Luciano Berio - Universal Edition

Luciano 

Berio 

www.universaledition.com

www.universaledition.com/berio

Luciano Berio 

(*24 October 1925, Oneglia, Italy – † 27 May 2003, Rome) 

5 The Past as Future: Luciano Berio 

6 Il passato come futuro: Luciano Berio 

7 Die Vergangenheit als Zukunft: Luciano Berio 

8 Le passé en tant qu’avenir: Luciano Berio 

10 Worklist by instrumentation 

15 Chronological list of works 

20 Catalogue of works 

56 Transcriptions, arrangements, etc. 

contents 

3

The Past as Future: Luciano Berio 

In the aftermath of the Second World War, many composers of Luciano Berio’s generation 

felt obliged to wipe the slate clean. To a composer with roots as deep in the achievements 

of the past four centuries as Berio, this was never an option. His work constantly re-invented 

continuities where others saw only the possibilities of rupture. Not that he was ever tempted 

by the assorted nostalgias that haunted some part of the music of the last century. On the 

contrary, he maintained an insatiable curiosity about the explorations of his contemporaries 

– musical or otherwise. But his dialogues with literature, with linguistics, with structural 

anthropology, with ethnomusicology always proved to be the most inventive of piratical raids 

– seizing the materials that he needed as a musician, and drawing from them creative 

consequences often far removed from their original context. They are a fraternal “homage”, not 

an imitation. Beyond his apprentice years of the late forties and early fifties, much the same 

might be said of his response to his musical contemporaries. His oblique relationship to the 

post-Webernian mainstream was the first instance of a trait that has remained central to his 

work ever since. Seizing with relish upon its demonstrations of inexhaustible metamorphic 

potential, he expanded this into a basic principle: you may always re-write what is already 

written. 

The exuberant melodic confidence of his work from the late fifties and sixties – whether the 

nervous brilliance of the flute Sequenza I, or the by now classic lyrical intensity of works 

written for Cathy Berberian, such as Circles or Sequenza III – bears witness to the confident 

authority with which he grasped these means. Equally, the series of Chemins that revisit solo 

Sequenzas demonstrate not just a Joycean “work in progress”, but our obligation to treat each 

completed work as a “listening in progress”. But the sixties also saw the first indices of an 

unwillingness to side-line issues central to his rigorous sense of musical tradition. Where some 

contemporaries seemed content to treat harmony as simply a subcategory of “texture”, Berio 

insistently returned to the harmonic dimension as central to his larger musical aspirations. 

Training his own and his listeners’ ears to find their way through the harmonic jungle was at 

first a matter of brilliantly alert intuition – in, for instance, Sequenza IV for piano – but was 

soon absorbed into a focussed framework, first in O King, but then in many subsequent works 

of the early seventies, by exploring the consequences of harmonic projections from a line. The 

fruits of this patient process of exploration came in the major works of the eighties and 

nineties, where harmony resumed its rights as the organising force behind such major theatre 

works as La vera storia, Un re in ascolto, and Outis, but could equally determine the masterly 

concision of Sequenza XIII for accordion. 

Although Berio drew admiration in the late fifties as an exuberant explorer of electronic 

resources, his vivid empathy for the risks and rewards of live performance tended to gain the 

about his music 

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upper hand over any disembodied search for “new sounds”. However fragile and temporary the 

community created in the concert-hall by a brilliant performance, it is one that Berio served 

with singular fixity of purpose. Since the sixties a vigorous inhabitant of McLuhan’s “global 

village” (of which any concert-hall or radio station may propose itself as a temporary 

microcosm) he asserted music’s obligation not only to its own singular history, but also to the 

re-statement of human concerns that, without such patient and committed reiteration, could 

so easily evaporate. His is a music that “refuses to forget”. 

David Osmond-Smith 

Il passato come futuro: Luciano Berio 

Dopo la Seconda Guerra Mondiale molti compositori della generazione di Luciano Berio si 

sentirono obbligati a ricominciare daccapo. Un compositore come Berio però, le cui radici 

ancoravano profondamente nelle conquiste di quattro secoli, non prese mai in considerazione 

questa opzione. La sua opera re-inventò costantemente delle continuità laddove altri vedevano 

come unica alternativa la rottura. Non che fosse mai stato attratto da quelle nostalgie aleggianti 

in alcune musiche del secolo scorso. Al contrario, mantenne una curiosità insaziabile verso le 

esperienze di ricerca dei suoi contemporanei – musicisti ed altri. Ma i suoi dialoghi con la 

letteratura, la linguistica, l’antropologia strutturale, la musicologia etnica si sono sempre 

dimostrati i più ingegnosi raid corsari: egli acquisì i materiali di cui aveva bisogno come musicista, 

per trarne delle conseguenze creative, spesso molto distanti dal contesto originale. Sono un 

omaggio fraterno, non un’imitazione. Al di là del periodo di apprendistato tra la fine degli anni 

’40 e l’inizio dei ‘50, si può affermare praticamente lo stesso a proposito della sua interazione con 

i suoi contemporanei musicali. La relazione non sempre diretta con la corrente di pensiero 

postweberniana fu il primo dei tratti che da allora caratterizzarono la sua opera. Impossesandosi 

con gusto dell’immenso potenziale metamorfico di tale pensiero, Berio lo trasofrmò in un 

principio di base: è sempre possibile ri-scrivere ciò che è già scritto. 

L'esuberante sicurezza melodica delle sue opere degli ultimi anni ’50 e ’60 – sia la brillantezza 

nervosa della Sequenza I per flauto, sia l'ormai classica intensità lirica dei brani scritti per Cathy 

Berberian, tra cui Circles o Sequenza III – testimonia l’autorevolezza con cui Berio ricorreva a 

questi mezzi. La serie dei Chemins, rivisitazioni delle Sequenze per strumento solo, non soltanto si 

dimostra un “work in progress” nel senso joyceano, ma ci obbliga anche a considerare ogni opera 

compiuta come un “listening in progress”. Gli anni ’60 vedevano però anche i primi indizi della 

volontà di non trascurare istanze centrali del proprio senso rigoroso della tradizione musicale. 

Mentre alcuni contemporanei sembravano accontentarsi trattando l’armonia semplicemente 

come una categoria subordinata di “texture", Berio non smise mai di tornare con insistenza alla 

dimensione armonica come fulcro delle sue aspirazioni musicali più ampie. L’allenamento del 

proprio udito e di quello dei suoi ascoltatori, così da trovare un percorso attraverso la giungla 

armonica, fu inizialmente un aspetto dell’accortissima intuizione beriana – per esempio nella 

Sequenza IV per pianoforte. Presto però quest’intuizione divenne parte di una concezione messa 

bene a fuoco, prima in O King, poi in tante opere dei primi anni ‘70, nelle quali esplorò le 

about his music

conseguenze delle proiezioni armoniche partendo da una linea di suoni. I frutti di questo paziente 

processo d’esplorazione si poterono cogliere nelle opere principali degli anni ‘80 e ‘90, dove 

l'armonia reclamava i propri diritti quale forza organizzativa dietro opere teatrali così importanti 

come La vera storia, Un re in ascolto e Outis, ma determinava ugualmente anche la magistrale 

concisione della Sequenza XIII per fisarmonica. 

Malgrado Berio fosse apprezzato nei tardi anni ’50 come esuberante esploratore di risorse 

elettroniche, la sua vivace empatia per i rischi e le ricompense dell’esecuzione dal vivo ebbe 

tendenzialmente la meglio su qualsiasi ricerca astratta di “nuovi suoni”. Per quanto fragile e 

temporanea sia la comunità che si crea in una sala da concerto in occasione di una brillante 

esecuzione, Berio si dedico ad essa con singolare determinazione. Abitante convinto, sin dagli anni 

’60, del “global village” mcluhaniano (nel quale un auditorio o una stazione radiofonica 

potrebbero proporsi come una sorta di microcosmo temporaneo), egli ha affermato l’impegno 

della musica nei riguardi non solo di se stessa e della sua storia particolare, ma anche nel ribadire 

tutto ciò che concerne l’umanità che, in mancanza di una simile reiterazione, paziente e dedita, 

potrebbe facilmente dileguare. La sua è una musica che “si rifiuta di dimenticare”. 


Die Vergangenheit als Zukunft: Luciano Berio 

Nach dem Zweiten Weltkrieg fühlten sich viele Komponisten dem Ruf nach einer tabula rasa 

verpflichtet. Ein Komponist wie Luciano Berio, dessen Wurzeln so tief in den Errungenschaften 

von vier Jahrhunderten verankert waren, zog so etwas nie in Erwägung. Sein Werk hatte 

ständig Anknüpfungspunkte ge- und erfunden, wo andere nur die Alternative eines Bruchs 

sahen. Das bedeutet aber nicht, dass er jemals von der Nostalgie befallen wurde, die in vielen 

Kompositionen des vegangenen Jahrhunderts spürbar ist. Ganz im Gegenteil hatte er sich 

stets eine unstillbare Neugier auf die Erkundungen seiner Zeitgenossen bewahrt – sowohl 

auf die musikalischen wie auch auf andere. Aber seine Dialoge mit Literatur, Linguistik, 

Musikethnologie oder Anthropologie hatten sich immer als höchst schöpferische Feldzüge 

erwiesen. Er eignete sich das Material an, das ihn als Musiker faszinierte, um daraus kreative 

Konsequenzen zu ziehen, die oft weit entfernt vom originalen Kontext waren. Das ist 

eine kollegiale ‚Hommage‘, keine Imitation. Einmal von seinen Lehrjahren in den späten 

40er und frühen 50er Jahren abgesehen, konnte man Ähnliches über die Reaktion auf seine 

musikalischen Zeitgenossen konstatieren. Schon damals zeigte sich in seiner postwebernschen 

Gesinnung eine Eigenheit, die seither für sein OEuvre bezeichnend geblieben war. Aus 

der anfänglichen Faszination über das grenzenlose metamorphische Potential schälte sich 

allmählich Berios Grundsatz heraus: Man kann schon Geschaffenes immer wieder 

nachschöpfen. 

Die melodische Ausstrahlung seiner Werke der 50er und 60er Jahre – sei es nun 

die nervöse Brillanz der Sequenza I für Flöte oder die mittlerweile klassische lyrische 

Intensität der für Cathy Berberian geschriebenen Stücke wie Circles oder Sequenza III – 

bezeugt Berios Fähigkeit, mit der er sich dieser Mittel bediente. Die Serie Chemins su 


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Sequenza steht nicht nur als ein Beispiel für ein work in progress (im Sinne von James Joyce), 

sondern auch als eine Verpflichtung, jedes abgeschlossene Werk als ein listening in progress 

zu betrachten. In den 60er Jahren gab es aber auch schon die ersten Anzeichen für einen 

Unwillen, musikalische Tradition zu vernachlässigen. 

