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Luciano Berio
www.universaledition.com
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www.universaledition.com/berio
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Luciano Berio (*24 October 1925, Oneglia, Italy – † 27 May 2003, Rome)
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The Past as Future: Luciano Berio
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Il passato come futuro: Luciano Berio
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Die Vergangenheit als Zukunft: Luciano Berio
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Le passé en tant qu’avenir: Luciano Berio
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Worklist by instrumentation
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Chronological list of works
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Catalogue of works
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Transcriptions, arrangements, etc.
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contents
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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
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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
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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”. David Osmond-Smith
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“. David Osmond-Smith
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
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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». David Osmond-Smith
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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)
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worklist by instrumentation
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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
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worklist by instrumentation
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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 Basset horns (2) Bass clarinet Flute Flute, violin, 2 pianos Guitar Harp Clarinet or viola Clarinet, viola Clarinet, violin, harp, celesta Oboe Piano Piano Pianos (2) Soprano saxophone Trombone Trumpet Viola Viola Viola Violin, 2 horns Violoncello
Récit Variazione sull’aria di Papageno Chemins IIc Serenata I Tempi concertati Chemins V Chemins I Brahms – Opus 120 Nr. 1 Alternatim Concertino Chemins IV ‘points on the curve to find ..’ Concerto II Concerto Chemins IV SOLO Kol od Chemins II Chemins III Voci Corale Ritorno degli snovidenia
Chamber Music Autre fois Call Différences Duetti per due Violini
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worklist by instrumentation
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Due Pezzi Glosse Korót Linea Memory The Modification and Instrumentation (Purcell) Musica Leggera Naturale Notturno Opus Number Zoo Quartetto Ricorrenze Sincronie Study Terre chaleureuse Wasserklavier
Solo Instruments Accordeon Alto saxophone Bass clarinet Bassoon Clarinet Clarinet Doube bass Doube bass Flute Flute Guitar Guitar Harp Harpsicord Piano Piano Piano Piano Piano Piano Piano Piano (4-hands) Piano
Sequenza XIII Sequenza IX Sequenza IX Sequenza XII Lied Sequenza IX Psy Sequenza XIV Sequenza I Mozart Cadenze Brin Sequenza XI Sequenza II Rounds 5 Variazioni Brin Canzonetta Erdenklavier Feuerklavier Leaf Luftklavier Maria Isabella (Adolfo Berio) Petite Suite
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Piano Piano Piano Piano Piano (4-hands) Piano Oboe Organ Soprano saxophone Treble recorder Trombone Trumpet Trumpet Viola Violin Violoncello Violoncello
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Rounds Sequenza IV Six Encores Sonata Touch Wasserklavier Sequenza VII Fa – Si Sequenza VII Gesti Sequenza V Gute Nacht Sequenza X Sequenza VI Sequenza VIII Les mots sont allés .. Sequenza XIV
Electronic Music a – ronne Chants parallèles Diario immaginario Momenti Mutazioni Perspektives Thema Visage
Music for children Opus Number Zoo Twice upon … Wir bauen eine Stadt (Hindemith)
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worklist by instrumentation
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Chronological worklist 1946–47 1947 1949 1951 1951/70 1952 1952/85 1952–53 1952–59 1952/55 1953 1954
1955 1956–55
1956–57 1957 1958 1958–59 1959–60 1959–61 1960 1961 1961–62 1963
1964
