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Luciano Berio

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contents

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.


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about his music

The Past as Future: Luciano Berio

In the aftermath of the Second World War, many composers of Luciano Berio’s generationfelt obliged to wipe the slate clean. To a composer with roots as deep in the achievementsof the past four centuries as Berio, this was never an option. His work constantly re-inventedcontinuities where others saw only the possibilities of rupture. Not that he was ever temptedby the assorted nostalgias that haunted some part of the music of the last century. On thecontrary, he maintained an insatiable curiosity about the explorations of his contemporaries– musical or otherwise. But his dialogues with literature, with linguistics, with structuralanthropology, 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 creativeconsequences often far removed from their original context. They are a fraternal “homage”, notan imitation. Beyond his apprentice years of the late forties and early fifties, much the samemight be said of his response to his musical contemporaries. His oblique relationship to thepost-Webernian mainstream was the first instance of a trait that has remained central to hiswork ever since. Seizing with relish upon its demonstrations of inexhaustible metamorphicpotential, he expanded this into a basic principle: you may always re-write what is alreadywritten. The exuberant melodic confidence of his work from the late fifties and sixties – whether thenervous brilliance of the flute Sequenza I, or the by now classic lyrical intensity of workswritten for Cathy Berberian, such as Circles or Sequenza III – bears witness to the confidentauthority with which he grasped these means. Equally, the series of Chemins that revisit soloSequenzas demonstrate not just a Joycean “work in progress”, but our obligation to treat eachcompleted work as a “listening in progress”. But the sixties also saw the first indices of anunwillingness to side-line issues central to his rigorous sense of musical tradition. Where somecontemporaries seemed content to treat harmony as simply a subcategory of “texture”, Berioinsistently 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 atfirst a matter of brilliantly alert intuition – in, for instance, Sequenza IV for piano – but wassoon absorbed into a focussed framework, first in O King, but then in many subsequent worksof the early seventies, by exploring the consequences of harmonic projections from a line. Thefruits of this patient process of exploration came in the major works of the eighties andnineties, where harmony resumed its rights as the organising force behind such major theatreworks as La vera storia, Un re in ascolto, and Outis, but could equally determine the masterlyconcision of Sequenza XIII for accordion. Although Berio drew admiration in the late fifties as an exuberant explorer of electronicresources, his vivid empathy for the risks and rewards of live performance tended to gain the


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about his music

upper hand over any disembodied search for “new sounds”. However fragile and temporary thecommunity created in the concert-hall by a brilliant performance, it is one that Berio servedwith singular fixity of purpose. Since the sixties a vigorous inhabitant of McLuhan’s “globalvillage” (of which any concert-hall or radio station may propose itself as a temporarymicrocosm) he asserted music’s obligation not only to its own singular history, but also to there-statement of human concerns that, without such patient and committed reiteration, couldso 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 sisentirono obbligati a ricominciare daccapo. Un compositore come Berio però, le cui radiciancoravano profondamente nelle conquiste di quattro secoli, non prese mai in considerazionequesta opzione. La sua opera re-inventò costantemente delle continuità laddove altri vedevanocome unica alternativa la rottura. Non che fosse mai stato attratto da quelle nostalgie aleggiantiin alcune musiche del secolo scorso. Al contrario, mantenne una curiosità insaziabile verso leesperienze di ricerca dei suoi contemporanei – musicisti ed altri. Ma i suoi dialoghi con laletteratura, la linguistica, l’antropologia strutturale, la musicologia etnica si sono sempredimostrati 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 unomaggio 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 coni suoi contemporanei musicali. La relazione non sempre diretta con la corrente di pensieropostweberniana fu il primo dei tratti che da allora caratterizzarono la sua opera. Impossesandosicon gusto dell’immenso potenziale metamorfico di tale pensiero, Berio lo trasofrmò in unprincipio 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 brillantezzanervosa della Sequenza I per flauto, sia l'ormai classica intensità lirica dei brani scritti per CathyBerberian, tra cui Circles o Sequenza III – testimonia l’autorevolezza con cui Berio ricorreva aquesti mezzi. La serie dei Chemins, rivisitazioni delle Sequenze per strumento solo, non soltanto sidimostra un “work in progress” nel senso joyceano, ma ci obbliga anche a considerare ogni operacompiuta come un “listening in progress”. Gli anni ’60 vedevano però anche i primi indizi dellavolontà di non trascurare istanze centrali del proprio senso rigoroso della tradizione musicale.Mentre alcuni contemporanei sembravano accontentarsi trattando l’armonia semplicementecome una categoria subordinata di “texture", Berio non smise mai di tornare con insistenza alladimensione armonica come fulcro delle sue aspirazioni musicali più ampie. L’allenamento delproprio udito e di quello dei suoi ascoltatori, così da trovare un percorso attraverso la giunglaarmonica, fu inizialmente un aspetto dell’accortissima intuizione beriana – per esempio nellaSequenza IV per pianoforte. Presto però quest’intuizione divenne parte di una concezione messabene a fuoco, prima in O King, poi in tante opere dei primi anni ‘70, nelle quali esplorò le


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about his music

conseguenze delle proiezioni armoniche partendo da una linea di suoni. I frutti di questo pazienteprocesso d’esplorazione si poterono cogliere nelle opere principali degli anni ‘80 e ‘90, dovel'armonia reclamava i propri diritti quale forza organizzativa dietro opere teatrali così importanticome La vera storia, Un re in ascolto e Outis, ma determinava ugualmente anche la magistraleconcisione della Sequenza XIII per fisarmonica. Malgrado Berio fosse apprezzato nei tardi anni ’50 come esuberante esploratore di risorseelettroniche, la sua vivace empatia per i rischi e le ricompense dell’esecuzione dal vivo ebbetendenzialmente la meglio su qualsiasi ricerca astratta di “nuovi suoni”. Per quanto fragile etemporanea sia la comunità che si crea in una sala da concerto in occasione di una brillanteesecuzione, 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 radiofonicapotrebbero proporsi come una sorta di microcosmo temporaneo), egli ha affermato l’impegnodella musica nei riguardi non solo di se stessa e della sua storia particolare, ma anche nel ribadiretutto 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”.

David Osmond-Smith

Die Vergangenheit als Zukunft: Luciano Berio

Nach dem Zweiten Weltkrieg fühlten sich viele Komponisten dem Ruf nach einer tabula rasaverpflichtet. Ein Komponist wie Luciano Berio, dessen Wurzeln so tief in den Errungenschaftenvon vier Jahrhunderten verankert waren, zog so etwas nie in Erwägung. Sein Werk hatteständig Anknüpfungspunkte ge- und erfunden, wo andere nur die Alternative eines Bruchssahen. Das bedeutet aber nicht, dass er jemals von der Nostalgie befallen wurde, die in vielenKompositionen des vegangenen Jahrhunderts spürbar ist. Ganz im Gegenteil hatte er sichstets eine unstillbare Neugier auf die Erkundungen seiner Zeitgenossen bewahrt – sowohlauf die musikalischen wie auch auf andere. Aber seine Dialoge mit Literatur, Linguistik,Musikethnologie oder Anthropologie hatten sich immer als höchst schöpferische Feldzügeerwiesen. Er eignete sich das Material an, das ihn als Musiker faszinierte, um daraus kreativeKonsequenzen zu ziehen, die oft weit entfernt vom originalen Kontext waren. Das isteine kollegiale ‚Hommage‘, keine Imitation. Einmal von seinen Lehrjahren in den späten40er und frühen 50er Jahren abgesehen, konnte man Ähnliches über die Reaktion auf seinemusikalischen Zeitgenossen konstatieren. Schon damals zeigte sich in seiner postwebernschenGesinnung eine Eigenheit, die seither für sein OEuvre bezeichnend geblieben war. Ausder anfänglichen Faszination über das grenzenlose metamorphische Potential schälte sichallmählich Berios Grundsatz heraus: Man kann schon Geschaffenes immer wiedernachschöpfen.Die melodische Ausstrahlung seiner Werke der 50er und 60er Jahre – sei es nundie nervöse Brillanz der Sequenza I für Flöte oder die mittlerweile klassische lyrischeIntensität 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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about his music