Obwohl einige Zeitgenossen sich damit abfanden, Harmonie einfach als eine Form von 

‚Textur‘ zu betrachten, hatte Berio immer wieder die harmonische Dimension als wichtigste 

Kategorie seines musikalischen Denkens begriffen. Die Erziehung seines eigenen Hörverhaltens 

in Sachen Harmonie, wiewohl auch desjenigen seiner Hörer, beruhte ursprünglich auf Berios 

ungewöhnlich wacher Intuition – z. B. in Sequenza IV für Klavier. Diese Intuition kristallisierte 

sich aber bald zu einer klaren Konzeption, zuerst in O King, dann in vielen Werken der frühen 

70er Jahre: nämlich das Erkunden der Konsequenzen, die bei der Projektion einer melodischen 

Linie auf die harmonische Ebene entstehen. Die Früchte dieses geduldigen Forschungsprozesses 

konnten in den Hauptwerken der 80er und 90er geerntet werden, wo die Harmonie ihre 

Rechte als organisatorische Kraft hinter solch wichtigen Musiktheaterwerken wie La vera 

storia, Un re in ascolto und Outis einfordert, aber auch das meisterhafte Konzept der Sequenza 

XIII für Akkordeon bereichert. 

Obwohl Berio in den späten 50er Jahren als unermüdlicher Forscher elektronischer Musik 

geschätzt wurde, zog er immer die Risiken und Möglichkeiten des realen Musizierens der 

abstrakten Suche nach ‚neuen Klängen‘ vor. Wenngleich die Gemeinschaft, die in einem 

Konzertsaal entsteht, eher zerbrechlich und von kurzer Dauer ist, ist es eine, um die sich Berio 

mit einzigartiger Zielstrebigkeit bemühte. Berio war schon seit den 60er Jahren ein 

leidenschaftlicher Anhänger von McLuhans Idee des ‚global village‘ (einer Gemeinschaft 

übrigens, in der ein Konzertsaal oder ein Radiosender einen Mikrokosmos bilden könnte). So 

formulierte Berio die Aufgaben der Musik nicht nur im Hinblick auf ihre eigene einzigartige 

Geschichte, sondern auch im Hinblick auf allgemein menschliche Anliegen, die ohne ein solch 

geduldiges und engagiertes Beharren sehr leicht in Vergessenheit geraten könnten. Seine Musik 

„weigert sich zu vergessen“. 


Le passé en tant qu’avenir: Luciano Berio 

Après la deuxième Guerre mondiale et les séquelles qu’elle causa, de nombreux compositeurs 

de la génération de Luciano Berio choisirent de faire table rase. Pour un compositeur comme 

Luciano Berio, profondément enraciné dans les acquis musicaux de quatre siècles, il ne fut jamais 

question de choix. Son oeuvre a toujours réinventé des continuités, là où d’autres ne voyaient bien 

souvent que des possibilités de rupture. Cela ne signifie pas pour autant qu’il était empreint de la 

nostalgie qui fut commune à un grand nombre de compositions musicales du siècle passé. Bien 

au contraire, il a conservé une curiosité insatiable pour les expériences exploratoires de ses 

contemporains, qu’elles soient sur le plan musical ou bien autre. Mais ses dialogues avec la 

littérature, la linguistique, l’anthropologie structurale ou l’ethnomusicologie s’avérèrent toujours 

des excursions plagiaires très innovatrices – c’est en tant que compositeur qu’il s’est approprié les 

about his music

matières qui le fascinaient, afin d’en extraire des effets souvent fort éloignés de leur contexte 

d’origine. On doit les considérer comme un «hommage» fraternel rendu par le compositeur, non 

comme une imitation. Abstraction faite de ses années d’apprentissage à la fin des années 40 et 

au début des années 50, on peut considérer qu’il en est de même quant à sa réponse à ses 

contemporains musicaux. Sa relation indirecte avec le courant esthétique postérieur à Webern a 

été et demeure l’une des caractéristiques essentielles de son oeuvre. A partir de sa fascination 

initiale pour le potentiel métamorphique et son infinité, le principe fondamental de Berio s’est 

cristallisé pas à pas: tout ce qui a déjà été écrit peut être réécrit. 

Le charisme mélodique de ses oeuvres composées à la fin des années 50 et au début des années 

60 témoigne de la faculté de Berio de se servir de ces moyens, que ce soit à travers la brillance 

nerveuse de la Sequenza I pour flûte ou l’intensité lyrique devenue entre-temps classique des 

pièces composées pour Cathy Berberian telles Circles ou la Sequenza III. De même, la série 

Chemins su Sequenza n’est pas seulement la manifestation d’un «work in progress» inspiré par 

James Joyce, mais doit être une obligation de considérer chaque oeuvre accomplie sous l’aspect 

«listening in progress». 

Mais les années 60 ont vu l’émergence des signes avant-coureurs d’un refus de négliger les 

thèmes centraux de la tradition musicale. Tandis que certains contemporains semblent s’être 

contentés de traiter l’harmonie comme une simple sous-catégorie de la «texture», Berio a fait de 

la dimension harmonique l’un des points centraux de son idéal musical. L’éducation de sa propre 

oreille musicale ainsi que celle de ses auditeurs afin de s’orienter au milieu de la jungle des 

harmonies reposait avant tout sur son intuition exceptionnellement vive, telle que dans la 

Sequenza IV pour piano. Cette intuition s’est cependant rapidement transformée en une 

conception claire, tout d’abord avec O King, ensuite dans de nombreuses oeuvres du début des 

années 70: ce fut alors l’exploration des conséquences issues de projections harmoniques d’une 

ligne mélodique. Les fruits de ce patient processus d’exploration ont pu être récoltés dans les 

oeuvres majeures des années 80 et 90, où l’harmonie s’affirme aussi bien en tant que force 

organisatrice d’arrière-plan dans les compositions lyriques importantes telles La vera storia, Un re 

in ascolto et Outis, qu’en tant que facteur d’enrichissement dans la concision magistrale de 

l’oeuvre Sequenza XIII pour accordéon. 

Bien que Luciano Berio ait joui à la fin des années 50 d’une grande admiration pour son 

exploration exubérante des ressources de la musique électronique, sa vive empathie pour les 

risques et possibilités de la représentation «live» l’a continuellement amené à préférer cette 

dernière à la recherche désincarnée de «nouveaux sons». Même si la communauté qui se crée 

dans une salle de concert lors d’une représentation de qualité est fragile et temporaire, Berio a 

cherché à l’établir avec une détermination singulière. Depuis les années 60, Berio, habitant 

convaincu du «village global» de McLuhan (dans lequel une salle de concert ou une station de 

radio pourrait se constituer en microcosme temporaire), a prôné l’engagement de la musique, non 

seulement envers sa propre histoire, mais aussi envers les intérêts humains qui, sans une 

persévérance patiente et engagée, pourraient très facilement s’évanouir . Sa musique est une 

musique qui «refuse l’oubli». 



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Worklist by 

instrumentation 

Stage Works 

a – ronne 

Allez-hop 

Il Combattimento di Tancredi e Clorinda (Monteverdi) 

Compass 

Cronaca del Luogo 

La vera storia 

Laborintus II 

Naturale 

Opera 

Outis 

Passaggio 

Per la dolce memoria di quel giorno 

Un re in ascolto 

Turandot (Puccini) 

Twice upon ... 

Vor, während, nach Zaide 

Wir bauen eine Stadt (Hindemith) 

Vocal Works 

a – ronne 

Agnus 

Air 

Altra voce 

Ballade von der sexuellen Hörigkeit (Weill) 

Beatles Songs 

Calmo 

Canticum novissimi testamenti 

4 Canzoni popolari 

Chamber Music 

Che dice la pioggerellina di marzo? (Ernesto Berio) 

Circles 

Il Combattimento di Tancredi e Clorinda (Monteverdi) 

worklist by instrumentation

Coro 

Cries of London 

E si fussi pisci 

E vó 

El mar la mar 

Epiphanies 

Folk Songs 

5 Frühe Lieder (Mahler) 

6 Frühe Lieder (Mahler) 

Le Grand Lustucru (Weill) 

Hör 

Magnificat 

O King 

Ofanìm 

Opus Number Zoo 

Otto Romanze (Verdi) 

Recital for Cathy 

Sequenza III 

Shofar 

Siete Canciones populares españolas (de Falla) 

Sinfonia 

Stanze 

Surabaya Johnny (Weill) 

There is no tune 

Orchestra 

Accordo 

Allelujah I 

Allelujah II 

Contrapunctus XIX (Bach) 

Bewegung 

Chemins IIb 

Continuo 

Divertimento 

Eindrücke 

Ekphrasis 

Encore 

Entrata 

Fanfara 

Festum 

Formazioni 

worklist by instrumentation 

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12 

LB.AM.LB.M.W.D.IS.LB 

Nones 

Notturno 

Quatre dédicaces 

Quattro versioni originali (Boccherini) 

Re-Call 

Rendering (Schubert/Berio) 

Requies 

Variazione sull’aria di Papageno 

Variazioni 

Solo Instruments and Orchestra / Ensemble 

Alto saxophone Récit 

Basset horns (2) Variazione sull’aria di Papageno 

Bass clarinet Chemins IIc 

Flute Serenata I 

Flute, violin, 2 pianos Tempi concertati 

Guitar Chemins V 

Harp Chemins I 

Clarinet or viola Brahms – Opus 120 Nr. 1 

Clarinet, viola Alternatim 

Clarinet, violin, harp, celesta Concertino 

Oboe Chemins IV 

Piano ‘points on the curve to find ...’ 

Piano Concerto II 

Pianos (2) Concerto 

Soprano saxophone Chemins IV 

Trombone SOLO 

Trumpet Kol od 

Viola Chemins II 

Viola Chemins III 

Viola Voci 

Violin, 2 horns Corale 

Violoncello Ritorno degli snovidenia 

Chamber Music 

Autre fois 

Call 

Différences 

Duetti per due Violini 


Due Pezzi 

Glosse 

Korót 

Linea 

Memory 

The Modification and Instrumentation (Purcell) 

Musica Leggera 

Naturale 

Notturno 


Quartetto 

Ricorrenze 

Sincronie 

Study 

Terre chaleureuse 

Wasserklavier 

Solo Instruments 

Accordeon Sequenza XIII 

Alto saxophone Sequenza IX 

Bass clarinet Sequenza IX 

Bassoon Sequenza XII 

Clarinet Lied 

Clarinet Sequenza IX 

Doube bass Psy 

Doube bass Sequenza XIV 

Flute Sequenza I 

Flute Mozart Cadenze 

Guitar Brin 

Guitar Sequenza XI 

Harp Sequenza II 

Harpsicord Rounds 

Piano 5 Variazioni 

Piano Brin 

Piano Canzonetta 

Piano Erdenklavier 

Piano Feuerklavier 

Piano Leaf 

Piano Luftklavier 

Piano (4-hands) Maria Isabella (Adolfo Berio) 

Piano Petite Suite 

worklist by instrumentation 

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14 

Piano Rounds 

Piano Sequenza IV 

Piano Six Encores 

Piano Sonata 

Piano (4-hands) Touch 

Piano Wasserklavier 

Oboe Sequenza VII 

Organ Fa – Si 

Soprano saxophone Sequenza VII 

Treble recorder Gesti 

Trombone Sequenza V 

Trumpet Gute Nacht 

Trumpet Sequenza X 

Viola Sequenza VI 

Violin Sequenza VIII 

Violoncello Les mots sont allés ... 