4 Canzoni popolari Petite Suite Magnificat Due Pezzi Concertino Opus Number Zoo El mar la mar Study 5 Variazioni Allez-hop Mimusique No 2 Chamber Music Mimusique No 1 Mutazioni Nones Variazioni Mutazioni Allelujah I Perspectives Quartetto Variazione sull’aria di Papageno Allelujah II Divertimento Serenata I Sequenza I (flute) Thema Différences Tempi concertati Epifanie (withdrawn, see Epiphanies 1991) Circles Momenti Visage Passaggio Esposizione (withdrawn) Sequenza II (harp) Traces (withdrawn) Folk Songs (mezzo soprano and 7 instruments)
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chronological worklist
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Sincronie Folk Songs (mezzo soprano and orchestra) 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) 1964/73 1965
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1973 1973–74 1974
1974–76 1974/89 1975
1975–76 1976 1976–77 1977–80 1978/81 1979–82 1979–83 1980
1980–81 1981 1982 1983 1983–85 1984 1985
1985–87
1986
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Linea Still (withdrawn) Eindrücke a – ronne (5 actors) Musica Leggera Per la dolce memoria di quel giorno ‘points on the curve to find ..’ Cries of London Calmo a – ronne (8 singers) Chants parallèles Chemins IV Diario immaginario Fa – Si Ritirata notturna di Madrid (Boccherini) Coro Sequenza VIII (violin) Les mots sont allés .. Ritorno degli snovidenia La vera storia Siete Canciones populares españolas Encore Un re in ascolto Duetti per due violini Entrata Sequenza IX (clarinet) Sequenza IX (alto saxophone) Accordo Corale Fanfara Lied Requies Sequenza X Voci Luftklavier Naturale Terre chaleureuse Call Formazioni Ricorrenze 5 Frühe Lieder (Mahler) Gute Nacht
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1987 1988 1988–89 1988–97 1989
1989–91 1990
1991
1992 1993 1993/95 1994
1995
1995–96 1996
1997
1998 1998–99 1999 1999–2000 2000 2001
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6 Frühe Lieder (Mahler) Wir bauen eine Stadt (Hindemith) LB.AM.LB.M.W.D.IS.LB Sequenza XI (guitar) Concerto II Ofanìm Festum Feuerklavier Psy Canticum novissimi testamenti Continuo Brahms – Opus 120 Nr. 1 Leaf Rendering (Schubert) Canzonetta Touch Otto Romanze (Verdi) Epiphanies Chemins V Notturno (string quartet) Notturno (string orchestra) Compass There is no tune Twice upon .. Hör Re-Call Sequenza XIII (accordion) Shofar Vor, während, nach Zaide Outis Ekphrasis Kol od Récit Alternatim Glosse Sequenza XII (bassoon) Korót Cronaca del Luogo Altra voce SOLO Interlinea (withdrawn) Albumblatt (unpublished) Alois (withdrawn)
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2002 2003
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Contrapunctus XIX (Bach) Sonata Turandot (Puccini) E si fussi pisci Sequenza XIV (violoncello) 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.
a – ronne
1974 for 5 actors — 32’ text: Edoardo Sanguineti première: 30/06/1974, Hilversum. KRO Radio performance score on hire
a – ronne
1975 for 8 singers (2S, 2A, 2T, 2B) — 30’ text: Edoardo Sanguineti 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
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catalogue of works
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Air
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1969 from ‘Opera’ for soprano and orchestra — 7’ text: Alessandro Striggio language: English première: 1971, Rovereto. Alide Maria Salvetta score and parts on hire for sale: UE13799 • score
Air
1970 from ‘Opera’ for soprano and 4 instruments — 7’ text: Alessandro Striggio language: English première: 1971, Rovereto. Alide Maria Salvetta for sale: UE14986 • score UE14987 • set of parts
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 Edizioni Suvini Zerboni
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 Edizioni Suvini Zerboni
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 score and parts on hire for sale: UE31439 • study score (special order)
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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 score and parts on hire
Ballade von der sexuellen Hörigkeit – Song of Sexual Slavery
1972/1993
from ‘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, cb première: 1967, Venice. Cathy Berberian score and parts on hire
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’)
score and parts on hire
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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 for orchestra — 14’ 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 score and parts on hire for sale: UE31495 • study score (special order)
Brin
1990 for piano — 1’30’’ for sale: UE33013 ‘Six Encores’ digital download available see also Six Encores
Brin
1990 for guitar — 1’30’’ arrangement: Bruce Charles (1994)
for sale: UE30302
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.