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 einenUnwillen, 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 wichtigsteKategorie seines musikalischen Denkens begriffen. Die Erziehung seines eigenen Hörverhaltensin Sachen Harmonie, wiewohl auch desjenigen seiner Hörer, beruhte ursprünglich auf Beriosungewöhnlich wacher Intuition – z. B. in Sequenza IV für Klavier. Diese Intuition kristallisiertesich aber bald zu einer klaren Konzeption, zuerst in O King, dann in vielen Werken der frühen70er Jahre: nämlich das Erkunden der Konsequenzen, die bei der Projektion einer melodischenLinie auf die harmonische Ebene entstehen. Die Früchte dieses geduldigen Forschungsprozesseskonnten in den Hauptwerken der 80er und 90er geerntet werden, wo die Harmonie ihreRechte als organisatorische Kraft hinter solch wichtigen Musiktheaterwerken wie La verastoria, Un re in ascolto und Outis einfordert, aber auch das meisterhafte Konzept der SequenzaXIII für Akkordeon bereichert. Obwohl Berio in den späten 50er Jahren als unermüdlicher Forscher elektronischer Musikgeschätzt wurde, zog er immer die Risiken und Möglichkeiten des realen Musizierens derabstrakten Suche nach ‚neuen Klängen‘ vor. Wenngleich die Gemeinschaft, die in einemKonzertsaal entsteht, eher zerbrechlich und von kurzer Dauer ist, ist es eine, um die sich Beriomit einzigartiger Zielstrebigkeit bemühte. Berio war schon seit den 60er Jahren einleidenschaftlicher Anhänger von McLuhans Idee des ‚global village‘ (einer Gemeinschaftübrigens, in der ein Konzertsaal oder ein Radiosender einen Mikrokosmos bilden könnte). Soformulierte Berio die Aufgaben der Musik nicht nur im Hinblick auf ihre eigene einzigartigeGeschichte, sondern auch im Hinblick auf allgemein menschliche Anliegen, die ohne ein solchgeduldiges und engagiertes Beharren sehr leicht in Vergessenheit geraten könnten. Seine Musik„weigert sich zu vergessen“.

David Osmond-Smith

Le passé en tant qu’avenir: Luciano Berio

Après la deuxième Guerre mondiale et les séquelles qu’elle causa, de nombreux compositeursde la génération de Luciano Berio choisirent de faire table rase. Pour un compositeur commeLuciano Berio, profondément enraciné dans les acquis musicaux de quatre siècles, il ne fut jamaisquestion de choix. Son oeuvre a toujours réinventé des continuités, là où d’autres ne voyaient biensouvent que des possibilités de rupture. Cela ne signifie pas pour autant qu’il était empreint de lanostalgie qui fut commune à un grand nombre de compositions musicales du siècle passé. Bienau contraire, il a conservé une curiosité insatiable pour les expériences exploratoires de sescontemporains, qu’elles soient sur le plan musical ou bien autre. Mais ses dialogues avec lalittérature, la linguistique, l’anthropologie structurale ou l’ethnomusicologie s’avérèrent toujoursdes excursions plagiaires très innovatrices – c’est en tant que compositeur qu’il s’est approprié les


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about his music

matières qui le fascinaient, afin d’en extraire des effets souvent fort éloignés de leur contexted’origine. On doit les considérer comme un «hommage» fraternel rendu par le compositeur, noncomme une imitation. Abstraction faite de ses années d’apprentissage à la fin des années 40 etau début des années 50, on peut considérer qu’il en est de même quant à sa réponse à sescontemporains musicaux. Sa relation indirecte avec le courant esthétique postérieur à Webern aété et demeure l’une des caractéristiques essentielles de son oeuvre. A partir de sa fascinationinitiale pour le potentiel métamorphique et son infinité, le principe fondamental de Berio s’estcristallisé 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 années60 témoigne de la faculté de Berio de se servir de ces moyens, que ce soit à travers la brillancenerveuse de la Sequenza I pour flûte ou l’intensité lyrique devenue entre-temps classique despièces composées pour Cathy Berberian telles Circles ou la Sequenza III. De même, la sérieChemins su Sequenza n’est pas seulement la manifestation d’un «work in progress» inspiré parJames 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 lesthèmes centraux de la tradition musicale. Tandis que certains contemporains semblent s’êtrecontentés de traiter l’harmonie comme une simple sous-catégorie de la «texture», Berio a fait dela dimension harmonique l’un des points centraux de son idéal musical. L’éducation de sa propreoreille musicale ainsi que celle de ses auditeurs afin de s’orienter au milieu de la jungle desharmonies reposait avant tout sur son intuition exceptionnellement vive, telle que dans laSequenza IV pour piano. Cette intuition s’est cependant rapidement transformée en uneconception claire, tout d’abord avec O King, ensuite dans de nombreuses oeuvres du début desannées 70: ce fut alors l’exploration des conséquences issues de projections harmoniques d’uneligne mélodique. Les fruits de ce patient processus d’exploration ont pu être récoltés dans lesoeuvres majeures des années 80 et 90, où l’harmonie s’affirme aussi bien en tant que forceorganisatrice d’arrière-plan dans les compositions lyriques importantes telles La vera storia, Un rein ascolto et Outis, qu’en tant que facteur d’enrichissement dans la concision magistrale del’oeuvre Sequenza XIII pour accordéon.Bien que Luciano Berio ait joui à la fin des années 50 d’une grande admiration pour sonexploration exubérante des ressources de la musique électronique, sa vive empathie pour lesrisques et possibilités de la représentation «live» l’a continuellement amené à préférer cettedernière à la recherche désincarnée de «nouveaux sons». Même si la communauté qui se créedans une salle de concert lors d’une représentation de qualité est fragile et temporaire, Berio acherché à l’établir avec une détermination singulière. Depuis les années 60, Berio, habitantconvaincu du «village global» de McLuhan (dans lequel une salle de concert ou une station deradio pourrait se constituer en microcosme temporaire), a prôné l’engagement de la musique, nonseulement envers sa propre histoire, mais aussi envers les intérêts humains qui, sans unepersévérance patiente et engagée, pourraient très facilement s’évanouir . Sa musique est unemusique qui «refuse l’oubli».

David Osmond-Smith


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worklist by instrumentation

Worklist by instrumentation

Stage Worksa – ronne Allez-hopIl Combattimento di Tancredi e Clorinda (Monteverdi)CompassCronaca del LuogoLa vera storiaLaborintus IINaturaleOperaOutisPassaggioPer la dolce memoria di quel giorno Un re in ascoltoTurandot (Puccini)Twice upon ...Vor, während, nach ZaideWir bauen eine Stadt (Hindemith)

Vocal Worksa – ronne AgnusAir Altra voceBallade von der sexuellen Hörigkeit (Weill)Beatles SongsCalmoCanticum novissimi testamenti4 Canzoni popolariChamber MusicChe dice la pioggerellina di marzo? (Ernesto Berio)CirclesIl Combattimento di Tancredi e Clorinda (Monteverdi)


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CoroCries of LondonE si fussi pisciE vóEl mar la marEpiphaniesFolk Songs 5 Frühe Lieder (Mahler)6 Frühe Lieder (Mahler)Le Grand Lustucru (Weill)HörMagnificatO KingOfanìmOpus Number ZooOtto Romanze (Verdi)Recital for CathySequenza IIIShofarSiete Canciones populares españolas (de Falla)SinfoniaStanzeSurabaya Johnny (Weill)There is no tune

OrchestraAccordoAllelujah IAllelujah IIContrapunctus XIX (Bach)BewegungChemins IIbContinuoDivertimentoEindrückeEkphrasisEncoreEntrataFanfaraFestumFormazioni


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LB.AM.LB.M.W.D.IS.LB NonesNotturnoQuatre dédicacesQuattro versioni originali (Boccherini)Re-CallRendering (Schubert/Berio)RequiesVariazione sull’aria di PapagenoVariazioni

Solo Instruments and Orchestra / EnsembleAlto saxophone RécitBasset horns (2) Variazione sull’aria di PapagenoBass clarinet Chemins IIcFlute Serenata IFlute, violin, 2 pianos Tempi concertatiGuitar Chemins VHarp Chemins IClarinet or viola Brahms – Opus 120 Nr. 1 Clarinet, viola AlternatimClarinet, violin, harp, celesta ConcertinoOboe Chemins IVPiano ‘points on the curve to find ...’Piano Concerto IIPianos (2) ConcertoSoprano saxophone Chemins IVTrombone SOLOTrumpet Kol odViola Chemins IIViola Chemins IIIViola VociViolin, 2 horns CoraleVioloncello Ritorno degli snovidenia