Violoncello Sequenza XIV 

Electronic Music 

a – ronne 

Chants parallèles 

Diario immaginario 

Momenti 

Mutazioni 

Perspektives 

Thema 

Visage 

Music for children 


Twice upon … 



Chronological worklist 

1946–47 4 Canzoni popolari 

1947 Petite Suite 

1949 Magnificat 

1951 Due Pezzi 

1951/70 Concertino 


1952 El mar la mar 

1952/85 Study 

1952–53 5 Variazioni 

1952–59 Allez-hop 

1952/55 Mimusique No 2 

1953 Chamber Music 

Mimusique No 1 

1954 Mutazioni 

Nones 

Variazioni 

1955 Mutazioni 

1956–55 Allelujah I 

Perspectives 

Quartetto 

Variazione sull’aria di Papageno 

1956–57 Allelujah II 

1957 Divertimento 

Serenata I 

1958 Sequenza I (flute) 

Thema 

1958–59 Différences 

1959–60 Tempi concertati 

1959–61 Epifanie (withdrawn, see Epiphanies 1991) 

1960 Circles 

Momenti 

1961 Visage 

1961–62 Passaggio 

1963 Esposizione (withdrawn) 

Sequenza II (harp) 

Traces (withdrawn) 

1964 Folk Songs (mezzo soprano and 7 instruments) 

chronological worklist 

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16 

Sincronie 

1964/73 Folk Songs (mezzo soprano and orchestra) 

1965 Chemins I 

Laborintus II 

Rounds (harpsicord) 

Wasserklavier 

1965–67 Beatles Songs 

1965–90 Six Encores 

1966 Il Combattimento (Monteverdi) 

Gesti 

Sequenza III (voice) 

Sequenza IV (piano) 

Sequenza V (trombone) 

1967 Beatles Songs 

Chemins II 

Rounds (piano) 

Sequenza VI (viola) 

1968 O King 

Prayer (withdrawn) 

Sinfonia 

1968/73 Chemins III 

1969 Air 

Erdenklavier 

Memory 

The Modification and Instrumentation (Purcell) 

Sequenza VII (oboe) 

1969–70 Opera (rev. 1977) 

1970 Air 

Chemins IIb 

1971 Agnus 

Autre fois 

ORA (withdrawn) 

1971/84 Bewegung 

1972 Amores (withdrawn) 

Bewegung II (withdrawn) 

Chemins IIc 

E vó 

Recital for Cathy 

1972–73 Concerto 

1972/93 Ballade von der sexuellen Hörigkeit (Weill) 

Le Grand Lustucru (Weill) 

Surabaya Johnny (Weill) 

chronological worklist

1973 Linea 

Still (withdrawn) 

1973–74 Eindrücke 

1974 a – ronne (5 actors) 

Musica Leggera 

Per la dolce memoria di quel giorno 

‘points on the curve to find ...’ 

1974–76 Cries of London 

1974/89 Calmo 

1975 a – ronne (8 singers) 

Chants parallèles 

Chemins IV 

Diario immaginario 

Fa – Si 

Ritirata notturna di Madrid (Boccherini) 

1975–76 Coro 

1976 Sequenza VIII (violin) 

Les mots sont allés ... 

1976–77 Ritorno degli snovidenia 

1977–80 La vera storia 

Siete Canciones populares españolas 

1978/81 Encore 

1979–82 Un re in ascolto 

1979–83 Duetti per due violini 

1980 Entrata 

Sequenza IX (clarinet) 

Sequenza IX (alto saxophone) 

1980–81 Accordo 

1981 Corale 

1982 Fanfara 

1983 Lied 

1983–85 Requies 

1984 Sequenza X 

Voci 

1985 Luftklavier 

Naturale 

Terre chaleureuse 

1985–87 Call 

Formazioni 

Ricorrenze 

1986 5 Frühe Lieder (Mahler) 

Gute Nacht 


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18 

1987 6 Frühe Lieder (Mahler) 


1988 LB.AM.LB.M.W.D.IS.LB 

Sequenza XI (guitar) 

1988–89 Concerto II 

1988–97 Ofanìm 

1989 Festum 

Feuerklavier 

Psy 

1989–91 Canticum novissimi testamenti 

Continuo 

1990 Brahms – Opus 120 Nr. 1 

Leaf 

Rendering (Schubert) 

1991 Canzonetta 

Touch 

Otto Romanze (Verdi) 

Epiphanies 

1992 Chemins V 

1993 Notturno (string quartet) 

1993/95 Notturno (string orchestra) 

1994 Compass 

There is no tune 

Twice upon ... 

1995 Hör 

Re-Call 

Sequenza XIII (accordion) 

Shofar 

Vor, während, nach Zaide 

1995–96 Outis 

1996 Ekphrasis 

Kol od 

Récit 

1997 Alternatim 

Glosse 

Sequenza XII (bassoon) 

1998 Korót 

1998–99 Cronaca del Luogo 

1999 Altra voce 

1999–2000 SOLO 

2000 Interlinea (withdrawn) 

2001 Albumblatt (unpublished) 

Alois (withdrawn) 

chronological worklist

Contrapunctus XIX (Bach) 

Sonata 

Turandot (Puccini) 

2002 E si fussi pisci 

Sequenza XIV (violoncello) 

2003 Stanze 


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Catalogue of works 

a – ronne 1974 

a radiophonic documentary for five actors — 32’ 

text: Edoardo Sanguineti 

tape (CD) on hire. 

For rehearsal or broadcast only. Not for live performance. 


for 5 actors — 32’ 


première: 30/06/1974, Hilversum. KRO Radio 

performance score on hire 


for 8 singers (2S, 2A, 2T, 2B) — 30’ 


première: 1975, Liège. Swingle Singers II 

choral score on hire 

Accordo 1980–1981 

for 4 wind bands — 30’ 

basic instrumentation of each band: 2 1 3 0 - 2 2 3 3 – perc(2) - sop.sax, alto sax, 

t.sax or bass cl, flhn(6). 

This instrumentation has to be multiplied ad lib., possibly with at least 400 players 

première: 1980, Assisi. 

score and parts on hire 

for sale: UE17712 (special order) 

Agnus 1971 

for 2 sopranos, 3 clarinets (and electric organ) — 6’ 

language: Latin 

première: 1971, Indiana. Scheurer, Sambuco 

for sale: 

UE13755 • score 

UE30538 • set of parts 

catalogue of works

Air 1969 

from ‘Opera’ for soprano and orchestra — 7’ 

text: Alessandro Striggio 

language: English 

première: 1971, Rovereto. Alide Maria Salvetta 


for sale: UE13799 • score 

Air 1970 

from ‘Opera’ for soprano and 4 instruments — 7’ 

text: Alessandro Striggio 


première: 1971, Rovereto. Alide Maria Salvetta 

for sale: 



Allelujah I 1955 

for orchestra — 9’30’’ 

première: 29/04/1957, Cologne. Michael Gielen 

Edizioni Suvini Zerboni 

Allelujah II 1956–1957 

for orchestra — 19’ 

première: 17/05/1958, Rome. Bruno Maderna and Luciano Berio 


Allez-hop 1952–1959 

Racconto mimico for mezzo-soprano, 8 actors, ballet and orchestra — 28’ 

text: Italo Calvino 

première: 23/09/1959, Venice, N. Sanzogno 


Alternatim 1997 

for clarinet, viola and orchestra — 30’ 

4 1 5 1 - 1 2 1 1 - sop.sax, alto sax, str 

première: 16/05/1997, Amsterdam. Paul Meyer (cl), Christophe Desjardins (vla), 

Concertgebouw Orkest, Luciano Berio 


for sale: UE31439 • study score (special order) 

catalogue of works 

21

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Altra voce 1999 

for alto flute, mezzo-soprano and live electronics — 10–12’ 

text: Talia Pecker Berio 

language: Italian 

première: 22/08/1999, Salzburg. Michele Marasco (fl), Monica Bacelli (mezzo-soprano), 

Thierry Coduys (electronics) 

study score and performance score on hire 

for sale: 

UE33146 • study score (special order) 

Autre fois 1971 

Berceuse canonique pour Igor Stravinsky 

for flute, clarinet and harp — 1’ 

première: 1971, Venice. 

for sale: UE18701 • score and parts 

Ballade von der sexuellen Hörigkeit – Song of Sexual Slavery 1967/1972 

from ‘Die Dreigroschenoper’ (‘The Threepenny Opera’) by Kurt Weill (1928) 

arranged for alto (low) and ensemble (original key) — 3’ 

text: Bertolt Brecht, language: German (translations available) 

cl, bass cl, acc, vib, vln, vla, vc, cb 

première: 1967, Venice. Cathy Berberian 



from ‘Die Dreigroschenoper’ (‘The Threepenny Opera’) by Kurt Weill (1928) 

arranged for alto (high) and ensemble (transposed) — 3’ 





Beatles Songs 1967 

by John Lennon and Paul McCartney (1965) 

arranged for voice and instruments — 8’ 

language: English, French 

Michelle I for voice and 3 instruments (fl(2), hpsd or fl, ob, hpsd) (2’) 

Michelle II for voice and 7 instruments (alternative arrangement) (fl, cl, hp, vln, vla, vc, cb) (2’) 

Michelle II for voice and 7 instruments (transposed version) (fl, cl, hp, vln, vla, vc, cb) (2’) 

Ticket to Ride for voice and 8 instruments (fl, ob, tpt, hpsd, vln, vla, vc, cb) (2’) 

Yesterday for voice and 3 instruments (fl, hpsd, vc) (2’) 


catalogue of works

Berio Family Album 1975 

Adolfo Berio (1847-1942): Maria Isabella (Waltz for piano for 4 hands) 

Ernesto Berio (1883-1966): Che dice la pioggerellina di marzo? (for female voice or female 

choir unisono and piano) 

Luciano Berio: Petite Suite for piano (1947) 

for sale: UE15950 

digital download available 

Bewegung 1971/1984 


3 3 3 3 - 4 4 3 1 - perc(3), hp, pno, e.org, alto sax, t.sax, str 

première: 1971, Glasgow, Scottish National Orchestra, Luciano Berio; 

première revised version: 26/10/1984, Basel. Basler Sinfonieorchester, Luciano Berio 



Brin 1990 

for piano — 1’30’’ 

for sale: UE33013 ‘Six Encores’ 


see also Six Encores 

Brin 1990 

for guitar — 1’30’’ 

arrangement: Bruce Charles (1994) 


Call 1985/1987 

for 5 brass instruments — 4’ 

tpt(2), hn, tbn, bass tuba 

première first version St. Louis Fanfare: 31/07/1985, St. Louis. Nashville Contemporary Brass 

Quintet 

première revised version Call: 31/03/1987, New York. 


