Tre canzoni popolari for voice and piano (1947); in 1952 a fourth song is added, changing the title to Quattro canzoni popolari; arrangements of two songs, "Ballo" and "La donna ideale", are incorporated into Folk Songs (1964)
Due pezzi sacri for two sopranos, piano, two harps, timpani and twelve bells (1949)
Magnificat for two sopranos, chorus and orchestra (1949)
Concertino for solo clarinet, solo violin, harp, celestaThe celesta (pronounced se lest a or cheh lest a is a keyboard musical instrument found in symphony orchestras. The keys on the celesta are connected to rods which strike metal bars similar to those found on the glockenspiel. It also usually has wooden re and strings (1949; revised 1970)
Quartetto for wind quartet (1950)
Tre vocalizzi for voice and piano (1950)
El mar la mar for two sopranos and five instruments (1950); reduction for two sopranos and piano (1953); arrangement for soprano, mezzo-sopranoA mezzo-soprano (meaning "medium soprano" in Italian) is a female singer with a range usually extending from the A below middle C to the F an eleventh above middle C. Mezzo-sopranos generally have a darker (or lower) vocal tone than sopranos, and their vo and seven instruments (1969).
Opus no.Zoo for reciter and wind quintet (1951; revised 1971)
Due liriche di Garcia Lorca for bassBass can refer to many different things. Musical SAMPA: [beIs], rhyming with "face" Instrument An abbreviated name for the bass guitar An abbreviated name for the double bass A common name for the Basso vocal range. Terminology Bass (musical term) A bassl and orchestra (1951)
Deus meus for voice and three instruments (1951)
Sonatina for wind quartet (1951); withdrawn
Due pezzi for violin and piano (1951)
Study for string quartetA string quartet is a musical ensemble of four string musical instruments or a piece written to be performed by such a group. Background Although any combination of four string instruments can literally be called a "string quartet", in practice the term r (1952)
Quattro canzoni popolari for voice and piano (1952); the Tre canzoni popolari from 1947, with a fourth song added; arrangements of two songs, Ballo and La donna ideale, are incorporated into Folk Songs (1964)
Cinque variazione for piano (1953; revised 1966)
Mimusique No. 1 for tapeTape could refer to any of these : Duct tape Magnetic tape Cassette tape Punched tape Tape drive Tape measure Tape (movie . (1953)
Chamber Music for female voice and three instruments (1953)
Ritratto di citta for tape (1954); in collaboration with Bruno MadernaBruno Maderna ( 1920- 1973) was an Italian composer of 20th century music. Together with Luciano Berio, he founded the Studio di Fonologia Musicale of the RAI ( Radiotelevisione Italiana) in 1955. One of his most famous works was Quadrivium for large orch
Nones for orchestra (1954)
Variazione for chamber orchestra (1955)
Mutazione for tape (1955)
Mimusique No.2 for orchestra (1955)
Quartetto for string quartet (1955)
Allelujah I for five instrumental groups (1956); reworked as Allelujah II (1958)
Variazione "ein Mädchen oder Weibchen" for two basset horns and strings (1956)
Perspectives for tape (1957)
Divertimento for orchestra (1957)
Seranata for fluteThis article pertains to the musical instrument. For the sailing ship class that has a variant spelling using this word, see Fluyt. The flute (technically transverse flute is a musical instrument of the woodwind family. A musician who plays the flute is s and fourteen instruments (1957)
Allelujah II for five instrumental groups (1958); reworking of Allelujah I (1956)
Thema - omaggio a Joyce for tape (1958)
Sequenza I for flute (1958)
Tempi concertanti for flute, violin, two piano's and ensemble (1959)
Différences for flute, clarinet, harp, viola, cello and tape (1959)
Allez Hop - "raconto mimico" for orchestra (1959; revised 1968); incorporates material from Mimusique No.2 (1955)
Quaderni I for orchestra (1959)
Momenti for tape (1960)
Circles for female voice, harp and two percussionists (1960)
Visage for tape (1961)
Quaderni II for orchestra (1961)
Quaderni III for orchestra (1961)
Epifanie for female voice and orchestra (1961; revised 1965); incorporates Quaderni I-III
Passaggio - "messa in scena" for soprano, chorus and orchestra (1963)
Esposizione for voices and instruments (1963); withdrawn; reworked and incorporated in Laborintus II (1965)
Sequenza II for harp (1963); reused as a solo part in Chemins I (1964)
Traces for soprano, mezzo-soprano, two actors, chorus and orchestra (1963); withdrawn; parts were reworked and incorporated in Opera (1970)
Sincronie for string quartet (1964)
Folk Songs for mezzosoprano and seven instruments (1964); arrangement for mezzosoprano and orchestra (1973)
Chemins I for harp and orchestra (1964); the harp part is Sequenza II (1963)
Wasserklavier for piano (1965); published as the third movement of six encores (1990)
Laborinus II for three female voices, eight actors, one speaker and instruments (1965); incorporates a reworked version of Esposizione (1963)
