ABSTRACT
Whilst it might seem appropriate to consider Sequenza VI (1967) in the context of other twentieth-century repertoire for solo viola, in his writings, Berio emphasizes the importance of a wider historical context. He is disparaging of musicians who specialize in contemporary music and his respect for composers from different periods proves significant for understanding his conception of the Sequenzas and the ‘virtuosity of knowledge’ that he requires from the performer. 1 Virtuosity, which Berio identifies as the most obvious unifying element in the Sequenzas as a whole,
often arises out of a conflict, a tension between the musical idea and the instrument, between concept and musical substance … Another instance where tension arises is when the novelty and the complexity of musical thought – with its equally complex and diverse expressive dimensions – imposes changes in the relationship with the instrument, often necessitating a novel technical solution (as in Bach’s Violin Partitas, Beethoven’s last piano works, Debussy, Stravinsky, Boulez, Stockhausen, etc.), where the interpreter is required to perform at an extremely high level of technical and intellectual virtuosity. 2