Chamber MusicAutre foisCallDifférencesDuetti per due Violini


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Due PezziGlosseKorótLineaMemoryThe Modification and Instrumentation (Purcell)Musica LeggeraNaturaleNotturnoOpus Number ZooQuartettoRicorrenzeSincronieStudyTerre chaleureuseWasserklavier

Solo InstrumentsAccordeon Sequenza XIIIAlto saxophone Sequenza IXBass clarinet Sequenza IXBassoon Sequenza XIIClarinet LiedClarinet Sequenza IXDoube bass PsyDoube bass Sequenza XIVFlute Sequenza IFlute Mozart CadenzeGuitar BrinGuitar Sequenza XIHarp Sequenza IIHarpsicord RoundsPiano 5 VariazioniPiano BrinPiano CanzonettaPiano ErdenklavierPiano FeuerklavierPiano LeafPiano LuftklavierPiano (4-hands) Maria Isabella (Adolfo Berio)Piano Petite Suite


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Piano RoundsPiano Sequenza IVPiano Six EncoresPiano SonataPiano (4-hands) TouchPiano WasserklavierOboe Sequenza VIIOrgan Fa – SiSoprano saxophone Sequenza VIITreble recorder GestiTrombone Sequenza VTrumpet Gute NachtTrumpet Sequenza XViola Sequenza VIViolin Sequenza VIIIVioloncello Les mots sont allés ...Violoncello Sequenza XIV

Electronic Musica – ronneChants parallèlesDiario immaginarioMomentiMutazioniPerspektivesThemaVisage

Music for childrenOpus Number ZooTwice upon …Wir bauen eine Stadt (Hindemith)


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chronological worklist

Chronological worklist

1946–47 4 Canzoni popolari1947 Petite Suite1949 Magnificat1951 Due Pezzi1951/70 Concertino

Opus Number Zoo1952 El mar la mar1952/85 Study1952–53 5 Variazioni1952–59 Allez-hop1952/55 Mimusique No 21953 Chamber Music

Mimusique No 11954 Mutazioni

NonesVariazioni

1955 Mutazioni1956–55 Allelujah I

PerspectivesQuartettoVariazione sull’aria di Papageno

1956–57 Allelujah II1957 Divertimento

Serenata I1958 Sequenza I (flute)

Thema1958–59 Différences1959–60 Tempi concertati1959–61 Epifanie (withdrawn, see Epiphanies 1991)1960 Circles

Momenti1961 Visage1961–62 Passaggio1963 Esposizione (withdrawn)

Sequenza II (harp)Traces (withdrawn)

1964 Folk Songs (mezzo soprano and 7 instruments)


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Sincronie1964/73 Folk Songs (mezzo soprano and orchestra)1965 Chemins I

Laborintus IIRounds (harpsicord)Wasserklavier

1965–67 Beatles Songs 1965–90 Six Encores1966 Il Combattimento (Monteverdi)

GestiSequenza III (voice)Sequenza IV (piano)Sequenza V (trombone)

1967 Beatles SongsChemins IIRounds (piano)Sequenza VI (viola)

1968 O KingPrayer (withdrawn) Sinfonia

1968/73 Chemins III1969 Air

Erdenklavier MemoryThe Modification and Instrumentation (Purcell)Sequenza VII (oboe)

1969–70 Opera (rev. 1977)1970 Air

Chemins IIb1971 Agnus

Autre foisORA (withdrawn)

1971/84 Bewegung 1972 Amores (withdrawn)

Bewegung II (withdrawn)Chemins IIcE vóRecital for Cathy

1972–73 Concerto1972/93 Ballade von der sexuellen Hörigkeit (Weill)

Le Grand Lustucru (Weill)Surabaya Johnny (Weill)


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1973 LineaStill (withdrawn)

1973–74 Eindrücke1974 a – ronne (5 actors)

Musica LeggeraPer la dolce memoria di quel giorno‘points on the curve to find ...’

1974–76 Cries of London1974/89 Calmo1975 a – ronne (8 singers)

Chants parallèlesChemins IVDiario immaginario Fa – Si Ritirata notturna di Madrid (Boccherini)

1975–76 Coro1976 Sequenza VIII (violin)

Les mots sont allés ... 1976–77 Ritorno degli snovidenia1977–80 La vera storia

Siete Canciones populares españolas1978/81 Encore1979–82 Un re in ascolto1979–83 Duetti per due violini1980 Entrata

Sequenza IX (clarinet)Sequenza IX (alto saxophone)

1980–81 Accordo1981 Corale1982 Fanfara1983 Lied1983–85 Requies1984 Sequenza X

Voci1985 Luftklavier

NaturaleTerre chaleureuse

1985–87 Call Formazioni Ricorrenze

1986 5 Frühe Lieder (Mahler)Gute Nacht


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1987 6 Frühe Lieder (Mahler)Wir bauen eine Stadt (Hindemith)

1988 LB.AM.LB.M.W.D.IS.LB Sequenza XI (guitar)

1988–89 Concerto II1988–97 Ofanìm1989 Festum

FeuerklavierPsy

1989–91 Canticum novissimi testamentiContinuo

1990 Brahms – Opus 120 Nr. 1 LeafRendering (Schubert)

1991 Canzonetta TouchOtto Romanze (Verdi)Epiphanies

1992 Chemins V1993 Notturno (string quartet)1993/95 Notturno (string orchestra)1994 Compass

There is no tune Twice upon ...

1995 HörRe-CallSequenza XIII (accordion)ShofarVor, während, nach Zaide

1995–96 Outis1996 Ekphrasis

Kol odRécit

1997 AlternatimGlosseSequenza XII (bassoon)

1998 Korót1998–99 Cronaca del Luogo1999 Altra voce1999–2000 SOLO2000 Interlinea (withdrawn)2001 Albumblatt (unpublished)

Alois (withdrawn)


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Contrapunctus XIX (Bach)Sonata Turandot (Puccini)

2002 E si fussi pisciSequenza XIV (violoncello)

2003 Stanze


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catalogue of works

Catalogue of works

a – ronne 1974a radiophonic documentary for five actors — 32’text: Edoardo Sanguinetitape (CD) on hire.For rehearsal or broadcast only. Not for live performance.

a – ronne 1974for 5 actors — 32’text: Edoardo Sanguinetipremière: 30/06/1974, Hilversum. KRO Radio performance score on hire

a – ronne 1975for 8 singers (2S, 2A, 2T, 2B) — 30’text: Edoardo Sanguinetipremière: 1975, Liège. Swingle Singers II choral score on hire

Accordo 1980–1981for 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 playerspremière: 1980, Assisi.score and parts on hirefor sale: UE17712 (special order)

Agnus 1971for 2 sopranos, 3 clarinets (and electric organ) — 6’language: Latinpremière: 1971, Indiana. Scheurer, Sambucofor sale: UE13755 • scoreUE30538 • set of parts


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catalogue of works

Air 1969from ‘Opera’ for soprano and orchestra — 7’text: Alessandro Striggiolanguage: Englishpremière: 1971, Rovereto. Alide Maria Salvettascore and parts on hire for sale: UE13799 • score

Air 1970from ‘Opera’ for soprano and 4 instruments — 7’text: Alessandro Striggiolanguage: Englishpremière: 1971, Rovereto. Alide Maria Salvettafor sale: UE14986 • scoreUE14987 • set of parts

Allelujah I 1955for orchestra — 9’30’’première: 29/04/1957, Cologne. Michael GielenEdizioni Suvini Zerboni

Allelujah II 1956–1957for orchestra — 19’première: 17/05/1958, Rome. Bruno Maderna and Luciano Berio Edizioni Suvini Zerboni

Allez-hop 1952–1959Racconto mimico for mezzo-soprano, 8 actors, ballet and orchestra — 28’text: Italo Calvinopremière: 23/09/1959, Venice, N. Sanzogno Edizioni Suvini Zerboni

Alternatim 1997for clarinet, viola and orchestra — 30’4 1 5 1 - 1 2 1 1 - sop.sax, alto sax, strpremière: 16/05/1997, Amsterdam. Paul Meyer (cl), Christophe Desjardins (vla),Concertgebouw Orkest, Luciano Berioscore and parts on hirefor sale: UE31439 • study score (special order)


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catalogue of works

Altra voce 1999for alto flute, mezzo-soprano and live electronics — 10–12’text: Talia Pecker Beriolanguage: Italianpremière: 22/08/1999, Salzburg. Michele Marasco (fl), Monica Bacelli (mezzo-soprano),Thierry Coduys (electronics) study score and performance score on hirefor sale: UE33146 • study score (special order)