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 Cantici language: Italian 2 0 4 1 - 1 2 1 0 - perc, hp, alto sax, vla(3), vc(3), cb(2)
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première: 25/03/1974, Milan. Paoletti, Luciano Berio; première revised version: 16/10/1990, Paris. Slavka Taskova, Ensemble Intercontemporain, Pierre Boulez score and parts on hire for sale: UE19478 • score (special order) UE31270 • study 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 language: Italian 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) language: Italian première: 1952, Milan. Cathy Berberian, Luciano Berio
for sale: UE15947
Chamber Music
1953 for female voice and instruments — 8’30’’ source text: poems by James Joyce première: 1953, Milan. Cathy Berberian Edizioni Suvini Zerboni
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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
score and parts on hire for 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, vc première: 1968, Milan. Walter Trampler, Juilliard Ensemble, Luciano Berio
parts on hire for sale: UE13740 • score
Chemins IIb
1970 for 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 Masson score and parts on hire for sale: UE14948 • score
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 score and parts on hire for sale: UE14948 • score 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 score and parts on hire for sale: UE16654 • score (special order) UE33687 • study score (special order)
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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
score and parts on hire for 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 Berio
score and parts on hire for 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 Berio
score and parts on hire for sale: UE32542 • score (special order) UE31955 • study score (special order)
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
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score and parts on hire for sale: UE13727 • score
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)
score and parts on hire
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 score and parts on hire for sale: UE14979 • study score
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
score and parts on hire 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 score and parts on hire for sale: UE30692 • score UE19117 • solo part
Continuo
1989–1991 for 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 Berio
score and parts on hire 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
score and parts on hire 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
score and parts on hire for sale: UE17545 • score
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 score and parts on hire for sale: UE15044 • score
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 for sale: UE16828 • score
Cronaca del Luogo
1998–1999 Azione musicale — 90’ text: Talia Pecker Berio 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
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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 for orchestra — 12’ première: 02/12/1957, Rome. Bruno Maderna
Edizioni 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
1951
for violin and piano — 8’ première: 1951, Tanglewood. Lorin Maazel, Seymour Lipkin Edizioni Suvini Zerboni
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) •
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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) for sale: UE17581 • performance score
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) for sale: UE16728 • performance score
E si fussi pisci
2002 Sicilian love song for mixed choir a cappella — 2’ language: Italian 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’ language: Italian 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 score and parts on hire for sale: UE31494 • score (special order)
Eindrücke
1973–1974 for 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 Leinsdorf
score and parts on hire for sale: UE33312 • study score (special order)
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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 Berio
score and parts on hire for sale: UE30996 • score (special order) UE30998 • study score (special order)
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, Luciano Berio set of parts on hire for sale: UE13752 • score
Encore
1978/1981 for orchestra — 5’ 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
score and parts on hire for sale: UE33018 • study score (special order) see also Quatre dédicaces
6 Encores see Six Encores
Entrata
1980 for orchestra — 3’ 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
score and parts on hire for sale: UE33019 • study score (special order) see also Quatre dédicaces
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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
score and parts on hire * 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 for sale: UE16827
Fanfara
1982 for orchestra — 2’ 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 score and parts on hire for sale: UE33016 • study score (special order) see also Quatre dédicaces
Festum
1989 for orchestra — 2’ 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
score and parts on hire for sale: UE33017 • study score (special order) see also Quatre dédicaces
Feuerklavier
1989 for piano — 2’ première: 1989, New York. Peter Serkin for sale: UE33013 in ‘Six Encores’ digital download available see also Six Encores
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Folk Songs
1964 for 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, 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: UE13717 • score UE34112 • study score (in preparation) digital download available
