Abstract
The Italian composer Luciano Berio, a classic of modern music, is distinguished by a rare variety of creative solutions and a wide range of interests. Sequenza I, written by Berio in 1958, marked the beginning of a series of 14 pieces. They are dedicated to contemporary interpretation of possibilities of various instruments and voice in the genre of a solo concert piece. The Sequenzas are an example of virtuosity and an encyclopedia of the development of Berio’s aesthetics in the period from 1958 to 2002. In most of the pieces, Berio uses a combination of experimental instrumental techniques and dramatic elements. He calls his Sequenzas “extremely sophisticated gestural exercises”. Sequenza IV (1965) is one of the pieces with a more traditional approach. Berio avoids an experimental manner of playing and sound touche and continues to develop his own concept of a polyphonic composition. The article provides a comprehensive analysis of Sequenza IV, briefly focuses on the other Sequenzas and explores some aspects of Berio’s creativity.
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