Autre fois 1971Berceuse canonique pour Igor Stravinskyfor flute, clarinet and harp — 1’première: 1971, Venice. for sale: UE18701 • score and parts

Ballade von der sexuellen Hörigkeit – Song of Sexual Slavery 1967/1972from ‘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, cbpremière: 1967, Venice. Cathy Berberianscore and parts on hire

Ballade von der sexuellen Hörigkeit – Song of Sexual Slavery 1972/1993from ‘Die Dreigroschenoper’ (‘The Threepenny Opera’) by Kurt Weill (1928) arranged for alto (high) and ensemble (transposed) — 3’text: Bertolt Brecht, language: German (translations available)cl, bass cl, acc, vib, vln, vla, vc, cbpremière: 1967, Venice. Cathy Berberianscore and parts on hire

Beatles Songs 1967by John Lennon and Paul McCartney (1965)arranged for voice and instruments — 8’language: English, FrenchMichelle 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’)score and parts on hire


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catalogue of works

Berio Family Album 1975Adolfo 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 femalechoir unisono and piano) Luciano Berio: Petite Suite for piano (1947)for sale: UE15950 digital download available

Bewegung 1971/1984for orchestra — 14’3 3 3 3 - 4 4 3 1 - perc(3), hp, pno, e.org, alto sax, t.sax, strpremière: 1971, Glasgow, Scottish National Orchestra, Luciano Berio; première revised version: 26/10/1984, Basel. Basler Sinfonieorchester, Luciano Berioscore and parts on hirefor sale: UE31495 • study score (special order)

Brin 1990for piano — 1’30’’for sale: UE33013 ‘Six Encores’digital download availablesee also Six Encores

Brin 1990for guitar — 1’30’’arrangement: Bruce Charles (1994)for sale: UE30302

Call 1985/1987for 5 brass instruments — 4’tpt(2), hn, tbn, bass tubapremière first version St. Louis Fanfare: 31/07/1985, St. Louis. Nashville Contemporary BrassQuintetpremière revised version Call: 31/03/1987, New York.score and parts on hire‘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 Canticilanguage: Italian2 0 4 1 - 1 2 1 0 - perc, hp, alto sax, vla(3), vc(3), cb(2)


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catalogue of works

première: 25/03/1974, Milan. Paoletti, Luciano Berio; première revised version: 16/10/1990, Paris. Slavka Taskova, Ensemble Intercontemporain,Pierre Boulezscore and parts on hirefor sale: UE19478 • score (special order)UE31270 • study score (special order)

7 Canciones populares españolas see Siete Canciones populares españolas

Canticum novissimi testamenti 1989–1991Ballata 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.saxsource text: ‘Novissimum Testamentum’ by Edoardo Sanguinetilanguage: Italianpremière: 18/12/1989, Paris. Raschèr Saxophone Quartet, London Voices, EnsembleIntercontemporain, Pierre Boulezscore and set of parts on hirefor sale: UE31269 • study score

Canzonetta 1991for piano (4-hands) — 1’in preparation

4 Canzoni popolari 1946–1947for 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)language: Italianpremière: 1952, Milan. Cathy Berberian, Luciano Beriofor sale: UE15947

Chamber Music 1953for female voice and instruments — 8’30’’source text: poems by James Joycepremière: 1953, Milan. Cathy BerberianEdizioni Suvini Zerboni


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catalogue of works

Chants parallèles 1975for electronic sounds on tape — 15’ première: 07/04/1975, Paris ORTFno 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 Bourscore and parts on hirefor sale: UE13720 • study score

Chemins II 1967 (on Sequenza VI)for viola and 9 instruments — 12’fl, cl, tbn, perc(2), hp, e.org, vla, vcpremière: 1968, Milan. Walter Trampler, Juilliard Ensemble, Luciano Berioparts on hirefor sale: UE13740 • score

Chemins IIb 1970for 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: 25/04/1970, Berlin, Ensemble Musique Vivante, Diego Massonscore and parts on hirefor sale: UE14948 • score

Chemins IIc 1972for 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 Berioscore and parts on hirefor sale: UE14948 • scoreThe 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, strpremière: 1968, Paris. Walter Trampler, Ensemble Musique Vivante, OrchestrePhilharmonique de l’ORTF, Luciano Berioscore and parts on hirefor sale:UE16654 • score (special order)UE33687 • study score (special order)


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catalogue of works

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 Berioscore and parts on hirefor sale: UE31268 • study score

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 Berioscore and parts on hirefor sale: UE31268 • study score

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 Berioscore and parts on hirefor sale: UE32542 • score (special order)UE31955 • study score (special order)

Chemins VI see Kol od

Chemins VIIsee Récit

Circles 1960for female voice, harp and 2 percussion players — 20’ source text: poems by e. e. cummings, language: Englishpremière: 01/08/1960, Tanglewood. Cathy Berberian and members of the Boston Symphony Orchestraperformance scores on hire

Il Combattimento di Tancredi e Clorinda 1966by 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


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catalogue of works

score and parts on hirefor sale: UE13727 • score

Compass 1994Recital for piano and orchestra — 45’4 3 4 3 - 3 3 3 1 - timp, perc(2), hp, cel, alto sax, t.sax, strpremière: 12/03/1995, Zurich Opera. Folco Vichi (pno), Manfred Honeck (cond.), Bernd R. Bienert (choreography)score and parts on hire

Concertino 1951/1970for clarinet, violin, harp, celesta and strings — 11’première: 1950, Milan. Borisov, Orchester des Konservatoriums, Luciano Berio; première revised version: 1970 St. Paul, Minnesota. Stanislaw Skrowaczewskiscore and parts on hirefor sale: UE14979 • study score

Concerto 1972–1973for 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 Boulezscore and parts on hirefor 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 Boulezscore and parts on hirefor sale: UE30692 • scoreUE19117 • solo part

Continuo 1989–1991for orchestra — 20’4 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 Berioscore and parts on hirefor sale: UE19899 (special order)


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catalogue of works

Contrapunctus XIX 2001from ‘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 Bufaliniscore and parts on hirefor 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 Sacherscore and parts on hirefor sale: UE17545 • score

Coro 1975–1976for 40 voices and instruments — 60’source texts: lyrics from different cultures; poems from ‘Residencia en la tierra’ by Pablo Neruda choir: 10S, 10A, 10T, 10B4 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 RundfunkorchesterKöln, Luciano Berio; première revised version: 16/10/1977, Graz. ORF Chor und SO, Leif Segerstamscore and parts on hirefor sale: UE15044 • score

Cries of London 1974–1976for 8 voices (2S, 2A, 2T, 2B) — 12’text source: English street cries, language: Englishpremière: 1975 (preliminary version for 6 voices), Edinburgh. King’s Singers première revised version: 1977, La Rochelle. Swingle Singersfor sale: UE16828 • score

Cronaca del Luogo 1998–1999Azione musicale — 90’text: Talia Pecker Beriopremière: 24/07/1999, Salzburg Festival. Sylvain Camberling; Claus Guth (stage direction);Cast: Hildegard Behrens, Frode Olsen, Matthias Klink, David Moss, Monica Bacelli, UrbanMalmberg; Arnold Schönberg Chor and Tölzer Knabenchor; Orchestral soloists: GabrieleCassone, Christian Lindberg, Michele Marasco, Ernesto Molinari, David Moss, Igor Polesitsky,Georg Schulz, Folco Vichi; Klangforum Wien and Tempo RealeCasa Ricordi, Milan


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catalogue of works

4 Dédicaces see Quatre dédicaces

Diario immaginario 1975Radio opera — 31’ source text: after Molièretext editor: Vittorio Sermonti, Luigi Diemozpremière: 1975, Florence. Cathy Berberian, Orchestra Sinfonica della RAI, Luciano Berionot available as a score; tape available for radio broadcast only.