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 score and parts on hire for sale: PH544 • pocket score UE13763 • score (special order)
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Formazioni
1985–1987 for 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 Chailly score and parts on hire for sale: UE31516 • study score
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 score and parts on hire for sale: UE18651 • score
6 Frühe Lieder
1987 for 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 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) language: German 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
score and parts on hire for sale: UE18307 • score
Gesti
1966 for treble recorder — 7’ première: 1966, Amsterdam. Frans Brüggen for sale: UE15627
Glosse
1997 for string quartet — 6’ première: 22/06/1997, Reggio Emilia. Quartett Lotus
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for sale: PH546 • pocket score UE30442 • set of parts
Le Grand Lustucru
1972 from ‘Marie Galante’ by Kurt Weill (1934) arranged for mezzo-soprano and ensemble (original key) — 3’ text: Jacques Déval language: German 2 1 3 1 - 0 1 0 0 - perc, vln, vla, vc, cb première: 1967, Venice. Cathy Berberian score and parts on hire
Le Grand Lustucru
1972/1993 from ‘Marie Galante’ by Kurt Weill (1934) arranged for alto and ensemble (transposed) — 3’ text: Jacques Déval language: German 2 1 3 1 - 0 1 0 0 - perc, vln, vla, vc, cb
score and parts on hire for sale: UE30715 • score (special order)
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 language: German 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 score and parts on hire only 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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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 score and parts on hire for sale: UE30946 • study score * on Sequenza X
Korót
1998 for 8 violoncellos — 8’ première: 11/05/1998, Beauvais. Octuor de Violoncelles de Beauvais
score and parts on hire for sale: UE31339 • score (special order)
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)
score and parts on hire 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)
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première: 26/09/1965, Paris. ORTF, Luciano Berio score, parts and tape (CD) on hire for 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, str
score and parts on hire
Le Grand Lustucru see Grand Lustucru
Leaf
1990
for piano — 2’ première: 06/05/1990, London. Paul Crossley for sale: UE33013 ‘Six Encores’ digital download available see also Six Encores
Les mots sont allés ..
1976/1979 (‘Recitativo’ pour cello seul) for violoncello — 3’ première: 02/05/1976, Zurich. Mstislav Rostropovich
for sale: UE18399
Lied
1983 for clarinet — 4’ première: 1983, Steven Kanoff
for sale: UE17812
Linea
1973
for 2 pianos, vibraphone and marimba — 15’ première: 08/02/1974, Grenoble. Katja und Marielle Labèque, Jean-Pierre Drouet, Silvio Gualda for sale: UE15991 • score
Luftklavier
1985 for piano — 2’ première: 1985, Florence. P. Nardi
for sale: UE33013 ‘Six Encores’ digital download available see also Six Encores
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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 score and parts on hire
Momenti
1960 for electronic sounds on tape — 7’ 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 in preparation
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. Edizioni Suvini Zerboni
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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 for sale: UE32634 • study score (special order)
Nones
1954 for orchestra — 10’ Edizioni Suvini Zerboni
Notturno
1993 (Quartetto III) for string quartet — 26’ première: 31/01/1994, Vienna. Alban Berg Quartett
for sale: UE30134 • score UE30135 • set of parts
Notturno
1993/1995 for string orchestra — 26’ première: 26/08/1995, Luzern. Accademia Bizantina, Günter Pichler
score and parts on hire 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: UE13781 • score UE13782 • set of parts
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
score and parts on hire for sale: UE32632 • study score (special order)
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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) score and parts on hire for sale: UE16655 • score (special order)
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 score and parts on hire for sale: UE18868 • study score
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: 1952, Milan. première revised version: 1971, New York. Dorian Quartet
for sale: UE15637 • score UE31262 • set of parts
Otto Romanze
1991 by Giuseppe Verdi transcribed for tenor and orchestra — 25’
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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) 2 2 2 2 - 2 2 2 1 - timp, perc, hp, str première: 27/09/1990, Padova. José Carreras, English Chamber Orchestra, Luciano Berio score and parts on hire for sale: UE19915 • score
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
Casa Ricordi, Milan
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)
score and parts on hire for 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
1974 Ballet after Petrarca’s ”I Trionfi” — 80’ première: 09/07/1974, Florence. Ballet du XXe siècle; choreography: Maurice Béjart tape (CD) on hire (no score)
Perspectives
1956 for electronic sounds on tape — 7’
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première: 1957, Milan. Edizioni Suvini Zerboni
Petite Suite
1947 for piano — 20’ 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 score and parts on hire for sale: UE15906 • score UE15895 • solo part
Psy
1989 for double bass — 2’ première: 1989, Parma.