‘Call is a short musical ceremony; a call to the audience; an invitation to listen – before the feast begins.’ (Berio) 

Calmo 1974/1989 

(in memoriam Bruno Maderna) 

for mezzo-soprano and 22 instruments — 20’ 

text sources: Homer, Edoardo Sanguineti, Saadi, Cantico dei Cantici 


2 0 4 1 - 1 2 1 0 - perc, hp, alto sax, vla(3), vc(3), cb(2) 


23

24 

première: 25/03/1974, Milan. Paoletti, Luciano Berio; 

première revised version: 16/10/1990, Paris. Slavka Taskova, Ensemble Intercontemporain, 

Pierre Boulez 


for sale: 

UE19478 • score (special order) 


7 Canciones populares españolas 

see Siete Canciones populares españolas 

Canticum novissimi testamenti 1989–1991 

Ballata for 4 clarinets, saxophone quartet and 8 voices (2S, 2A, 2T, 2B) — 18’ 

cl(Eb), 2 cl, bass cl, sop.sax, alto sax, t.sax, bar.sax 

source text: ‘Novissimum Testamentum’ by Edoardo Sanguineti 


première: 18/12/1989, Paris. Raschèr Saxophone Quartet, London Voices, Ensemble 

Intercontemporain, Pierre Boulez 

score and set of parts on hire 

for sale: UE31269 • study score 

Canzonetta 1991 

for piano (4-hands) — 1’ 

in preparation 

4 Canzoni popolari 1946–1947 

for female voice and piano — 12’ 

Dolce cominciamento (1946, revised 1973, text: anonimo siciliano) 

La donna ideale (ignoto genovese) 

Avendo gran disio (Jacopo da Lentini) 

Ballo (ignoto siciliano) 


première: 1952, Milan. Cathy Berberian, Luciano Berio 


Chamber Music 1953 

for female voice and instruments — 8’30’’ 

source text: poems by James Joyce 

première: 1953, Milan. Cathy Berberian 


catalogue of works

Chants parallèles 1975 

for electronic sounds on tape — 15’ 

première: 07/04/1975, Paris ORTF 

no score available, tape (CD) on hire 

Chemins I 1965 (on Sequenza II) 

for harp and orchestra — 12’ 

3 3 3 3 - 4 4 3 1 - hp(2), cel, hpsd, pno, str(8 vln.A, 8 vln.B, 8 vln.C, 8 vla, 8 vc, 8 cb) 

première: 1965, Donaueschingen. Francis Pierre, Südwestfunk Orchester, Ernest Bour 



Chemins II 1967 (on Sequenza VI) 

for viola and 9 instruments — 12’ 

fl, cl, tbn, perc(2), hp, e.org, vla, vc 

première: 1968, Milan. Walter Trampler, Juilliard Ensemble, Luciano Berio 

parts on hire 


Chemins IIb 1970 


2 1 2 2 - 2 3 2 1 - perc(3), pno, e.org, alto sax, t.sax, e.guit, vln(1), vla(6), vc(4), cb(3) 

première: 25/04/1970, Berlin, Ensemble Musique Vivante, Diego Masson 



Chemins IIc 1972 

for bass clarinet and orchestra — 11’ 

2 1 2 2 - 2 3 2 1 - perc(3), pno, e.org, alto sax, t.sax, e.guit, vln(1), vla(6), vc(4), cb(3) 

première: 1972, Rotterdam. Harry Sparnaay, Luciano Berio 



The bass clarinet solo is ad lib. – without it, the work is Chemins IIb . 

Chemins III 1968/1973 (on Chemins II) 

for viola and orchestra — 15’ 

4 0 4 3 - 4 4 3 1 - perc(4), hp(2), cel, e.org, str 

première: 1968, Paris. Walter Trampler, Ensemble Musique Vivante, Orchestre 

Philharmonique de l’ORTF, Luciano Berio 


for sale: 




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26 

Chemins IV 1975 (on Sequenza VII) 

for oboe and 11 strings — 10’ 

vln(3), vla(3), vc(3), cb(2) 

première: 17/10/1975, London. Heinz Holliger, London Sinfonietta, Luciano Berio 



Chemins IV 1975/2000 (on Sequenza VII) 

for soprano saxophone and 11 strings — 10’ 

vln(3), vla(3), vc(3), cb(2) 

première: 17/10/1975, London. Heinz Holliger, London Sinfonietta, Luciano Berio 



Chemins V 1992 (on Sequenza XI) 

for guitar and chamber orchestra — 20’ 

3 0 2 1 - 1 2 1 0 - mar, hp(2), acc, t.sax, vln(12), vla(8), vc(4), cb(3) 

première: 23/09/1992, Bonn. Eliot Fisk, Orchester der Beethovenhalle, Luciano Berio 


for sale: 



Chemins VI 

see Kol od 

Chemins VII 

see Récit 

Circles 1960 

for female voice, harp and 2 percussion players — 20’ 

source text: poems by e. e. cummings, language: English 

première: 01/08/1960, Tanglewood. Cathy Berberian and members of the Boston 

Symphony Orchestra 

performance scores on hire 

Il Combattimento di Tancredi e Clorinda 1966 

by Claudio Monteverdi (1624) 

arranged for soprano, tenor, baritone, harpsichord and strings — 25’ 

text: Torquato Tasso, roles: Clorinda – soprano, Tancredi – baritone, Testo – tenor 

hpsd, vla(3), vc, cb (the strings can also be doubled, trebled etc.) 

première: 1966, New York. Titus, Mandac, Luciano Berio 

catalogue of works



Compass 1994 

Recital for piano and orchestra — 45’ 

4 3 4 3 - 3 3 3 1 - timp, perc(2), hp, cel, alto sax, t.sax, str 

première: 12/03/1995, Zurich Opera. Folco Vichi (pno), Manfred Honeck (cond.), 

Bernd R. Bienert (choreography) 


Concertino 1951/1970 

for clarinet, violin, harp, celesta and strings — 11’ 

première: 1950, Milan. Borisov, Orchester des Konservatoriums, Luciano Berio; 

première revised version: 1970 St. Paul, Minnesota. Stanislaw Skrowaczewski 



Concerto 1972–1973 

for 2 pianos and orchestra — 25’ 

3 3 4 4 - 2 3 3 1 - perc(3), pno, e.org, alto sax, t.sax, str 

première: 15/03/1973, New York. Bruno Canino und Antonio Ballista, New York Philharmonic, 

Pierre Boulez 


for sale: UE15783 • piano reduction (= 2 pianos and piano reduction) 

Concerto II 1988–1989 (echoing curves) 

for piano and 2 instrumental groups — 25’ 

group A: 3 2 4 3 - 2 2 2 1 - t.sax, cel, vla(3), vc(3), cb(3); 

group B: 1 1 1 0 - 3 2 1 0 - alto sax, e.org, vln(20), vla(6), vc(4), cb(4) 

première: 03/11/1988, Paris. Daniel Barenboim, Pierre Boulez 


for sale: 


UE19117 • solo part 

Continuo 1989–1991 


4 3 5 3 - 6 4 4 2 - mar, vib, hp(2), cel, pno, e.org, t.sax, alto sax, str(at least 12 12 12 10 8) 

première: 30/10/1989, London. Philharmonia Orchestra, Luciano Berio 


for sale: UE19899 (special order) 


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Contrapunctus XIX 2001 

from ‘The Art of Fugue’ by Johann Sebastian Bach 

transcribed for 23 players — 8’ 

4 2 3 1 - 2 2 1 0 - hp, alto sax, t.sax, str(1 0 2 1 1) 

première: 31/05/2001, Spoleto. European Orchestra of Teatro Lirico Sperimentale, 

Marcello Bufalini 


for sale: UE32498 • score (special order) 

Corale 1981 (on Sequenza VIII) 

for violin, 2 horns and strings (at least 6 6 4 4 3) — 15’ 

première: 17/01/1982, Zurich. Carlo Chiarappa, Collegium Musicum Zürich, Paul Sacher 



Coro 1975–1976 

for 40 voices and instruments — 60’ 

source texts: lyrics from different cultures; poems from ‘Residencia en la tierra’ by 

Pablo Neruda 

choir: 10S, 10A, 10T, 10B 

4 2 4 3 - 3 4 3 1 - perc(2), pno, e.org, alto sax, t.sax, vln(3), vla(4), vc(4), cb(3) 

première: 24/10/1976, Donaueschingen. WDR Rundfunkchor Köln, WDR Rundfunkorchester 

Köln, Luciano Berio; 

première revised version: 16/10/1977, Graz. ORF Chor und SO, Leif Segerstam 



Cries of London 1974–1976 

for 8 voices (2S, 2A, 2T, 2B) — 12’ 

text source: English street cries, language: English 

première: 1975 (preliminary version for 6 voices), Edinburgh. King’s Singers 

première revised version: 1977, La Rochelle. Swingle Singers 


Cronaca del Luogo 1998–1999 

Azione musicale — 90’ 


première: 24/07/1999, Salzburg Festival. Sylvain Camberling; Claus Guth (stage direction); 

Cast: Hildegard Behrens, Frode Olsen, Matthias Klink, David Moss, Monica Bacelli, Urban 

Malmberg; Arnold Schönberg Chor and Tölzer Knabenchor; Orchestral soloists: Gabriele 

Cassone, Christian Lindberg, Michele Marasco, Ernesto Molinari, David Moss, Igor Polesitsky, 

Georg Schulz, Folco Vichi; Klangforum Wien and Tempo Reale 

Casa Ricordi, Milan 

catalogue of works

4 Dédicaces 

see Quatre dédicaces 

Diario immaginario 1975 

Radio opera — 31’ 

source text: after Molière 

text editor: Vittorio Sermonti, Luigi Diemoz 

première: 1975, Florence. Cathy Berberian, Orchestra Sinfonica della RAI, Luciano Berio 

not available as a score; tape available for radio broadcast only. 