Différences 1958–1959for 5 instruments and tape — 17’fl, cl, hp, vla, vcpremière: 1959, Paris, Pierre Boulezscore, parts and tape (CD) on hire

Divertimento 1957in collaboration with Bruno Madernafor orchestra — 12’première: 02/12/1957, Rome. Bruno MadernaEdizioni Suvini Zerboni

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 1951for violin and piano — 8’première: 1951, Tanglewood. Lorin Maazel, Seymour LipkinEdizioni Suvini Zerboni

Duetti per due Violini 1979–1983for 2 violins — 70’Béla (Bartók) • Shlomit (Almog) • Yossi (Pecker) • Rodion (Schedrin) • Maja (Pliseckaja) •Bruno (Maderna) • Camilla (Adami) • Peppino (Di Giugno) • Marcello (Panni) • GiorgioFrederico (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) •


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catalogue of works

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 1979–1983Selected 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)for sale: UE17581 • performance score

Duetti 1979–1983arrangement for 2 guitars: Eugenia Kanthou (1987) — 5’ edited by Karl ScheitIgor (Stravinsky) • Béla (Bartók) • Henri (Pousseur) • Annie (Neuburger) • Aldo (Bennici) • Camilla (Adami) for sale: UE16728 • performance score

E si fussi pisci 2002Sicilian love song for mixed choir a cappella — 2’language: Italianchoir: SATBpremière: 05/10/2002, Siena (Umberto Eco honorary doctor ceremony). Coro dell’Ateneo,Fabio Lombardofor sale: UE32803 • choral score

E vó 1972Sicilian Lullaby from ‘Opera’ for soprano and instruments — 4’language: Italian1 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 Berioscore and parts on hirefor sale: UE31494 • score (special order)

Eindrücke 1973–1974for orchestra — 11’3 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 Leinsdorfscore and parts on hirefor sale: UE33312 • study score (special order)


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catalogue of works

Ekphrasis 1996 (Continuo II)for orchestra — 20’4 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 Berioscore and parts on hirefor sale:UE30996 • score (special order)UE30998 • study score (special order)

El mar la mar 1952/1969for soprano, mezzo-soprano and 7 instruments — 12’text: Rafael Albertilanguage: Spanishfl, cl(2), hp, acc, vc, cbpremière original version: 1953, Milan;première revised version: 1969, Royan. Cathy Berberian, Reri Grist, Juilliard Ensemble,Luciano Berioset of parts on hirefor sale: UE13752 • score

Encore 1978/1981for orchestra — 5’4 3 4 3 - 3 3 3 1 - timp, perc(2), hp, cel, pno, alto sax, t.sax, strpremière: 17/06/1978, Rotterdam, David Zinmanscore and parts on hirefor sale: UE33018 • study score (special order)see also Quatre dédicaces

6 Encores see Six Encores

Entrata 1980for orchestra — 3’ 4 3 4 3 - 3 3 3 1 - timp, perc(3), hp, pno, strpremière: 01/10/1980, San Francisco, San Francisco SO, Edo de Waartscore and parts on hirefor sale: UE33019 • study score (special order)see also Quatre dédicaces


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catalogue of works

Epiphanies * 1991for female voice and orchestra — 30’text sources: Bertolt Brecht; James Joyce; Antonio Machado; Marcel Proust; Edoardo Sanguineti; Claude Simonsolo: soprano or mezzo-soprano4 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. Berioscore and parts on hire* Epifanie for female voice and orchestra (1959–1961/1965) was withdrawn by the composer.

Erdenklavier 1969Pastorale for piano — 2’première: 1970, Bergamo. Antonio Ballistafor sale: UE33013 in ‘Six Encores’digital download available see Six Encores

Fa – Si 1975for organ (with registration assistants) — 6’première: 1975, Roveretofor sale: UE16827

Fanfara 1982for orchestra — 2’4 3 4 3 - 4 4 3 1 - timp, perc(2), cel, t.sax, vla, vc, cbpremière: 05/10/1982, Venice. Orchestra Sinfonica della RAI, Roma score and parts on hirefor sale: UE33016 • study score (special order)see also Quatre dédicaces

Festum 1989for orchestra — 2’4 3 4 3 - 6 5 3 1 - timp, perc(3), e.org, alto sax, t.sax, strpremière: 14/09/1989, Dallas, Dallas SO, E. Matascore and parts on hirefor sale: UE33017 • study score (special order)see also Quatre dédicaces

Feuerklavier 1989for piano — 2’première: 1989, New York. Peter Serkinfor sale: UE33013 in ‘Six Encores’ digital download availablesee also Six Encores


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catalogue of works

Folk Songs 1964for mezzo-soprano and 7 instruments — 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, Azerifl, cl, perc(2), hp(or guit), vla(1), vc(1)première: 1964, Oakland, CA. Cathy Berberian, Luciano Berioscore and set of parts on hirefor sale: UE13717 • score UE34112 • study score (in preparation)digital download available

Folk Songs 1964/1973for 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, Azeri2 1 3 1 - 1 1 1 0 - perc(2), hp, strpremière: 1973, Zurich. Cathy Berberian, Collegium Musicum Zürich, Luciano Berioscore and parts on hirefor sale: PH544 • pocket score UE13763 • score (special order)


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catalogue of works

Formazioni 1985–1987for orchestra — 20’4 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 Chaillyscore and parts on hirefor sale: UE31516 • study score

5 Frühe Lieder 1986for 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’) • Umschlimme Kinder artig zu machen (from ‘Des Knaben Wunderhorn’) • Erinnerung(R. Leander)language: German2 2 3 3 - 3 2 1 1 - timp, perc, hp, strpremière: 20/06/1986, Toblach. Thomas Hampson, Orchestra Haydn, Hermann Michaelscore and parts on hirefor sale: UE18651 • score

6 Frühe Lieder 1987for voice and piano by Gustav Mahler (before 1892)transcribed for baritone and orchestra — 22’Hans und Grete (from ‘Des Knaben Wunderhorn’) • Ich ging mit Lust durch einen grünenWald (from ‘Des Knaben Wunderhorn’) • Frühlingsmorgen (R. Leander) • Phantasie (Tirso deMolina, from ‘Don Juan’) • Scheiden und Meiden (from ‘Des Knaben Wunderhorn’) •Erinnerung (R. Leander)language: German3 3 4 3 - 4 4 3 1 - timp, perc(2), hp, cel, strpremière: 07/12/1987, Reggio Emilia. Thomas Hampson, Orchestra Sinfonica dell’EmiliaRomagna ‘Arturo Toscanini’, Luciano Berioscore and parts on hirefor sale: UE18307 • score

Gesti 1966for treble recorder — 7’première: 1966, Amsterdam. Frans Brüggenfor sale: UE15627

Glosse 1997for string quartet — 6’ première: 22/06/1997, Reggio Emilia. Quartett Lotus


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catalogue of works

for sale:PH546 • pocket score UE30442 • set of parts

Le Grand Lustucru 1972from ‘Marie Galante’ by Kurt Weill (1934)arranged for mezzo-soprano and ensemble (original key) — 3’text: Jacques Dévallanguage: German2 1 3 1 - 0 1 0 0 - perc, vln, vla, vc, cbpremière: 1967, Venice. Cathy Berberianscore and parts on hire

Le Grand Lustucru 1972/1993from ‘Marie Galante’ by Kurt Weill (1934)arranged for alto and ensemble (transposed) — 3’text: Jacques Dévallanguage: German2 1 3 1 - 0 1 0 0 - perc, vln, vla, vc, cbscore and parts on hirefor sale: UE30715 • score (special order)

Gute Nacht 1986for trumpet — 1’for sale: UE19060 in ‘Fanfares – New Trumpet Pieces for Young Players’

Hör 1995Prologue from ‘Requiem der Versöhnung’for choir and orchestra — 5’source text: ”Die Posaunenstelle” by Paul Celanlanguage: Germanchoir: SATB4 2 5 2 - 3 4 3 1 - perc(2), hp, cel, acc, pno, e.org, alto sax, t.sax, strpremière: 15/08/1995, Stuttgart. Krakauer Kammerchor, Gächinger Kantorei Stuttgart, IsraelPhilharmonic Orchestra, Helmuth Rilling score and parts on hireonly to be performed as part of the complete ‘Requiem der Versöhnung’

Il Combattimento di Tancredi e Clorinda see Combattimento di Tancredi e Clorinda


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catalogue of works

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 Boulezscore and parts on hirefor sale: UE30946 • study score * on Sequenza X

Korót 1998for 8 violoncellos — 8’première: 11/05/1998, Beauvais. Octuor de Violoncelles de Beauvaisscore and parts on hirefor sale: UE31339 • score (special order)

