This article presents an overview of three analytical versions of Luciano Berio’s Sequenza VIII for solo violin, implemented by Pierre Boulez, Eugene Montague and the author of this paper at different times. Distinguished by methodological autonomy, they are intended to show the dependence of the content plan on the professional orientations and aesthetic experience of each researcher. In the author’s opinion, the multivariance of interpretations of the discursive text of the Sequenza is partly due to the composer’s commentary on the piece, which is filled with semantic “keys.” In his lecture “Moderne/Postmoderne,” Pierre Boulez offers an interpretation of the Sequenza independent of Berio’s explanations and explores the virtuoso composition through a fundamentally different, structuralist perspective. All three original theoretical concepts are united by the terms of the semiotic theory of Umberto Eco, a friend and associate of Luciano Berio.
Devutskaya, S. A. “Luciano Berio’s Sequenza VIII and its intellectual worlds.” Muzykal’naya akademiya [Music Academy], no. 4, 2024, pp. 60–73, doi:10.34690/431. (In Russ.)
Acknowledgments
gratitude to my scientific supervisor, Doctor of Art Criticism, Professor Tatyana V. Tsaregradskaya for valuable instructions and materials provided.
