This version was prompted by an invitation I received from Luciano Berio in 2002 to ’re-invent’ (rather than transcribe) for the doublebass his Sequenza XIV for violoncello, putting into play the innovations that have transformed the instrument over the last decades. Hence the employment of great diversity of instrumental techniques, the adaptations to the physical characteristics of the doublebass and the exploitation of its particular timbral qualities.
My reflection of some passages of the original, t
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