La vera storia 1977–1980Azione musicale in due parti — 120’text: Italo Calvino, Luciano Beriolanguage: 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 aspassers-by, passer-by – soprano, vocal ensemble (2 2 2 2), 3 voices in the street, mimes,dancers, acrobatschoir: 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, barpremière: 09/03/1982, Milan. Oslavio di Credico, Giancarlo Luccardi, Daisy Lumini,Alexandrina Milcheva, Milva, Mariana Nicolescu, Alberto Noli, Roeloff Oostwoud, GabriellaRavazzi; New Single Singers, Coro del Teatro alla Scala, Filarmonica della Scala, LucianoBerio; Maurizio Scaparro (stage director)score and parts on hirefor sale:UE30242 • study score, Italian (special order)UE34180 • study score, German (special order)UE34179 • study score, English (special order)

Laborintus II 1965for voices, instruments and tape — 35’text: Edoardo Sanguineti, language: Italian, English, LatinSpeaker: Italian or English (translation by David Osmond Smith)roles: 3 female voices, 1 speakerchoir: 8 actors 1 0 3 0 - 0 3 3 0 - perc(2), hp(2), vc(2), cb(1)


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catalogue of works

première: 26/09/1965, Paris. ORTF, Luciano Berioscore, parts and tape (CD) on hirefor sale: UE13792 • score

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, strscore and parts on hire

Le Grand Lustucru see Grand Lustucru

Leaf 1990for piano — 2’première: 06/05/1990, London. Paul Crossleyfor sale: UE33013 ‘Six Encores’digital download availablesee also Six Encores

Les mots sont allés ... 1976/1979(‘Recitativo’ pour cello seul) for violoncello — 3’ première: 02/05/1976, Zurich. Mstislav Rostropovichfor sale: UE18399

Lied 1983for clarinet — 4’première: 1983, Steven Kanofffor sale: UE17812

Linea 1973for 2 pianos, vibraphone and marimba — 15’première: 08/02/1974, Grenoble. Katja und Marielle Labèque, Jean-Pierre Drouet, Silvio Gualdafor sale: UE15991 • score

Luftklavier 1985for piano — 2’première: 1985, Florence. P. Nardifor sale: UE33013 ‘Six Encores’digital download availablesee also Six Encores


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catalogue of works

Magnificat 1949for 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 1969for 2 pianos — 13’[revised for electric piano and electric harpsichord (1973)] première: 1972, New York. Peter Serkin, Luciano Berifor sale: UE33314 • performance score (special order)

The Modification and Instrumentation of a Famous Hornpipe as a Merryand 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, vcpremière: 22/04/1969, London. Pierrot Playersscore and parts on hire

Momenti 1960for electronic sounds on tape — 7’première: 1960, Hamburg.tape (CD) on hire

Les mots sont allés ... see Les mots sont allés ...

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

Musica Leggera 1974for flute, viola, violoncello and tambourine — 5’ for sale: UE32745 • score and parts

Mutazioni 1955for electronic sounds on tape — 3’30’’première: 1956, Milan.Edizioni Suvini Zerboni


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catalogue of works

Naturale 1985(su melodie siciliane) for viola, percussion and recorded voice — 20’première: 1985, Taormina. Aldo Bennici, vla; Ater Ballettoperformance score and tape (CD) on hirefor sale: UE32634 • study score (special order)

Nones 1954for orchestra — 10’Edizioni Suvini Zerboni

Notturno 1993 (Quartetto III)for string quartet — 26’première: 31/01/1994, Vienna. Alban Berg Quartettfor sale:UE30134 • score UE30135 • set of parts

Notturno 1993/1995for string orchestra — 26’première: 26/08/1995, Luzern. Accademia Bizantina, Günter Pichlerscore and parts on hire arrangement of ‘Notturno’ (Quartetto III)

O King 1968for mezzo-soprano and 5 players — 5’ text: ‘O Martin Luther King’première: 04/05/1968, Bowdoin College, Maine. Aeolian Chamber Playersfor sale:UE13781 • score UE13782 • set of parts

Ofanim 1988–1997for 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: Hebrew6 0 4 0 - 2 4 2 0 - perc(2), midi-keybpremière: 25/06/1988 Prato, inauguration Museo d’arte contemporanea. Esti Kenan,Finchley Children’s Music Group, Musicus Concenticus, Luciano Beriopremière first revised version (in memoriam Rivi Pecker): 11/11/1992, Jerusalem, dedication ofThe Supreme Court Building. Esti Kenan-Ofri, Ankor Children’s Choir, Tempo Reale,Jerusalem Symphony Orcehstra, David Shalonscore and parts on hirefor sale: UE32632 • study score (special order)


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catalogue of works

Opera 1969–1970/1977in tre atti — 90’text: Luciano Berio, Italian version by Luciano Berio and Vittoria Ottolenghilanguage: English, Italian, French, Germanroles: 13 actors, 2 sopranos, 1 tenor, 1 baritonechoir: vocal ensemble 2 2 2 2 / children2 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 MariaSalvetta, Swingle Singers II, Bruno Bartoletti (conductor), Giovanni L. Radice (stage director)score and parts on hirefor sale: UE16655 • score (special order)

Opus 120 No. 1 1990Johannes 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, strpremière: 06/11/1986, Los Angeles. Zukovsky, Los Angeles Philharmoniscore and parts on hirefor sale: UE18868 • study score

Opus Number Zoo 1951/1970Children’s play for wind quintet — 7’ text: Rhoda Levine1. Barn Dance • Tanz in der Scheune • Ballo Campestre 2. The Fawn • Das Pferd • Il Cavallo 3. The Grey Mouse • Die Maus • Il Topo4. Tom Cats • Die Kater • I Gattaccilanguage: English or German (transl. by Friedl Hofbauer) or Italian (transl. by VittoriaOttolenghi). The text is recited by the musicians.fl, ob, cl, bsn, hnpremière: 1952, Milan. première revised version: 1971, New York. Dorian Quartetfor sale:UE15637 • score UE31262 • set of parts

Otto Romanze 1991by Giuseppe Verdi transcribed for tenor and orchestra — 25’


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catalogue of works

In solitaria stanza (Jacopo Vittorelli) • Il poveretto (S. M. Maggioni) • Il mistero (FeliceRomani) • 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)2 2 2 2 - 2 2 2 1 - timp, perc, hp, strpremière: 27/09/1990, Padova. José Carreras, English Chamber Orchestra, Luciano Berioscore and parts on hirefor sale: UE19915 • score

Outis 1995–1996Azione musicale in due parti — 115’text: Dario Del Corno and Luciano Beriopremière: 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 RobertsonCasa Ricordi, Milan

Passaggio 1961–1962Messa 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)score and parts on hirefor sale:UE13700 • score (Italian)UE13702 • text book (Italian)UE34338 • study score, Italian (special order)UE34339 • study score, English (special order)UE34340 • study score, German (special order)UE34341 • study score, French (special order)

Per la dolce memoria di quel giorno 1974Ballet after Petrarca’s ”I Trionfi” — 80’première: 09/07/1974, Florence. Ballet du XXe siècle; choreography: Maurice Béjarttape (CD) on hire (no score)

Perspectives 1956for electronic sounds on tape — 7’


42

catalogue of works

première: 1957, Milan.Edizioni Suvini Zerboni

Petite Suite 1947for piano — 20’Prélude • Petit Air I • Gavotte • Petit Air II • Giguepremière: 1948, Como.for sale: UE15950 in ‘Berio Family Album’

2 Pezzi see Due Pezzi

‘points on the curve to find ... ’ 1974for 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 Bourscore and parts on hirefor sale:UE15906 • scoreUE15895 • solo part

Psy 1989for double bass — 2’première: 1989, Parma.for sale: UE30272

Quartetto 1956for string quartet — 7’première: 12/05/1959, Vienna. Quartett Die ReiheEdizioni Suvini Zerboni

Quatre dédicaces 1978–1989The title given by Pierre Boulez in 2007 to this group of four previously independent worksfor orchestra — 12’ 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, strpremière: 31/01/2008, Chicago. Chicago Symphony Orchestra, Pierre Boulezscore and parts on hire

Quattro Canzoni popolari see Canzoni popolari


43

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, strpremière: 17/06/1975, Milan. Filarmonica della Scala, P. Bellugiparts on hirefor sale: UE15953 • score

Un re in ascoltosee 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 Robertsonscore and parts on hirefor sale: UE31082 • study score