for sale: UE30272
Quartetto
1956 for string quartet — 7’ première: 12/05/1959, Vienna. Quartett Die Reihe
Edizioni Suvini Zerboni
Quatre dédicaces
1978–1989 The title given by Pierre Boulez in 2007 to this group of four previously independent works for 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, str première: 31/01/2008, Chicago. Chicago Symphony Orchestra, Pierre Boulez score and parts on hire
Quattro Canzoni popolari see Canzoni popolari
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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 for sale: UE15953 • score
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 score and parts on hire for 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, str première: 12/10/1996, Milan. Claude Delangles, Orchestra Sinfonica Siciliana, Gabriele Ferro score and parts on hire for 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 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
score and parts on hire for sale: UE34396 • score, English (special order) UE34399 • score, Italian (special order)
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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
score and parts on hire for 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 Berio
score and parts on hire for sale: UE19149 • score
Ricorrenze
1985–1987 for flute, oboe, clarinet, horn and bassoon — 15’ première: 18/04/1988, Paris. Quintetto Arnold
for sale: UE18885 • score UE18886 • set of parts
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 score and parts on hire for sale: UE16649 • score UE30131 • solo part
8 Romanze see Otto Romanze
Rounds
1965 for harpsicord — 4’ première: 1965, Basel. Antoinette Vischer
for sale: UE13716
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Rounds
1967 for piano — 4’ première: 1968, New York. Joel Spiegelmann
for sale: UE13794 digital download available
Sechs frühe Lieder see Frühe Lieder
Sequenza I
1958 for flute — 6’ première: 1958, Darmstadt. Severino Gazzelloni for sale: UE19957 digital download available
Sequenza II
1963 for harp — 7’ première: 1963, Darmstadt. Francis Pierre
for sale: UE18101 digital download available
Sequenza III
1966 for female voice — 8’ text: Markus Kutter language: English première: 1966, Bremen. Cathy Berberian for sale: UE13723 digital download available
Sequenza IV
1965 for piano — 9’ première: 1966, St. Louis. J. de Carvalho for sale: UE33012 digital download available
Sequenza V
1966 for trombone — 8’ première: 21/03/1966, San Francisco. Stuart Dempster
for sale: UE13725 digital download available
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Sequenza VI
1967 for viola — 8’ première: 1967, New York. Walter Trampler for sale: UE13726 digital download available
Sequenza VII
1969 for oboe — 10’ première: 1969, Basel. Heinz Holliger for sale: UE31263
Sequenza VII 1969 for soprano saxophone — 10’ arrangement: Claude Delangle (1993) première: 20/05/1993, Strasbourg. Claude Delangle for sale: UE30255 digital download available
Sequenza VIII
1976 for violin — 15’ première: 1977, La Rochelle. Carlo Chiarappa
for sale: UE15990 digital download available
Sequenza IX
1980 for clarinet — 13’ première: 1980, Paris. Michel Arrignon
for sale: UE15993 digital download available
Sequenza IX
1980 for alto saxophone — 13’ première: 1981, London. John Harle
for sale: UE17447 digital download available
Sequenza IX 1980 for bass clarinet — 13’ arrangement: Rocco Parisi (1998) première: 17/10/1997, Turin. Rocco Parisi for sale: UE31234 digital download available
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Sequenza X
1984 for trumpet (and piano resonances) — 10’ première: 1984, Los Angeles. Thomas Stevens for sale: UE18200 digital download available
Sequenza XI
1988 for guitar — 14’ première: 20/04/1988, Rovereto. Eliot Fisk
for sale: UE19273 digital download available
Sequenza XII