Différences 1958–1959 

for 5 instruments and tape — 17’ 

fl, cl, hp, vla, vc 

première: 1959, Paris, Pierre Boulez 

score, parts and tape (CD) on hire 

Divertimento 1957 

in collaboration with Bruno Maderna 


première: 02/12/1957, Rome. Bruno Maderna 


Divertimento für Mozart 

for string trio (vln, vla, vc) — 5’ 

Casa Ricordi, Milan, RCA Edizioni musicali 

Divertimento 

see Variazione sull’aria di Papageno 

Due pezzi 1951 

for violin and piano — 8’ 

première: 1951, Tanglewood. Lorin Maazel, Seymour Lipkin 


Duetti per due Violini 1979–1983 

for 2 violins — 70’ 

Béla (Bartók) • Shlomit (Almog) • Yossi (Pecker) • Rodion (Schedrin) • Maja (Pliseckaja) • 

Bruno (Maderna) • Camilla (Adami) • Peppino (Di Giugno) • Marcello (Panni) • Giorgio 

Frederico (Ghedini) • Valerio (Adami) • Daniela (Rabinovitch) • Jeanne (Panni) • Pierre 

(Boulez) • Tatjana (Globokar) • Rivi (Pecker) • Leonardo (Pinzauti) • Piero (Farulli) • Annie 

(Neuburger) • Edoardo (Sanguineti) • Fiamma (Nicolodi) • Vinko (Globokar) • Franco (Gulli) 

• Aldo (Bennici) • Carlo (Chiarappa) • Henri (Pousseur) • Alfredo (Fiorenzani) • 


29

30 

Igor (Stravinsky) • Alfred (Schlee) • Massimo (Mila) • Mauricio (Kagel) • Maurice (Fleuret) • 

Lorin (Maazel) • Lele (d’Amico) 

première (of all 34 pieces): 1984, Los Angeles; 

for sale: UE17757 • performance score 

Duetti 1979–1983 

Selected easy duos for 2 violins — 8’ 

Béla (Bartók) • Shlomit (Almog) • Rodion (Schedrin) • Camilla (Adami) • Daniela 

(Rabinovitch) • Marcello (Panni) • Valerio (Adami) • Igor (Stravinsky) • Annie 

(Neuburger) • Henri (Pousseur) 


Duetti 1979–1983 

arrangement for 2 guitars: Eugenia Kanthou (1987) — 5’ 

edited by Karl Scheit 

Igor (Stravinsky) • Béla (Bartók) • Henri (Pousseur) • Annie (Neuburger) • 

Aldo (Bennici) • Camilla (Adami) 


E si fussi pisci 2002 

Sicilian love song for mixed choir a cappella — 2’ 


choir: SATB 

première: 05/10/2002, Siena (Umberto Eco honorary doctor ceremony). Coro dell’Ateneo, 

Fabio Lombardo 

for sale: UE32803 • choral score 

E vó 1972 

Sicilian Lullaby from ‘Opera’ for soprano and instruments — 4’ 


1 1 3 0 - 0 1 1 0 - perc, pno, e.org, vln(1), vla(1), vc(1), cb(1) 

première: 10/09/1972, Arco. Alide Maria Salvetta, London Sinfonietta, Luciano Berio 



Eindrücke 1973–1974 


3 3 4 3 - 4 4 3 1 - perc(3), hp, pno, e.org, alto sax, t.sax, str(12 12 10 8 6) 

première: 18/06/1974, Zurich, Tonhalle Orchester, Erich Leinsdorf 



catalogue of works

Ekphrasis 1996 (Continuo II) 


4 2 5 3 - 6 4 4 2 - mar, hp, cel, acc, pno, sop.sax, alto sax, t.sax, str(12 12 12 10 8) 

première: 24/01/1997, Las Palmas, RSO Frankfurt, Luciano Berio 


for sale: 



El mar la mar 1952/1969 

for soprano, mezzo-soprano and 7 instruments — 12’ 

text: Rafael Alberti 

language: Spanish 

fl, cl(2), hp, acc, vc, cb 

première original version: 1953, Milan; 

première revised version: 1969, Royan. Cathy Berberian, Reri Grist, Juilliard Ensemble, 


set of parts on hire 


Encore 1978/1981 


4 3 4 3 - 3 3 3 1 - timp, perc(2), hp, cel, pno, alto sax, t.sax, str 

première: 17/06/1978, Rotterdam, David Zinman 



see also Quatre dédicaces 

6 Encores 

see Six Encores 

Entrata 1980 


4 3 4 3 - 3 3 3 1 - timp, perc(3), hp, pno, str 

première: 01/10/1980, San Francisco, San Francisco SO, Edo de Waart 





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32 

Epiphanies * 1991 

for female voice and orchestra — 30’ 

text sources: Bertolt Brecht; James Joyce; Antonio Machado; Marcel Proust; 

Edoardo Sanguineti; Claude Simon 

solo: soprano or mezzo-soprano 

4 3 4 3 - 4 4 4 1 - perc(6), hp(2), cel, vln.A(8), vln.B(8), vln.C(8), vla(8), vc(8), cb(6) 

première: 22/04/1993, Philadelphia. Charlotte Hellekant, Philadelphia Orchestra, L. Berio 


* Epifanie for female voice and orchestra (1959–1961/1965) was withdrawn by the composer. 

Erdenklavier 1969 

Pastorale for piano — 2’ 

première: 1970, Bergamo. Antonio Ballista 

for sale: UE33013 in ‘Six Encores’ 

digital download available see Six Encores 

Fa – Si 1975 

for organ (with registration assistants) — 6’ 

première: 1975, Rovereto 


Fanfara 1982 


4 3 4 3 - 4 4 3 1 - timp, perc(2), cel, t.sax, vla, vc, cb 

première: 05/10/1982, Venice. Orchestra Sinfonica della RAI, Roma 




Festum 1989 


4 3 4 3 - 6 5 3 1 - timp, perc(3), e.org, alto sax, t.sax, str 

première: 14/09/1989, Dallas, Dallas SO, E. Mata 




Feuerklavier 1989 

for piano — 2’ 

première: 1989, New York. Peter Serkin 




catalogue of works

Folk Songs 1964 


1 – Black is the colour (USA) 

2 – I wonder as I wander (USA) 

3 – Loosin yelav (Armenia) 

4 – Rossignolet du bois (France) 

5 – A la femminisca (Sicily) 

6 – La donna ideale (Italy) 

7 – Ballo (Italy) 

8 – Motettu de Tristura (Sardinia) 

9 – Malorous qu’o un fenno (Auvergne [France]) 

10 – Lo fiolaire (Auvergne [France]) 

11 – Azerbaijan love song (Aserbaijan) 

language: English, Armenian, French, Italian, Azeri 

fl, cl, perc(2), hp(or guit), vla(1), vc(1) 

première: 1964, Oakland, CA. Cathy Berberian, Luciano Berio 

score and set of parts on hire 

for sale: 


UE34112 • study score (in preparation) 


Folk Songs 1964/1973 

for mezzo-soprano and orchestra — 23’ 

1 – Black is the colour (USA) 

2 – I wonder as I wander (USA) 

3 – Loosin yelav (Armenia) 

4 – Rossignolet du bois (France) 

5 – A la femminisca (Sicily) 

6 – La donna ideale (Italy) 

7 – Ballo (Italy) 

8 – Motettu de Tristura (Sardinia) 

9 – Malorous qu’o un fenno (Auvergne [France]) 

10 – Lo fiolaire (Auvergne [France]) 

11 – Azerbaijan love song (Aserbaijan) 

language: English, Armenian, French, Italian, Azeri 

2 1 3 1 - 1 1 1 0 - perc(2), hp, str 

première: 1973, Zurich. Cathy Berberian, Collegium Musicum Zürich, Luciano Berio 


for sale: 

PH544 • pocket score 



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34 

Formazioni 1985–1987 


4 3 5 3 - 6 4 4 2 - perc(3), hp(2), cel, alto sax, t.sax, str(12 12 12 10 8) 

première: 15/01/1987, Amsterdam. Concertgebouw Orkest, Riccardo Chailly 



5 Frühe Lieder 1986 

for voice and piano by Gustav Mahler (before 1892) 

transcribed for baritone and orchestra — 13’ 

Ablösung im Sommer (from ‘Des Knaben Wunderhorn’) • Zu Straßburg auf der Schanz’ (from 

‘Des Knaben Wunderhorn’) • Nicht wiedersehen! (from ‘Des Knaben Wunderhorn’) • Um 

schlimme Kinder artig zu machen (from ‘Des Knaben Wunderhorn’) • Erinnerung 

(R. Leander) 

language: German 

2 2 3 3 - 3 2 1 1 - timp, perc, hp, str 

première: 20/06/1986, Toblach. Thomas Hampson, Orchestra Haydn, Hermann Michael 




for voice and piano by Gustav Mahler (before 1892) 


Hans und Grete (from ‘Des Knaben Wunderhorn’) • Ich ging mit Lust durch einen grünen 

Wald (from ‘Des Knaben Wunderhorn’) • Frühlingsmorgen (R. Leander) • Phantasie (Tirso de 

Molina, from ‘Don Juan’) • Scheiden und Meiden (from ‘Des Knaben Wunderhorn’) • 

Erinnerung (R. Leander) 


3 3 4 3 - 4 4 3 1 - timp, perc(2), hp, cel, str 

première: 07/12/1987, Reggio Emilia. Thomas Hampson, Orchestra Sinfonica dell’Emilia 

Romagna ‘Arturo Toscanini’, Luciano Berio 



Gesti 1966 

for treble recorder — 7’ 

première: 1966, Amsterdam. Frans Brüggen 


Glosse 1997 

for string quartet — 6’ 

première: 22/06/1997, Reggio Emilia. Quartett Lotus 

catalogue of works

for sale: 

PH546 • pocket score 


Le Grand Lustucru 1972 

from ‘Marie Galante’ by Kurt Weill (1934) 

arranged for mezzo-soprano and ensemble (original key) — 3’ 

text: Jacques Déval 


2 1 3 1 - 0 1 0 0 - perc, vln, vla, vc, cb 



Le Grand Lustucru 1972/1993 

from ‘Marie Galante’ by Kurt Weill (1934) 

arranged for alto and ensemble (transposed) — 3’ 






Gute Nacht 1986 

for trumpet — 1’ 

for sale: UE19060 in ‘Fanfares – New Trumpet Pieces for Young Players’ 

Hör 1995 

Prologue from ‘Requiem der Versöhnung’ 

for choir and orchestra — 5’ 

source text: ”Die Posaunenstelle” by Paul Celan 


choir: SATB 

4 2 5 2 - 3 4 3 1 - perc(2), hp, cel, acc, pno, e.org, alto sax, t.sax, str 

première: 15/08/1995, Stuttgart. Krakauer Kammerchor, Gächinger Kantorei Stuttgart, Israel 

Philharmonic Orchestra, Helmuth Rilling 


only to be performed as part of the complete ‘Requiem der Versöhnung’ 

Il Combattimento di Tancredi e Clorinda 

see Combattimento di Tancredi e Clorinda 


35

36 

Kol od 1996 (Chemins VI)* 

for trumpet and chamber orchestra — 20’ 

3 1 4 1 - 2 2 1 1 - cel, acc, sop.sax, alto sax, vln(4), vla(3), vc(3), cb(2) 

première: 27/04/1996, Basel. Gabriele Cassone, Ensemble Intercontemporain, Pierre Boulez 



* on Sequenza X 

Korót 1998 

for 8 violoncellos — 8’ 

première: 11/05/1998, Beauvais. Octuor de Violoncelles de Beauvais 



La vera storia 1977–1980 

Azione musicale in due parti — 120’ 

text: Italo Calvino, Luciano Berio 

language: Italian (translations available in German and English) 

roles: Leonora – soprano, Luca – tenor, Ada – mezzo-soprano, Ivo – baritone, Comandante – 

baritone, Il Condannato – bass, Ugo – tenor, Prete – tenor, Storyteller (at least 2), 3 actors as 

passers-by, passer-by – soprano, vocal ensemble (2 2 2 2), 3 voices in the street, mimes, 

dancers, acrobats 

choir: SATB (at least 60 singers) 

4 3 4 3 - 3 3 3 1 - perc(3), hp, keyb, pno(2), alto sax, t.sax, str; stage music: acc, bells, vln (solo), 

pianola, guit, bass guit; banda: 3 0 3 0 - 3 3 2 1 - perc, alto sax, t.sax, t.hn, bar 

première: 09/03/1982, Milan. Oslavio di Credico, Giancarlo Luccardi, Daisy Lumini, 

