Luciano Berio's

Abstract

The Sequenza XI per chitarra sola is a recent work of great significance for the guitar repertoire. Written by one of the most accomplished living composers, the Sequenza XI is also part of a series of works that demonstrates the state of instrumental composing in the 20th century. This study examines elements of the composition in regard to their significance for the performer. It also discusses problems in the execution of the piece and attempts to outline ways in which to overcome these problems. After discussing possible revisions with the composer, the author has included an edited version of the score as part of this study. The Sequenza XI is clearly linked to other works in the series of Sequenzas through their common concept of integrated development. Berio's musical language often includes a very personal approach to tonality as well as a preference for meaningful virtuosity. A particularly effective compositional technique in the Sequenza XI is Berio's layering of sounds. The composer has a unique and individual understanding of lyricism in music that determines musical material and shapes structures. It is this lyricism that is often difficult to understand. Finally, the Sequenza XI was written as a challenge to the technical possibilities of the guitar. Furthermore, it was co-commissioned and written for Eliot Fisk, a performer with unusual physical and technical ability. For that reason, I have created the attached critical edition of the score of the Sequenza XI, making the work more approachable for the majority of guitarists.