Rounds for harpsichord (1965); version for piano (1965)
Sequenza III for voice (1966)
Sequenza IV for piano (1966)
Gesti for recorder (1966)
Sequenza V for trombone (1966)
Il combattimento di Tancredi e Clorinda for soprano, tenor, baritone, three violas, cello, double bass, harpsichord (1966); arrangement of the opera by Monteverdi
Sequenza VI for viola (1967); reused as a solo part in Chemins II (1967) and Chemins III (1968)
Chemins II for viola and nine instruments (1967); the viola part is Sequenza VI (1967); reused in Chemins III (1968)
O King for mezzosoprano and five instruments (1967); later incorporated into Sinfonia (1968)
Chemins III for viola, nine instruments and orchestra (1968); the viola part is Sequenza VI (1967), the nine instruments play the same parts as in Chemins II (1967)
Sinfonia for eight solo voices and orchestra (1968); incorporates O King (1968); the version that premiered in 1968 was in four movements, a fifth was added in 1969
Questo vuol dire che for three female voices, small chorus, tape and other available resources (1968)
Sequenza VIIa for oboe (1969); arranged as Sequenza VIIb; reused in Chemins IV (1975)
Sequenza VIIb for soprano saxophone (1969); arrangement of Sequenza VIIa (1969)
The Modification and Instrumentation of a Famous Hornpipe as a Merry and Altogether Sincere Homage to Uncle Alfred for flute or oboe, clarinet, percussion, harpsichord, viola, cello (1969); arrangement of music by Henry Purcell
Air for soprano and orchestra (1969); version for piano, violin, viola and cello (1970); movement from Opera (1970)
Chemins IIb for orchestra (1969); reworking of Chemins II (1967); reused in Chemins IIc (1972)
Melodrama for tenor and eight instruments (1970); movement from Opera (1970)
Opera for ten actors, soprano, tenor, baritone, vocal ensemble, orchestra (1970); includes reworked materials from Traces (1963); two movements, Air (1970) and Melodrama (1970) may be performed separately; revised in 1977 to include Agnus (1971) and E vó (1972)
Erdenklavier for piano (1970); published as the fourth movement of Six encores (1990)
Memory for electric piano and harpsichord (1970; revised 1973)
Autre fois: berceuse canonique pour Igor Stravinsky for flute, clarinet and harp (1971)
Ora for soprano, mezzosoprano, flute, cor anglais, chorus and orchestra (1971); withdrawn
Bewegung for orchestra (1971; revised 1984)
Bewegung II for baritone and orchestra (1971); withdrawn
Agnus for two sopranos, three clarinets and electric organ (1971); incorporated into the revised version of Opera (1977)
E vó for soprano and ensemble (1972); incorporated into the revised version of Opera (1977)
Chemins IIc for bass clarinet and orchestra (1972); Chemins IIb (1969) with an added solo part
Après Visage for tape and orchestra (1972); withdrawn
Recital 1 for mezzosoprano and eightteen instruments (1972)
Concerto for two pianos and orchestra (1973)
Linea for two pianos, vibraphone and marimba (1973)
Still for orchestra (1973); withdrawn
Cries of London for six voices (1974)
Eindrücke for orchestra (1974)
Calmo - in memoriam Bruno Maderna for mezzo-soprano and twentytwo instruments (1974)
"points on the curve to find..." for piano and twentytwo instruments (1974); reworked as Echoing Curves (1988)
Per la dolce memoria de quel giorno for tape (1974)
Musica leggera, canone per moto contrario e al rovescio, con un breve intermezzo for flute, viola and cello (1974)
a-ronne radio documentary for five actors (1974); concert version for eight voices (1975)
Chemins IV for oboe and eleven string instruments (1975); the oboe part is Sequenza VII (1969); reworked for soprano saxophone and orchestra (2000)
Chants parallèles for tape (1975)
Diario immaginario radio piece (1975)
Sequenza VIII for violin (1975); reused in Corale (1981)
Fa-Si for organ (1975)
Coro for forty voices and instruments (1976); extended 1977
Ritorno degli snovidenia for cello and thirty instruments (1977)
Les mots sont allés... - "recitativo" for cello (1978)
Encore for orchestra (1978; revised 1981)
Scena (1979); incorporated into La vera storia (1981)
Entrata (1980); incorporated into La vera storia (1981)
Chemins V for clarinet and the 4C digital system, developed by Peppino del Giugno (1980)
Sequenza IXa for clarinet (1980); drawn from Chemins V (1980); arranged as Sequenza IXb (1980) and Sequenza IXc (1980)
Sequenza IXb for alto saxophone (1980); arrangement of Sequenza IXa (1980)
Sequenza IXc for bass clarinet (1980); arrangement Sequenza IXa (1980)
Accordo for four groups of twentyseven instruments (1980); the number of players may be multiplied, Berio preferred a total of at least 400 instruments
La vera storia for soprano, mezzosoprano, tenor, baritone, bass, vocal ensemble and orchestra (1981); incorporates Scena (1979) and Entrata (1980)
Corale for violin, two horns and strings (1981); the violin part is Sequenza VIII (1975)
Fanfara for orchestra (1982)
Duo - "teatro immaginario" for baritone, two violins, chorus and orchestra (1982); study for Un re in ascolto (1984)