1997 for bassoon — 19’ première: 15/06/1995, Paris. Pascal Gallois for sale: UE30264
Sequenza XIII
1995 (Chanson) for accordion — 12’ première: 09/11/1995, Rotterdam. Teodoro Anzellotti
for sale: UE30377 digital download available
Sequenza XIV
2002 for violoncello — 13’ première: 28/04/2002, Witten. Rohan de Saram for sale: UE32914 digital download available
Sequenza XIV
2002/2004 for double bass — 13’ revision: Stefano Scodanibbio (2004) première: 15/06/2004, Stuttgart. Stefano Scodanibbio
for sale: UE33071
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Serenata I
1957 for flute and 14 instruments — 11’ première: 1957, Paris. Severino Gazzelloni, Pierre Boulez Edizioni Suvini Zerboni
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 Casa Ricordi, Milan
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 language: Spanish 2 2 3 3 - 2 2 2 1 - timp, perc(2), str to be performed only as a cycle score and parts on hire for sale: UE16791 • study score (special order)
Sincronie
1964 for string quartet — 15’ 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, Luciano Berio première (complete): 18/10/1969, Donaueschingen. Swingle Singers, Südwestfunk Orchester, Ernest Bour score and parts on hire for sale: UE13783 • score
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Six Encores
1965–1990 for piano — 12’ Brin (1990) • Leaf (1990) • Wasserklavier (1965) • Erdenklavier (1969) • Luftklavier (1985) • Feuerklavier (1989) for sale: UE33013 digital download available
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 score and parts on hire for sale: UE31515 • study score (special order)
Sonata
2001 for piano — 26’ première: 02/07/2001, Zurich. Andrea Lucchesini
for sale: UE31873 digital download available
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
score and parts on hire for sale: UE32653 • study score
Study
1952/1985 for string quartet — 9’ première: 1952, Tanglewood.
RCA Edizioni Musicali
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Surabaya Johnny
1972 from ‘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, cb première: 1967, Venice. Cathy Berberian score and parts on hire
Surabaya Johnny
1972/1993 from ‘Happy End’ by Kurt Weill (1929) arranged for alto and ensemble (transposed) — 5’ text: Bertolt Brecht; Dorothy Lane, language: German fl, cl, tpt, perc, guit, vln, vla, vc, cb score and parts on hire
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 score and parts on hire for sale: UE13205 • score
Terre chaleureuse
1985 (Fragment) for wind quintet — 3’ fl, ob, cl, bsn, hn
for sale: UE18280 • score (special order) UE18281 • set of parts (special order)
The Modification and Instrumentation of a Famous Hornpipe as a Merry 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 Edizioni Suvini Zerboni
There is no tune
1994 for choir a cappella — 2’ text: Talia Pecker Berio
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première: 1994, London Casa Ricordi, Milan
Touch
1991 for piano (4-hands) — 2’ in preparation
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 Casa Ricordi, Milan
Twice upon ..
1994 theatre without words for 6 children’s groups — 25’ première: 1994, London.
Casa Ricordi, Milan
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)
score and parts on hire for sale: UE17854 • libretto/text book UE32993 • study score, Italian (special order) UE33736 • study score, German (special order)
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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
score 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
1952–1953 for piano — 7’ première: 1953, Milan.
Edizioni Suvini Zerboni
Variazioni
1954 for chamber orchestra — 12’ première: 23/02/1954, Hamburg, N. Sanzogno Edizioni 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
1961 for electronic sounds and Cathy Berberian's voice on tape — 21’ première: 1961, Milan.
