2020 10/24 ：義大利作曲家盧恰諾·貝里奧（Luciano Berio，1925年10月24日－2003年5月27日）誕辰95週年紀念日。
貝里奧一系列的序列 ”Sequenza”作品中，第一首是為長笛而做，寫作於1958；最後一首(no.14)是為大提琴而寫，寫於2002年。這些作品挑戰出每個樂器的可能性，通常被稱為”延伸技巧”。其中以為女高音作的Sequenza III，為雙簧管作的Sequenza VII和長號的Sequenza V 等三首作品最具有代表性。
這一系列的作品可說是Berio三十幾年創作生涯中，關於創作手法的濃縮以及精華呈現。不僅僅是考驗演奏者對於許多新穎技巧的演奏實力，每一首皆體現了樂器最大的可能性，透過這樣的方式，建立了令人印象深刻的聲響。
Sequenza I for flute (1958);
Sequenza II for harp (1963);
Sequenza III for woman's voice (1965);
Sequenza IV for piano (1966);
Sequenza V for trombone (1965);
Sequenza VI for viola (1967);
Sequenza VII for oboe (1969) (rev. by Jacqueline Leclair and renamed "Sequenza VIIa" in 2000);
Sequenza VIIb for soprano saxophone (adaptation by Claude Delangle in 1993);
Sequenza VIII for violin (1976);
Sequenza IXa for clarinet (1980);
Sequenza IXb for alto saxophone (1981);
Sequenza IXc for bass clarinet (adaptation by Rocco Parisi in 1998);
Sequenza X for trumpet in C and piano resonance (1984);
Sequenza XI for guitar (1987–88);
Sequenza XII for bassoon (1995);
Sequenza XIII for accordion "Chanson" (1995);
Sequenza XIVa for violoncello (2002);
Sequenza XIVb for double bass (adaptation by Stefano Scodanibbio in 2004).
📹 Sequenza III
為聲樂家Cathy Berberian而寫。Berio 在此作品中尋找文字以及其配置的關係。從破壞他的語意去創造音樂。
（文字擷取自：https://jannysmusic.pixnet.net/blog/post/176617717）
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