Category: Berio

  • Berio Sequenza Audio Recording and Saunders Bite

    Some time ago I posted about recording the Berio Sequenza for Flute. So many other projects have been realized since our session in January 2016 that there has been a large gap between recording and release, but we have made sure the recording is decent. I have only the following reservations: since the idea was […]

  • Berio Sequenza, some musings and links

    Several¬†days until I record the Berio Sequenza no. 1. This winter break has been very stressful. I was with my family in St. Petersburg. Family can be stressful, my son is at a difficult age, I myself am at a difficult age. Russia is stressful. It was so cold that it has taken my skin […]

  • Atonal Intonation in Light of Berio’s Sequenzas

    Luciano Berio‘s Sequenza no.1 for flute is one of my favorite pieces. I also love teaching it; it has so much to offer in terms of technique (especially articulation!), style and presentation. There is an unwritten book inside me about this work, but for now I would like to consider one aspect of the work […]

  • Writing Harmonics for Flute – when is a harmonic not a harmonic?

    Harmonics (also called overtones or flageolets)¬† are great! I love playing them, but I want to mention several issues when writing them for flute, piccolo, alto flute or bass flute. The most prevalent mistake is writing harmonics that are too low. The following notes cannot be written as harmonics: The above notes can only be […]

  • Sounds of Silence

    When a composer includes silence in a solo work, it cannot tossed off as a neutral medium for spacing out notes or phrases. One has to ask, is the silence an arrested motion, or is it a mere suspension of action? Determining the type of silence one wants to create is crucial. This is why […]

  • Interpretation of Contemporary Music: Finding the Composer’s Voice

    Familiarity with a composer’s style and esthetics is essential in preparation of music from any period. How can we go about learning these essentials when faced with music of a composer who is new to us? First, research and familiarize yourself with the composer’s other works, and perhaps more interestingly, find his/her sources of inspiration. […]

  • Double Double Tongue

    Working on the Berio Sequenza, I’ve been trying to figure out ways to double tongue faster. Theoretically, I presume, one should be able to double tongue exactly twice as fast as one can single tongue. [1x ST = 2x DT] So if I can single tongue 16th notes at mm.=120, why can’t I double tongue […]

  • Robert Dick, 22 March 2009

    Left to right: Charlotte, Johanna, Nozomi, Robert, Wan, Kanae Last weekend I had the pleasure of attending, albeit briefly, Robert’s masterclass in Wuppertal, Germany. It was great to see him! The last time I saw him, he was walking out on a concert I gave at the BAM in New York! Not because of me […]