Alexandrina Milcheva, Milva, Mariana Nicolescu, Alberto Noli, Roeloff Oostwoud, Gabriella 

Ravazzi; New Single Singers, Coro del Teatro alla Scala, Filarmonica della Scala, Luciano 

Berio; Maurizio Scaparro (stage director) 


for sale: 

UE30242 • study score, Italian (special order) 

UE34180 • study score, German (special order) 

UE34179 • study score, English (special order) 

Laborintus II 1965 

for voices, instruments and tape — 35’ 

text: Edoardo Sanguineti, language: Italian, English, Latin 

Speaker: Italian or English (translation by David Osmond Smith) 

roles: 3 female voices, 1 speaker 

choir: 8 actors 

1 0 3 0 - 0 3 3 0 - perc(2), hp(2), vc(2), cb(1) 

catalogue of works

première: 26/09/1965, Paris. ORTF, Luciano Berio 

score, parts and tape (CD) on hire 


LB.AM.LB.M.W.D.IS.LB 1988 

(dedicated to Leonard Bernstein for his 70th birthday) 

for orchestra — 1’35’’ 

3 3 4 3 - 4 4 3 1 - timp, perc(2), hp, cel, alto sax, str 


Le Grand Lustucru 

see Grand Lustucru 

Leaf 1990 


première: 06/05/1990, London. Paul Crossley 




Les mots sont allés ... 1976/1979 

(‘Recitativo’ pour cello seul) for violoncello — 3’ 

première: 02/05/1976, Zurich. Mstislav Rostropovich 


Lied 1983 

for clarinet — 4’ 

première: 1983, Steven Kanoff 


Linea 1973 

for 2 pianos, vibraphone and marimba — 15’ 

première: 08/02/1974, Grenoble. Katja und Marielle Labèque, Jean-Pierre Drouet, 

Silvio Gualda 


Luftklavier 1985 


première: 1985, Florence. P. Nardi 





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Magnificat 1949 

for 2 sopranos, mixed choir, 2 pianos and instruments — 13’ 

(fl, ob, 2 cl, 2 cor, 2 trp, 2 trb, cb, perc) 

première: 1971, Turin. 

Belwin Mills Publishing 

El mar la mar 

see El mar la mar 

Memory 1969 

for 2 pianos — 13’ 

[revised for electric piano and electric harpsichord (1973)] 

première: 1972, New York. Peter Serkin, Luciano Beri 

for sale: UE33314 • performance score (special order) 

The Modification and Instrumentation of a Famous Hornpipe as a Merry 

and Altogether Sincere Homage to Uncle Alfred 1969 

A hornpipe by Henry Purcell (1659-1695) transcribed for 6 instruments — 1’ 

fl(ob), cl, perc, hpsd, vla, vc 

première: 22/04/1969, London. Pierrot Players 


Momenti 1960 


première: 1960, Hamburg. 

tape (CD) on hire 

Les mots sont allés ... 

see Les mots sont allés ... 

Mozart Cadenze 

for Mozart Flute concerto No. 2 K.314 

to be performed as solo pieces or as cadenzas (4) in the Mozart Flute concerto No. 2 K.314 


Musica Leggera 1974 

for flute, viola, violoncello and tambourine — 5’ 

for sale: UE32745 • score and parts 

Mutazioni 1955 

for electronic sounds on tape — 3’30’’ 

première: 1956, Milan. 


catalogue of works

Naturale 1985 

(su melodie siciliane) for viola, percussion and recorded voice — 20’ 

première: 1985, Taormina. Aldo Bennici, vla; Ater Balletto 

performance score and tape (CD) on hire 


Nones 1954 



Notturno 1993 (Quartetto III) 


première: 31/01/1994, Vienna. Alban Berg Quartett 

for sale: 



Notturno 1993/1995 

for string orchestra — 26’ 

première: 26/08/1995, Luzern. Accademia Bizantina, Günter Pichler 


arrangement of ‘Notturno’ (Quartetto III) 

O King 1968 

for mezzo-soprano and 5 players — 5’ 

text: ‘O Martin Luther King’ 

première: 04/05/1968, Bowdoin College, Maine. Aeolian Chamber Players 

for sale: 



Ofanim 1988–1997 

for 2 children’s choirs, 2 instrumental groups, female voice and live-electronics — 30’ 

source text: the book of Ezekiel (1, 19) and Song of Songs (4, 5), language: Hebrew 

6 0 4 0 - 2 4 2 0 - perc(2), midi-keyb 

première: 25/06/1988 Prato, inauguration Museo d’arte contemporanea. Esti Kenan, 

Finchley Children’s Music Group, Musicus Concenticus, Luciano Berio 

première first revised version (in memoriam Rivi Pecker): 11/11/1992, Jerusalem, dedication of 

The Supreme Court Building. Esti Kenan-Ofri, Ankor Children’s Choir, Tempo Reale, 

Jerusalem Symphony Orcehstra, David Shalon 




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Opera 1969–1970/1977 

in tre atti — 90’ 

text: Luciano Berio, Italian version by Luciano Berio and Vittoria Ottolenghi 

language: English, Italian, French, German 

roles: 13 actors, 2 sopranos, 1 tenor, 1 baritone 

choir: vocal ensemble 2 2 2 2 / children 

2 2 3 2 - 3 3 3 1 - perc(5), pno(2), e.org, alto sax, t.sax, e.guit, vln(12), vla(10), vc(10), cb(8) - 

on stage: fl, cl, perc, pno, vln(1), vc(1), cb(1) 

première: 12/08/1970, Santa Fe. Open Theatre Ensemble, Emily Tracy, Barbara Shuttleworth, 

Douglas Perry, Richard Lombardi, Dennis Russell Davies; 

première revised version: 27/05/1977, Florence. Anastasia Tomaszewska Schepis, Alide Maria 

Salvetta, Swingle Singers II, Bruno Bartoletti (conductor), Giovanni L. Radice (stage director) 



Opus 120 No. 1 1990 

Johannes Brahms’ Sonata for clarinet (or viola) and piano opus 120 no. 1 (1894) 

transcribed for clarinet (or viola) and orchestra — 25’ 

2 2 2 3 - 3 2 1 0 - timp, str 

première: 06/11/1986, Los Angeles. Zukovsky, Los Angeles Philharmoni 



Opus Number Zoo 1951/1970 

Children’s play for wind quintet — 7’ 

text: Rhoda Levine 

1. Barn Dance • Tanz in der Scheune • Ballo Campestre 

2. The Fawn • Das Pferd • Il Cavallo 

3. The Grey Mouse • Die Maus • Il Topo 

4. Tom Cats • Die Kater • I Gattacci 

language: English or German (transl. by Friedl Hofbauer) or Italian (transl. by Vittoria 

Ottolenghi). The text is recited by the musicians. 

fl, ob, cl, bsn, hn 


première revised version: 1971, New York. Dorian Quartet 

for sale: 



Otto Romanze 1991 

by Giuseppe Verdi 

transcribed for tenor and orchestra — 25’ 

catalogue of works

In solitaria stanza (Jacopo Vittorelli) • Il poveretto (S. M. Maggioni) • Il mistero (Felice 

Romani) • L’esule (Temistocle Solera) • Deh, pietoso, oh addolorata (J. W. v. Goethe, transl. 

by Luigi Balestra) • Il tramonto (Andrea Maffei) • Ad una stella (Andrea Maffei) • Brindisi 

(Andrea Maffei) 


première: 27/09/1990, Padova. José Carreras, English Chamber Orchestra, Luciano Berio 



Outis 1995–1996 

Azione musicale in due parti — 115’ 

text: Dario Del Corno and Luciano Berio 

première: 04/10/1996, Milan. Tatiana Poluektova, Alan Opie, Luisa Castellani, Luca Canonici, 

Monica Bacelli, Yelda Kodally, Elena Brilova, Dominique Visse, Roy Stevens, Donald Maxwell, 

Peter Hall, Paolo Calabresi etc.; groupe vocal - Swingle Singers; instrumentistes en scène - 

Folco Vichi, Massimiliano Murrali, Michele Lomuto, Aldo Bennici, Claudio Jacomucci; 

Orchestra e Coro del Teatro alla Scala, Tempo Reale, David Robertson 


Passaggio 1961–1962 

Messa in scena di Luciano Berio e Edoardo Sanguineti — 35’ 

language: Italian, (translations in English, German, and French available) 

soprano (solo), choir: 2 SATB (choir A in the orchestra, choir B in 5 groups, spread in the hall) 

2 0 3 2 - 1 2 2 1 - perc(5), hp, harm, alto sax, t.sax, e.guit, vla(1), vc(1), cb(1) 

première: 06/05/1963, Milan. Giuliana Tavolaccini (soprano), Kammersprechchor Zürich, 

Coro del Teatro alla Scala, Luciano Berio, Virginio Puecher (stage director) 


for sale: 

UE13700 • score (Italian) 

UE13702 • text book (Italian) 


UE34339 • study score, English (special order) 


UE34341 • study score, French (special order) 

Per la dolce memoria di quel giorno 1974 

Ballet after Petrarca’s ”I Trionfi” — 80’ 

première: 09/07/1974, Florence. Ballet du XX e siècle; choreography: Maurice Béjart 

tape (CD) on hire (no score) 

Perspectives 1956 



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42 



Petite Suite 1947 


Prélude • Petit Air I • Gavotte • Petit Air II • Gigue 

première: 1948, Como. 

for sale: UE15950 in ‘Berio Family Album’ 

2 Pezzi 

see Due Pezzi 

‘points on the curve to find ... ’ 1974 

for piano and 22 instruments — 16’ 

3 2 3 2 - 2 2 1 1 - cel, alto sax, vla(1), vc(2), cb(1) 

première: 20/10/1974, Donaueschingen. Anthony di Bonaventura, SWF-Sinfonieorchester, 

Ernest Bour 


for sale: 



Psy 1989 

for double bass — 2’ 

première: 1989, Parma. 