Récit 1996 (Chemins VII)for alto saxophone and orchestra — 15’4 2 5 1 - 3 3 1 0 - hp, cel, pno, strpremière: 12/10/1996, Milan. Claude Delangles, Orchestra Sinfonica Siciliana, Gabriele Ferroscore and parts on hirefor sale: UE31686 • score (special order)UE31440 • study score (special order)

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)score and parts on hire

Recital for Cathy 1972 (Recital I)for mezzo-soprano and 17 instruments — 35’spoken text: Luciano Berio (with references to Andrea Moretti, Edoardo Sanguineti)language: Italian or English1 1 2 0 - 0 1 1 0 - perc, pno(3), e.org, alto sax, bass tpt, strpremière: 1972, Venice. Cathy Berberian, London Sinfonietta, Luciano Berioscore and parts on hirefor sale:UE34396 • score, English (special order)UE34399 • score, Italian (special order)


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catalogue of works

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, NikolausHarnoncourt; première (3 movements): 19/04/1990. Concertgebouw Orkest, Riccardo Chaillyscore and parts on hirefor sale: UE19311 • score

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 Berioscore and parts on hirefor sale: UE19149 • score

Ricorrenze 1985–1987for flute, oboe, clarinet, horn and bassoon — 15’première: 18/04/1988, Paris. Quintetto Arnoldfor sale: UE18885 • score UE18886 • set of parts

Ritirata Notturna di Madridsee Quattro versioni originali della Ritirata Notturna di Madrid

Ritorno degli snovidenia 1976–1977for 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 Sacherscore and parts on hirefor sale:UE16649 • score UE30131 • solo part

8 Romanze see Otto Romanze

Rounds 1965for harpsicord — 4’ première: 1965, Basel. Antoinette Vischerfor sale: UE13716


45

catalogue of works

Rounds 1967for piano — 4’ première: 1968, New York. Joel Spiegelmannfor sale: UE13794digital download available

Sechs frühe Lieder see Frühe Lieder

Sequenza I 1958for flute — 6’ première: 1958, Darmstadt. Severino Gazzellonifor sale: UE19957digital download available

Sequenza II 1963for harp — 7’ première: 1963, Darmstadt. Francis Pierrefor sale: UE18101digital download available

Sequenza III 1966for female voice — 8’ text: Markus Kutterlanguage: Englishpremière: 1966, Bremen. Cathy Berberianfor sale: UE13723digital download available

Sequenza IV 1965for piano — 9’ première: 1966, St. Louis. J. de Carvalhofor sale: UE33012digital download available

Sequenza V 1966for trombone — 8’ première: 21/03/1966, San Francisco. Stuart Dempsterfor sale: UE13725digital download available


46

catalogue of works

Sequenza VI 1967for viola — 8’ première: 1967, New York. Walter Tramplerfor sale: UE13726digital download available

Sequenza VII 1969for oboe — 10’ première: 1969, Basel. Heinz Holligerfor sale: UE31263

Sequenza VII 1969for soprano saxophone — 10’ arrangement: Claude Delangle (1993)première: 20/05/1993, Strasbourg. Claude Delanglefor sale: UE30255digital download available

Sequenza VIII 1976for violin — 15’ première: 1977, La Rochelle. Carlo Chiarappafor sale: UE15990digital download available

Sequenza IX 1980for clarinet — 13’ première: 1980, Paris. Michel Arrignonfor sale: UE15993digital download available

Sequenza IX 1980for alto saxophone — 13’ première: 1981, London. John Harlefor sale: UE17447digital download available

Sequenza IX 1980for bass clarinet — 13’ arrangement: Rocco Parisi (1998)première: 17/10/1997, Turin. Rocco Parisifor sale: UE31234digital download available


47

catalogue of works

Sequenza X 1984for trumpet (and piano resonances) — 10’première: 1984, Los Angeles. Thomas Stevensfor sale: UE18200digital download available

Sequenza XI 1988for guitar — 14’première: 20/04/1988, Rovereto. Eliot Fiskfor sale: UE19273digital download available

Sequenza XII 1997for bassoon — 19’première: 15/06/1995, Paris. Pascal Galloisfor sale: UE30264

Sequenza XIII 1995 (Chanson)for accordion — 12’première: 09/11/1995, Rotterdam. Teodoro Anzellottifor sale: UE30377digital download available

Sequenza XIV 2002 for violoncello — 13’première: 28/04/2002, Witten. Rohan de Saramfor sale: UE32914digital download available

Sequenza XIV 2002/2004 for double bass — 13’revision: Stefano Scodanibbio (2004)première: 15/06/2004, Stuttgart. Stefano Scodanibbiofor sale: UE33071


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50

catalogue of works

Serenata I 1957for flute and 14 instruments — 11’première: 1957, Paris. Severino Gazzelloni, Pierre BoulezEdizioni Suvini Zerboni

Shofar 1995for choir and orchestra (part of the third cycle of Outis) — 8’source text: ‘Die Posaunenstelle’ by Paul Celanpremière: 1995, London. BBC Philharmonic, Charles MackerrasCasa Ricordi, Milan

Siete Canciones populares españolas 1978for 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 • Pololanguage: Spanish2 2 3 3 - 2 2 2 1 - timp, perc(2), strto be performed only as a cyclescore and parts on hirefor sale: UE16791 • study score (special order)

Sincronie 1964for string quartet — 15’première: 1964, Grinnel, Iowa. Lenox Quartetfor sale: UE31490 • study score UE31491 • performance score (special order)

Sinfonia 1968for 8 voices and orchestra — 35’ text sources: Luciano Berio, Samuel Beckett, Claude Lévi-Strausssoli: 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, strpremière (without 5th part): 10/10/1968, New York. Swingle Singers, New York Philharmonic,Luciano Berio première (complete): 18/10/1969, Donaueschingen. Swingle Singers, SüdwestfunkOrchester, Ernest Bourscore and parts on hirefor sale: UE13783 • score


51

catalogue of works

Six Encores 1965–1990for piano — 12’Brin (1990) • Leaf (1990) • Wasserklavier (1965) • Erdenklavier (1969) • Luftklavier (1985) •Feuerklavier (1989)for sale: UE33013digital download available

SOLO 1999–2000for 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 Zinmanscore and parts on hirefor sale: UE31515 • study score (special order)

Sonata 2001for piano — 26’première: 02/07/2001, Zurich. Andrea Lucchesinifor sale: UE31873 digital download available

Stanze 2003for baritone, 3 male-voice choirs and orchestra — 25’source texts: Paul Celan, TenebraeGiorgio 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, Englishchoir: 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 Eschenbachscore and parts on hire for sale: UE32653 • study score

Study 1952/1985for string quartet — 9’ première: 1952, Tanglewood.RCA Edizioni Musicali


52

catalogue of works

Surabaya Johnny 1972from ‘Happy End’ by Kurt Weill (1929)arranged for mezzo-soprano and ensemble (1st version) — 5’text: Bertolt Brecht; Dorothy Lane, language: German fl, cl, tpt, perc, guit, vln, vla, vc, cbpremière: 1967, Venice. Cathy Berberianscore and parts on hire

Surabaya Johnny 1972/1993from ‘Happy End’ by Kurt Weill (1929)arranged for alto and ensemble (transposed) — 5’text: Bertolt Brecht; Dorothy Lane, language: Germanfl, cl, tpt, perc, guit, vln, vla, vc, cbscore and parts on hire

Tempi concertati 1958-1959for 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 Bourscore and parts on hirefor sale: UE13205 • score

Terre chaleureuse 1985(Fragment) for wind quintet — 3’fl, ob, cl, bsn, hnfor sale:UE18280 • score (special order) UE18281 • set of parts (special order)

The Modification and Instrumentation of a Famous Hornpipe as a Merryand Altogether Sincere Homage to Uncle Alfred

see Modification and Instrumentation of …

Thema (Omaggio a Joyce) 1958electro-acoustic elaboration of Cathy Berberian’s voice on tape — 7’première: 1958, NapoliEdizioni Suvini Zerboni

There is no tune 1994for choir a cappella — 2’text: Talia Pecker Berio


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catalogue of works

première: 1994, LondonCasa Ricordi, Milan

Touch 1991for piano (4-hands) — 2’in preparation

Turandot 2001by 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 NaganoCasa Ricordi, Milan

Twice upon ... 1994theatre without words for 6 children’s groups — 25’première: 1994, London.Casa Ricordi, Milan

