties have been discussed with one of my three specialists and experimented and recorded by myself so I strongly believe in the result of each of the difficulties I am talking about. Also, every oboe player is different and the best way of tackling those technical issues might be different for all of us, so what I am trying to do here is to help the performer who perform his piece and the results are all according to my own way of playing and of my strong and weak point as a oboe player. I would recommend to the reader to have a flexible view on that work and to take what is helpful for the player. I would be glad to have any performer telling me that he would have used one section of this whole research.

type	research exposition
keywords	berio, sequenza
date	11/07/2017
published	22/06/2020
last modified	22/06/2020
status	published
share status	public
affiliation	Codarts, University of the Arts
license	All rights reserved
url	https://www.researchcatalogue.net/view/380007/380008
published in	Codarts
portal issue	Codarts Artistic Research Reports.
external link	www.codarts.nl

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name	COMMaxime le Minter PLETE-REPORT-corrected-English-FM-16.42017
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name	justfingerings
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name	Fingerings different 34
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name	1°try 22'
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name	2try beggining slower
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name	3°try 78 slower
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name	3rd line Bar 10th
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name	3rd bar 10
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name	B overblowing multi bar 11
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name	B overblowing normal + Glissendo Bar 11
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name	Bar 9th as written
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name	Bar 9th less embouchure resistance
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name	Line 4 App. Bar 6
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name	4th line 2
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name	Bar 1 Mi Appo
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name	Bar 5
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name	Bar 9th low Ds
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name	Bar 11th Appo
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name	Bar 6 Low D overblowing
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name	try 1 just like that !
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name	try 2 with feeling of acceleration in the end
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name	Try 3 even faster especially last bar
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name	try 4 streching beggining fast end
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name	Try 5 more dynamics
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name	try 6 more more dynamics, so slower
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name	Apoggiature bar 1 H
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name	Bars 67 HH
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name	Bars67 1
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name	Es bar 2 counted
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name	Es Bar 3 counted
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name	2nd bar Es 1
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name	2nd bar Es HH
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name	3rd bar low E as written
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name	3rd bar low E plus C key
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name	bars 10111213 relax
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name	bars10111213
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name	Try 1 normal
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name	try 2 normal again
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name	try 3 end faster
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name	Try 4 even faster ending
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name	try 5 5bar faster
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name	try 6 more relax
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name	Bar 56 As
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name	Technical passage bar 111213
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name	Bar 5 A multiphonic fingering
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name	Bar 5 high A normal overblowing
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name	Over group Eb open
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name	Overblowing group normal
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name	Overblowing group with different multi
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name	2try normal
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name	3try ending faster
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name	4th try bars 23 faster
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name	5th try more relax
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name	Normal playing
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name	Bar 12
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name	Bars 1213
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name	Bars 1213
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name	Bar 1
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name	Bar 5
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name	11bar normal E overblowing
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name	11th bar with multi fingering
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name	13th bar Eb
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name	Bar 1
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name	Bar2
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name	Overblowing group multiphonics
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name	overblowing group normal
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name	multiphonics concerning the guide of the sequenza
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name	multiphonics related to the fingering given and intonations
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name	Bs fingering from the guide
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name	FFC#F Maarten
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name	GF#C# guide
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name	GF#C# in tune
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name	high G loud and soft
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name	high G loud
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name	high G soft
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name	multiphonic F#C# guide
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name	multiphonics F#C# intune
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name	ZOOM0013
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The Practice Guide for the Sequenza VII (2020)

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