Quartetto 1956 


première: 12/05/1959, Vienna. Quartett Die Reihe 


Quatre dédicaces 1978–1989 

The title given by Pierre Boulez in 2007 to this group of four previously independent works 


Fanfara (2’30’’) • Entrata (4’30’’) • Festum (2’30’’) • Encore (3’30’’) 

4 3 4 3 - 6 5 3 1 - timp, perc(3), hp, cel, pno, e.org, alto sax, t.sax, str 

première: 31/01/2008, Chicago. Chicago Symphony Orchestra, Pierre Boulez 


Quattro Canzoni popolari 

see Canzoni popolari 

catalogue of works

Quattro versioni originali della Ritirata Notturna di Madrid di L. Boccherini 

superimposed and transcribed for orchestra (1975) — 8’ 

3 3 3 3 - 4 4 3 1 - timp, perc(3), hp, str 

première: 17/06/1975, Milan. Filarmonica della Scala, P. Bellugi 

parts on hire 


Un re in ascolto 

see Un re in ascolto 

Re-Call 1995 

for 23 instruments — 4’ 

2 1 4 1 - 2 3 2 1 - vln(2), vla(2), vc(2), cb(1) 

première: 15/06/1995, Paris. Ensemble Intercontemporain, David Robertson 



Récit 1996 (Chemins VII) 

for alto saxophone and orchestra — 15’ 

4 2 5 1 - 3 3 1 0 - hp, cel, pno, str 

première: 12/10/1996, Milan. Claude Delangles, Orchestra Sinfonica Siciliana, Gabriele Ferro 


for sale: 



Récit 1996/2003 (Chemins VII) 

for alto saxophone, ensemble of 12 saxophones and percussion — 15’ 

arrangement: Vincent David and Claude Delangle (2003) 

perc, sop.sax(3), alto sax(3), t.sax(3), bar.sax(2), bass sax (or bar.sax) 


Recital for Cathy 1972 (Recital I) 


spoken text: Luciano Berio (with references to Andrea Moretti, Edoardo Sanguineti) 

language: Italian or English 

1 1 2 0 - 0 1 1 0 - perc, pno(3), e.org, alto sax, bass tpt, str 

première: 1972, Venice. Cathy Berberian, London Sinfonietta, Luciano Berio 


for sale: 

UE34396 • score, English (special order) 

UE34399 • score, Italian (special order) 


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44 

Rendering 1990 

‘restoration’ of Schubert's symphonic fragment in D major D936A for orchestra 

2 2 2 2 - 2 2 3 0 - timp, cel, str(14 14 12 10 8 or 8 8 6 6 4) — 35’ 

première (2 movements): 14/06/1989, Amsterdam, Concertgebouw Orkest, Nikolaus 

Harnoncourt; 

première (3 movements): 19/04/1990. Concertgebouw Orkest, Riccardo Chailly 



Requies 1983–1985 (in memoriam Cathy Berberian) 

for chamber orchestra — 17’ 

2 2 3 2 - 2 2 1 0 - mar, hp, cel, str(8 8 4(6) 4(5) 3) 

première: 26/03/1984, Lausanne. Orchestre de Chambre de Lausanne, Armin Jordan; 

première revised version: 13/08/1985, Aspen. Aspen Music Festival Orchestra, Luciano Berio 



Ricorrenze 1985–1987 

for flute, oboe, clarinet, horn and bassoon — 15’ 

première: 18/04/1988, Paris. Quintetto Arnold 

for sale: 



Ritirata Notturna di Madrid 

see Quattro versioni originali della Ritirata Notturna di Madrid 

Ritorno degli snovidenia 1976–1977 

for violoncello and 30 instruments — 19’ 

3 2 3 2 - 2 2 3 1 - pno, alto sax, vln(3), vla(3), vc(3), cb(2) 

première: 20/01/1977, Basel. Mstislav Rostropovich, Kammerorchester Basel, Paul Sacher 


for sale: 



8 Romanze 

see Otto Romanze 

Rounds 1965 

for harpsicord — 4’ 

première: 1965, Basel. Antoinette Vischer 


catalogue of works

Rounds 1967 


première: 1968, New York. Joel Spiegelmann 



Sechs frühe Lieder 

see Frühe Lieder 

Sequenza I 1958 

for flute — 6’ 

première: 1958, Darmstadt. Severino Gazzelloni 



Sequenza II 1963 

for harp — 7’ 

première: 1963, Darmstadt. Francis Pierre 



Sequenza III 1966 

for female voice — 8’ 

text: Markus Kutter 


première: 1966, Bremen. Cathy Berberian 



Sequenza IV 1965 


première: 1966, St. Louis. J. de Carvalho 



Sequenza V 1966 

for trombone — 8’ 

première: 21/03/1966, San Francisco. Stuart Dempster 




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Sequenza VI 1967 

for viola — 8’ 

première: 1967, New York. Walter Trampler 



Sequenza VII 1969 

for oboe — 10’ 

première: 1969, Basel. Heinz Holliger 


Sequenza VII 1969 

for soprano saxophone — 10’ 

arrangement: Claude Delangle (1993) 

première: 20/05/1993, Strasbourg. Claude Delangle 



Sequenza VIII 1976 

for violin — 15’ 

première: 1977, La Rochelle. Carlo Chiarappa 



Sequenza IX 1980 

for clarinet — 13’ 

première: 1980, Paris. Michel Arrignon 




for alto saxophone — 13’ 

première: 1981, London. John Harle 




for bass clarinet — 13’ 

arrangement: Rocco Parisi (1998) 

première: 17/10/1997, Turin. Rocco Parisi 



catalogue of works

Sequenza X 1984 

for trumpet (and piano resonances) — 10’ 

première: 1984, Los Angeles. Thomas Stevens 



Sequenza XI 1988 

for guitar — 14’ 

première: 20/04/1988, Rovereto. Eliot Fisk 



Sequenza XII 1997 

for bassoon — 19’ 

première: 15/06/1995, Paris. Pascal Gallois 


Sequenza XIII 1995 (Chanson) 

for accordion — 12’ 

première: 09/11/1995, Rotterdam. Teodoro Anzellotti 



Sequenza XIV 2002 

for violoncello — 13’ 

première: 28/04/2002, Witten. Rohan de Saram 



Sequenza XIV 2002/2004 

for double bass — 13’ 

revision: Stefano Scodanibbio (2004) 

première: 15/06/2004, Stuttgart. Stefano Scodanibbio 



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Serenata I 1957 

for flute and 14 instruments — 11’ 

première: 1957, Paris. Severino Gazzelloni, Pierre Boulez 


Shofar 1995 

for choir and orchestra (part of the third cycle of Outis) — 8’ 

source text: ‘Die Posaunenstelle’ by Paul Celan 

première: 1995, London. BBC Philharmonic, Charles Mackerras 


Siete Canciones populares españolas 1978 

for voice and piano by Manuel de Falla (1922) 

transcribed for mezzo-soprano and orchestra — 13’ 

source text: Spanish folk songs 

El paño moruno • Seguidilla Murciana • Asturiana • Jota • Nana • Canción • Polo 


2 2 3 3 - 2 2 2 1 - timp, perc(2), str 

to be performed only as a cycle 



Sincronie 1964 


première: 1964, Grinnel, Iowa. Lenox Quartet 

for sale: 

UE31490 • study score 

UE31491 • performance score (special order) 

Sinfonia 1968 

for 8 voices and orchestra — 35’ 

text sources: Luciano Berio, Samuel Beckett, Claude Lévi-Strauss 

soli: S(2), A(2), T(2), B(2) 

4 3 4 3 - 4 4 3 1 - perc(3), hp, e-hpsd, pno, e.org, alto sax, t.sax, str 

première (without 5th part): 10/10/1968, New York. Swingle Singers, New York Philharmonic, 


première (complete): 18/10/1969, Donaueschingen. Swingle Singers, Südwestfunk 

Orchester, Ernest Bour 



catalogue of works

Six Encores 1965–1990 


Brin (1990) • Leaf (1990) • Wasserklavier (1965) • Erdenklavier (1969) • Luftklavier (1985) • 

Feuerklavier (1989) 



SOLO 1999–2000 

for trombone and orchestra — 22’ 

5 1 5 1 - 4 4 3 1 - alto sax, t.sax, str(12 0 8 8 6) 

première: 07/12/1999, Zurich. Christian Lindberg, Tonhalle-Orchester Zürich, David Zinman 



Sonata 2001 


première: 02/07/2001, Zurich. Andrea Lucchesini 



Stanze 2003 

for baritone, 3 male-voice choirs and orchestra — 25’ 

source texts: 

Paul Celan, Tenebrae 

Giorgio Caproni, Congedo del viaggiatore cerimonioso 

Edoardo Sanguineti, e rispondendo ho parlato da un turbine ... 

Alfred Brendel, The News That ... 

Dan Pagis, Die Schlacht (The Battle, German translation from the original Hebrew by 

Anne Birkenhauer) 

language: German, Italian, English 

choir: TTTBBB (minimum 12 + 12 + 12) 

4 3 5 3 - 4 4 3 1 - perc(3), glock, pno, alto sax(2), t.sax, str(12 12 12 8 8) 

première: 22/01/2004, Paris. Dietrich Henschel, Choeur de l’Armée Française, 

Orchestre de Paris, Christoph Eschenbach 



Study 1952/1985 


première: 1952, Tanglewood. 

RCA Edizioni Musicali 


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52 

Surabaya Johnny 1972 

from ‘Happy End’ by Kurt Weill (1929) 

arranged for mezzo-soprano and ensemble (1 st version) — 5’ 

text: Bertolt Brecht; Dorothy Lane, language: German 

fl, cl, tpt, perc, guit, vln, vla, vc, cb 



Surabaya Johnny 1972/1993 

from ‘Happy End’ by Kurt Weill (1929) 





Tempi concertati 1958-1959 

for flute, violin, 2 pianos and other instruments — 16’ 

1 2 3 1 - 1 1 1 0 - perc(4), hp(2), pno(2), vln(1), vla(2), vc(2), cb(1) 

première: 04/03/1960, Hamburg. Alfons und Aloys Kontarsky, Severino Gazzelloni, 

Hansheinz Schneeberger, NDR-Orchester, Ernest Bour 



Terre chaleureuse 1985 

(Fragment) for wind quintet — 3’ 

fl, ob, cl, bsn, hn 

for sale: 


UE18281 • set of parts (special order) 


and Altogether Sincere Homage to Uncle Alfred 

see Modification and Instrumentation of … 

Thema (Omaggio a Joyce) 1958 

electro-acoustic elaboration of Cathy Berberian’s voice on tape — 7’ 

première: 1958, Napoli 


There is no tune 1994 

for choir a cappella — 2’ 


catalogue of works

première: 1994, London 


Touch 1991 

for piano (4-hands) — 2’ 


Turandot 2001 

by Giacomo Puccini (1924) 

completion of the 3rd act by Luciano Berio 

première (third act): 24/01/2002, Las Palmas. Concertgebouw Orkest, Riccardo Chailly; 

première (full opera): 25/05/2002, Los Angeles. Kent Nagano 


Twice upon ... 1994 

theatre without words for 6 children’s groups — 25’ 

première: 1994, London. 


Un re in ascolto 1979-1983 

Azione musicale in 2 parti — 90’ 

text: Italo Calvino and Luciano Berio 

other text sources: W.H. Auden, F.W. Gotter, W. Shakespeare 

language: Italian (translations available) 

main roles: Prospero – bass-baritone, Regista – tenor, Venerdì – actor, Protagonista – 

soprano, Soprano I and II, Mezzo-soprano, 3 Cantanti – tenor, baritone, bass; ballet; 

choir SATB 

3 3 4 3 - 3 3 3 1 - perc(2), acc, pno(2 players), t.sax, keyb, str 

première: 07/08/1984, Salzburg. Theo Adam, Heinz Zednik, Helmuth Lohner, Patricia Wise, 

Karan Armstrong, Sylvia Greenberg, Rohangiz Yachmi, Thomas Moser, Georg Tichy, Alfred 

Muff, Wiener Philharmoniker, Lorin Maazel; Götz Friedrich (stage director) 


for sale: 

UE17854 • libretto/text book 




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54 

Variazione sull’aria di Papageno 1956 

No. 2 from ‘Divertimento für Mozart’* 

for 2 basset horns and strings — 3’ 

première: 21/10/1956, Donaueschingen. Hans Lemser und Karl Meiser, Südwestfunk 

Orchester, Hans Rosbaud 


*Divertimento für Mozart is a collection of 12 views on the air ‘Ein Mädchen oder Weibchen wünscht 

Papageno sich’ composed by 12 different composers. Each work can also be performed separately. 