Un re in ascolto 1979-1983Azione musicale in 2 parti — 90’text: Italo Calvino and Luciano Berioother text sources: W.H. Auden, F.W. Gotter, W. Shakespearelanguage: 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 SATB3 3 4 3 - 3 3 3 1 - perc(2), acc, pno(2 players), t.sax, keyb, strpremière: 07/08/1984, Salzburg. Theo Adam, Heinz Zednik, Helmuth Lohner, Patricia Wise,Karan Armstrong, Sylvia Greenberg, Rohangiz Yachmi, Thomas Moser, Georg Tichy, AlfredMuff, Wiener Philharmoniker, Lorin Maazel; Götz Friedrich (stage director)score and parts on hirefor sale:UE17854 • libretto/text book UE32993 • study score, Italian (special order)UE33736 • study score, German (special order)


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catalogue of works

Variazione sull’aria di Papageno 1956No. 2 from ‘Divertimento für Mozart’*for 2 basset horns and strings — 3’première: 21/10/1956, Donaueschingen. Hans Lemser und Karl Meiser, SüdwestfunkOrchester, Hans Rosbaudscore and parts on hire*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 1952–1953for piano — 7’première: 1953, Milan.Edizioni Suvini Zerboni

Variazioni 1954for chamber orchestra — 12’première: 23/02/1954, Hamburg, N. SanzognoEdizioni Suvini Zerboni

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 1961for electronic sounds and Cathy Berberian's voice on tape — 21’première: 1961, Milan.tape (CD) on hireNot 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 Berioscore and parts on hirefor sale: UE31122 • study score


55

catalogue of works

Vor, während, nach Zaide 1995commentary on an unfinished opera by W. A. Mozart — 25’première: 1995, Florence.Casa Ricordi, Milan

Wasserklavier 1965for piano — 2’ première: 1970, Brescia. Antonio Ballistafor sale: UE33013 in ‘Six Encores’ digital download availablesee also Six Encores

Wasserklavier 1965for 2 pianos (original version) — 2’ for sale: UE31413 performance score digital download available

Wir bauen eine Stadt 1987a play for children by Paul Hindemith (1930)libretto: Robert SeitzDer Sandkastenarranged 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 Zukunftarranged 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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transcriptions, arrangements, etc.

Transcriptions, arrangements, etc.Johann Sebastian Bach (1685–1750)

Contrapunctus XIX 2001from ‘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 Bufaliniscore and parts on hirefor sale: UE32498 • score (special order)

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, strpremière: 17/06/1975, Milan. Filarmonica della Scala, P. Bellugiparts on hirefor sale: UE15953 • score

Johannes Brahms (1833–1897)

Opus 120 No. 1 1990Johannes 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, strpremière: 06/11/1986, Los Angeles. Zukovsky, Los Angeles Philharmonicscore and parts on hirefor sale: UE18868 • study score

Manuel de Falla (1876–1946)

Siete Canciones populares españolas 1978for voice and piano (1922) transcribed for mezzo-soprano and orchestra — 13’


57


source text: Spanish folk songs El paño moruno • Seguidilla Murciana • Asturiana • Jota • Nana • Canción • Polo language: Spanish2 2 3 3 - 2 2 2 1 - timp, perc(2), strto be performed only as a cyclescore and parts on hirefor sale: UE16791 • study score (special order)

Paul Hindemith (1895–1963)

Wir bauen eine Stadt 1987a play for children (1930) libretto: Robert SeitzDer 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 1967arranged for voice and instruments — 8’language: English, FrenchMichelle 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’)score and parts on hire


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Gustav Mahler (1860–1911)

5 Frühe Lieder 1986

for voice and piano (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: German2 2 3 3 - 3 2 1 1 - timp, perc, hp, strpremière: 20/06/1986, Toblach. Thomas Hampson, Orchestra Haydn, Hermann Michaelscore and parts on hirefor sale: UE18651 • score

6 Frühe Lieder 1987for voice and piano (before 1892)transcribed for baritone and orchestra — 22’Hans und Grete (from ‘Des Knaben Wunderhorn’) • Ich ging mit Lust durch einen grünenWald (from ‘Des Knaben Wunderhorn’) • Frühlingsmorgen (R. Leander) • Phantasie (Tirso deMolina, from ‘Don Juan’) • Scheiden und Meiden (from ‘Des Knaben Wunderhorn’) •Erinnerung (R. Leander)language: German3 3 4 3 - 4 4 3 1 - timp, perc(2), hp, cel, strpremière: 07/12/1987, Reggio Emilia. Thomas Hampson, Orchestra Sinfonica dell’EmiliaRomagna ‘Arturo Toscanini’, Luciano Berioscore and parts on hirefor sale: UE18307 • score

Claudio Monteverdi (1567–1643)

Il Combattimento di Tancredi e Clorinda 1966arranged for soprano, tenor, baritone, harpsichord and strings — 25’text: Torquato Tassoroles: 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 Berioscore and parts on hirefor sale: UE13727 • score


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Wolfgang Amadeus Mozart (1756–1791)

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

Variazione sull’aria di Papageno 1956No. 2 from ‘Divertimento für Mozart’*for 2 basset horns and strings — 3’première: 21/10/1956, Donaueschingen. Hans Lemser und Karl Meiser, SüdwestfunkOrchester, Hans Rosbaudscore and parts on hire*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 1995commentary on an unfinished opera by W. A. Mozart — 25’première: 1995, Florence.Casa Ricordi, Milan

Giacomo Puccini (1858–1924)

Turandot 2001completion 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 NaganoCasa Ricordi, Milan

Henry Purcell (1659–1695)The Modification and Instrumentation of a Famous Hornpipe as a Merryand Altogether Sincere Homage to Uncle Alfred 1969

A hornpipe by Henry Purcell transcribed for 6 instruments — 1’fl(ob), cl, perc, hpsd, vla, vcpremière: 22/04/1969, London. Pierrot Playersscore and parts on hire


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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, NikolausHarnoncourt; première (3 movements): 19/04/1990. Concertgebouw Orkest, Riccardo Chaillyscore and parts on hirefor sale: UE19311 • score

Giuseppe Verdi (1813–1901)

Otto Romanze 1991transcribed for tenor and orchestra — 25’In solitaria stanza (Jacopo Vittorelli) • Il poveretto (S. M. Maggioni) • Il mistero (FeliceRomani) • 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)2 2 2 2 - 2 2 2 1 - timp, perc, hp, strpremière: 27/09/1990, Padova. José Carreras, English Chamber Orchestra, Luciano Berioscore and parts on hirefor sale: UE19915 • score

Kurt Weill (1900–1950)

Ballade von der sexuellen Hörigkeit – Song of Sexual Slavery 1967/1972from ‘Die Dreigroschenoper’ (‘The Threepenny Opera’) (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, cbpremière: 1967, Venice. Cathy Berberianscore and parts on hire

Ballade von der sexuellen Hörigkeit – Song of Sexual Slavery 1972/1993from ‘Die Dreigroschenoper’ (‘The Threepenny Opera’) (1928) arranged for alto (high) and ensemble (transposed) — 3’text: Bertolt Brecht, language: German (translations available)cl, bass cl, acc, vib, vln, vla, vc, cbpremière: 1967, Venice. Cathy Berberianscore and parts on hire


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Le Grand Lustucru 1972from ‘Marie Galante’ (1934)arranged for mezzo-soprano and ensemble (original key) — 3’text: Jacques Dévallanguage: German2 1 3 1 - 0 1 0 0 - perc, vln, vla, vc, cbpremière: 1967, Venice. Cathy Berberianscore and parts on hire

Le Grand Lustucru 1972/1993from ‘Marie Galante’ (1934)arranged for alto and ensemble (transposed) — 3’text: Jacques Dévallanguage: German2 1 3 1 - 0 1 0 0 - perc, vln, vla, vc, cbscore and parts on hirefor sale: UE30715 • score (special order)

Surabaya Johnny 1972from ‘Happy End’ (1929)arranged for mezzo-soprano and ensemble (1st version) — 5’text: Bertolt Brecht; Dorothy Lane, language: German fl, cl, tpt, perc, guit, vln, vla, vc, cbpremière: 1967, Venice. Cathy Berberianscore and parts on hire

Surabaya Johnny 1972/1993from ‘Happy End’ (1929)arranged for alto and ensemble (transposed) — 5’text: Bertolt Brecht; Dorothy Lane, language: Germanfl, cl, tpt, perc, guit, vln, vla, vc, cbscore and parts on hire


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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


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