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
score and parts on hire for sale: UE31122 • study score
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Vor, während, nach Zaide
1995 commentary on an unfinished opera by W. A. Mozart — 25’ première: 1995, Florence.
Casa Ricordi, Milan
Wasserklavier
1965 for piano — 2’ première: 1970, Brescia. Antonio Ballista
for sale: UE33013 in ‘Six Encores’ digital download available see also Six Encores
Wasserklavier
1965 for 2 pianos (original version) — 2’
for sale: UE31413 performance score digital download available
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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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
score and parts on hire for 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, str première: 17/06/1975, Milan. Filarmonica della Scala, P. Bellugi parts on hire for sale: UE15953 • score
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 score and parts on hire for sale: UE18868 • study score
Manuel de Falla (1876–1946)
Siete Canciones populares españolas
1978 for voice and piano (1922) transcribed for mezzo-soprano and orchestra — 13’
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source text: Spanish folk songs El paño moruno • Seguidilla Murciana • Asturiana • Jota • Nana • Canción • Polo language: Spanish 2 2 3 3 - 2 2 2 1 - timp, perc(2), str to be performed only as a cycle score and parts on hire for sale: UE16791 • study score (special order)
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’) 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: German 2 2 3 3 - 3 2 1 1 - timp, perc, hp, str première: 20/06/1986, Toblach. Thomas Hampson, Orchestra Haydn, Hermann Michael score and parts on hire for sale: UE18651 • score
6 Frühe Lieder
1987 for voice and piano (before 1892) transcribed for baritone and orchestra — 22’ 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) language: German 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 score and parts on hire for sale: UE18307 • score
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 score and parts on hire for sale: UE13727 • score
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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 in preparation
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
score 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
1995 commentary on an unfinished opera by W. A. Mozart — 25’ première: 1995, Florence.
Casa Ricordi, Milan
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 Casa Ricordi, Milan
Henry Purcell (1659–1695)
The Modification and Instrumentation of a Famous Hornpipe as a Merry 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 score 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, Nikolaus Harnoncourt; première (3 movements): 19/04/1990. Concertgebouw Orkest, Riccardo Chailly score and parts on hire for sale: UE19311 • score
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) 2 2 2 2 - 2 2 2 1 - timp, perc, hp, str première: 27/09/1990, Padova. José Carreras, English Chamber Orchestra, Luciano Berio score and parts on hire for sale: UE19915 • score
Kurt Weill (1900–1950)
Ballade von der sexuellen Hörigkeit – Song of Sexual Slavery
1967/1972
from ‘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, cb première: 1967, Venice. Cathy Berberian score and parts on hire
Ballade von der sexuellen Hörigkeit – Song of Sexual Slavery from ‘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, cb première: 1967, Venice. Cathy Berberian score and parts on hire
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1972/1993
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Le Grand Lustucru
1972 from ‘Marie Galante’ (1934) arranged for mezzo-soprano and ensemble (original key) — 3’ text: Jacques Déval language: German 2 1 3 1 - 0 1 0 0 - perc, vln, vla, vc, cb première: 1967, Venice. Cathy Berberian score and parts on hire
Le Grand Lustucru
1972/1993 from ‘Marie Galante’ (1934) arranged for alto and ensemble (transposed) — 3’ text: Jacques Déval language: German 2 1 3 1 - 0 1 0 0 - perc, vln, vla, vc, cb
score and parts on hire for sale: UE30715 • score (special order)
Surabaya Johnny
1972 from ‘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, cb première: 1967, Venice. Cathy Berberian score and parts on hire
Surabaya Johnny
1972/1993 from ‘Happy End’ (1929) arranged for alto and ensemble (transposed) — 5’ text: Bertolt Brecht; Dorothy Lane, language: German fl, cl, tpt, perc, guit, vln, vla, vc, cb score 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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