The complete collection is available on hire. 

5 Variazioni 1952–1953 




Variazioni 1954 

for chamber orchestra — 12’ 

première: 23/02/1954, Hamburg, N. Sanzogno 


La vera storia 

see La vera storia 

4 Versioni originali della Ritirata Notturna di Madrid di L. Boccherini 

see Quattro versioni originali della Ritirata Notturna di Madrid di L. Boccherini 

Visage 1961 

for electronic sounds and Cathy Berberian's voice on tape — 21’ 


tape (CD) on hire 

Not available as score. Tape available for radio broadcast only. 

Voci 1984 (Folk Songs II) 

for viola and 2 instrumental groups — 30’ 

3 2 4 2 - 2 2 2 1 - perc(3), keyb(synth), str(12 0 5 6 4) 

première: 26/10/1984, Basel. Aldo Bennici, Basler SO, Luciano Berio 



catalogue of works

Vor, während, nach Zaide 1995 

commentary on an unfinished opera by W. A. Mozart — 25’ 

première: 1995, Florence. 


Wasserklavier 1965 


première: 1970, Brescia. Antonio Ballista 




Wasserklavier 1965 

for 2 pianos (original version) — 2’ 

for sale: UE31413 performance score 


Wir bauen eine Stadt 1987 

a play for children by Paul Hindemith (1930) 

libretto: Robert Seitz 

Der Sandkasten 

arranged for piano for 4 hands (ad lib. with 7 additional instruments and tape) — 12’ 

picc, hn, tpt, tbn, bass tuba, perc(2), pno 

Stadt der Zukunft 

arranged for chamber orchestra — 12’ 

2 1 3 3 - 2 2 2 1 - perc(4), hp, pno, str 

première: 28/02/1988, Vienna. Wiener Kinderoper, Georges Sanev, Ian Strasfogel 

(stage director) 

score, performance score and vocal score on hire 


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56 

Transcriptions, 

arrangements, etc. 

Johann Sebastian Bach (1685–1750) 

Contrapunctus XIX 2001 

from ‘The Art of Fugue’ 

transcribed for 23 players — 8’ 

4 2 3 1 - 2 2 1 0 - hp, alto sax, t.sax, str(1 0 2 1 1) 

première: 31/05/2001, Spoleto. European Orchestra of Teatro Lirico Sperimentale, 

Marcello Bufalini 



Luigi Boccherini (1743–1805) 

Quattro versioni originali della Ritirata Notturna di Madrid di L. Boccherini 

superimposed and transcribed for orchestra (1975) — 8’ 

3 3 3 3 - 4 4 3 1 - timp, perc(3), hp, str 

première: 17/06/1975, Milan. Filarmonica della Scala, P. Bellugi 

parts on hire 


Johannes Brahms (1833–1897) 

Opus 120 No. 1 1990 

Johannes Brahms’ Sonata for Clarinet (or viola) and piano opus 120 no. 1 (1894) 

transcribed for clarinet (or viola) and orchestra — 25’ 

2 2 2 3 - 3 2 1 0 - timp, str 

première: 06/11/1986, Los Angeles. Zukovsky, Los Angeles Philharmonic 



Manuel de Falla (1876–1946) 

Siete Canciones populares españolas 1978 

for voice and piano (1922) 

transcribed for mezzo-soprano and orchestra — 13’ 

transcriptions, 

arrangements, etc.

source text: Spanish folk songs 

El paño moruno • Seguidilla Murciana • Asturiana • Jota • Nana • Canción • Polo 


2 2 3 3 - 2 2 2 1 - timp, perc(2), str 

to be performed only as a cycle 



Paul Hindemith (1895–1963) 

Wir bauen eine Stadt 1987 

a play for children (1930) 

libretto: Robert Seitz 

Der Sandkasten 

arranged for piano for 4 hands (ad lib. with 7 additional instruments and tape) — 12’ 

picc, hn, tpt, tbn, bass tuba, perc(2), pno 

Stadt der Zukunft 

arranged for chamber orchestra — 12’ 

2 1 3 3 - 2 2 2 1 - perc(4), hp, pno, str 

première: 28/02/1988, Vienna. Wiener Kinderoper, Georges Sanev, Ian Strasfogel 

(stage director) 

score, performance score and vocal score on hire 

John Lennon (1940–1980); Paul McCartney (*1942) 

Beatles Songs 1967 

arranged for voice and instruments — 8’ 

language: English, French 

Michelle I for voice and 3 instruments (fl(2), hpsd or fl, ob, hpsd) (2’) 

Michelle II for voice and 7 instruments (alternative arrangement) (fl, cl, hp, vln, vla, vc, cb) (2’) 

Michelle II for voice and 7 instruments (transposed version) (fl, cl, hp, vln, vla, vc, cb) (2’) 

Ticket to Ride for voice and 8 instruments (fl, ob, tpt, hpsd, vln, vla, vc, cb) (2’) 

Yesterday for voice and 3 instruments (fl, hpsd, vc) (2’) 




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Gustav Mahler (1860–1911) 


for voice and piano (before 1892) 


Ablösung im Sommer (from ‘Des Knaben Wunderhorn’) • Zu Straßburg auf der Schanz’ 

(from ‘Des Knaben Wunderhorn’) • Nicht wiedersehen! (from ‘Des Knaben Wunderhorn’) • 

Um schlimme Kinder artig zu machen (from ‘Des Knaben Wunderhorn’) • Erinnerung 

(R. Leander) 



première: 20/06/1986, Toblach. Thomas Hampson, Orchestra Haydn, Hermann Michael 




for voice and piano (before 1892) 


Hans und Grete (from ‘Des Knaben Wunderhorn’) • Ich ging mit Lust durch einen grünen 

Wald (from ‘Des Knaben Wunderhorn’) • Frühlingsmorgen (R. Leander) • Phantasie (Tirso de 

Molina, from ‘Don Juan’) • Scheiden und Meiden (from ‘Des Knaben Wunderhorn’) • 

Erinnerung (R. Leander) 


3 3 4 3 - 4 4 3 1 - timp, perc(2), hp, cel, str 

première: 07/12/1987, Reggio Emilia. Thomas Hampson, Orchestra Sinfonica dell’Emilia 

Romagna ‘Arturo Toscanini’, Luciano Berio 



Claudio Monteverdi (1567–1643) 

Il Combattimento di Tancredi e Clorinda 1966 

arranged for soprano, tenor, baritone, harpsichord and strings — 25’ 

text: Torquato Tasso 

roles: Clorinda – soprano, Tancredi – baritone, Testo – tenor 

hpsd, vla(3), vc, cb (the strings can also be doubled, trebled etc.) 

première: 1966, New York. Titus, Mandac, Luciano Berio 




arrangements, etc.

Wolfgang Amadeus Mozart (1756–1791) 

Mozart Cadenze 

for Mozart Flute concerto No. 2 K.314 

to be performed as solo pieces or as cadenzas in the Mozart Flute concerto No. 2 K.314 


Variazione sull’aria di Papageno 1956 

No. 2 from ‘Divertimento für Mozart’* 

for 2 basset horns and strings — 3’ 

première: 21/10/1956, Donaueschingen. Hans Lemser und Karl Meiser, Südwestfunk 

Orchester, Hans Rosbaud 


*Divertimento für Mozart is a collection of 12 views on the air ‘Ein Mädchen oder Weibchen wünscht 

Papageno sich’ composed by 12 different composers. Each work can also be performed separately. 

The complete collection is available on hire. 

Vor, während, nach Zaide 1995 

commentary on an unfinished opera by W. A. Mozart — 25’ 

première: 1995, Florence. 


Giacomo Puccini (1858–1924) 

Turandot 2001 

completion of the 3rd act by Luciano Berio (2001) 

première (third act): 24/01/2002, Las Palmas. Concertgebouw Orkest, Riccardo Chailly; 

première (full opera): 25/05/2002, Los Angeles. Kent Nagano 


Henry Purcell (1659–1695) 


and Altogether Sincere Homage to Uncle Alfred 1969 

A hornpipe by Henry Purcell transcribed for 6 instruments — 1’ 

fl(ob), cl, perc, hpsd, vla, vc 

première: 22/04/1969, London. Pierrot Players 




59

60 

Franz Schubert (1797–1828) 

Rendering 1990 

‘restoration’ of Schubert's symphonic fragment in D major D936A for orchestra 

2 2 2 2 - 2 2 3 0 - timp, cel, str(14 14 12 10 8 or 8 8 6 6 4) — 35’ 

première (2 movements): 14/06/1989, Amsterdam, Concertgebouw Orkest, Nikolaus 

Harnoncourt; 

première (3 movements): 19/04/1990. Concertgebouw Orkest, Riccardo Chailly 



Giuseppe Verdi (1813–1901) 

Otto Romanze 1991 

transcribed for tenor and orchestra — 25’ 

In solitaria stanza (Jacopo Vittorelli) • Il poveretto (S. M. Maggioni) • Il mistero (Felice 

Romani) • L’esule (Temistocle Solera) • Deh, pietoso, oh addolorata (J. W. v. Goethe, transl. 

by Luigi Balestra) • Il tramonto (Andrea Maffei) • Ad una stella (Andrea Maffei) • Brindisi 

(Andrea Maffei) 


première: 27/09/1990, Padova. José Carreras, English Chamber Orchestra, Luciano Berio 



Kurt Weill (1900–1950) 


from ‘Die Dreigroschenoper’ (‘The Threepenny Opera’) (1928) 

arranged for alto (low) and ensemble (original key) — 3’ 






from ‘Die Dreigroschenoper’ (‘The Threepenny Opera’) (1928) 

arranged for alto (high) and ensemble (transposed) — 3’ 






arrangements, etc.

Le Grand Lustucru 1972 

from ‘Marie Galante’ (1934) 

arranged for mezzo-soprano and ensemble (original key) — 3’ 






Le Grand Lustucru 1972/1993 

from ‘Marie Galante’ (1934) 







Surabaya Johnny 1972 

from ‘Happy End’ (1929) 

arranged for mezzo-soprano and ensemble (1 st version) — 5’ 





Surabaya Johnny 1972/1993 

from ‘Happy End’ (1929) 







61

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Digital downloads available: 

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Editor: Eric Marinitsch • Photos: © Universal Edition / Eric Marinitsch (pages 1, 3-63, 62); 

© Charlotte Till-Borchardt (page 4); © Alfred Schlee (page 49) • 

Graphic Design: Egger & Lerch, www.egger-lerch.at • 

DVR: 0836702 • Printed in Austria by REMAprint • UE KAT 60890-99 • 

October 2008 

63

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Luciano Berio - Universal Edition

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