639:. A part of the text is recited, accompanied by the music. I admit that I did not grasp the reason for this choice. During an interview a musicologist asked me about it, and I answered that the book had just come out and the composer had probably used it because it was at hand. Now, a few months ago Berio, whom I don't know, sent me a very disgruntled letter. He had read the interview, several years after the fact, and assured me that the movement of this symphony offered the musical counterpart of the mythical transformation I was revealing. He included a book by a musicologist [
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800:. The text from Beckett at this point begins, "So after a period of immaculate silence there seemed", but, instead of continuing the quotation ("a feeble cry was heard by me"), Berio substitutes the words "to be a violin concerto being played in the other room in three quarters" and then, after the Berg quotation, alto 2 insists on "two violin concertos", at the point where Berg is interrupted by Brahms.
2618:
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2427:
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The first movement primarily uses a French text source and the third movement primarily uses
English text sources. The text for the second movement is limited to the phonemes of the title, "O Martin Luther King". The remaining movements are primarily instrumental with occasional vocal elements. The
1094:
The brief fourth movement is a return to the tonality of the second, relatively serene after the frenetic third movement. It begins again with a Mahler quotation—the chorus taken from the end of the "Resurrection" symphony. The voices make use of various vocal effects, including whispers, syllabic
38:
2465:
702:, the image that would naturally spring to mind would be that of a river running through a constantly-changing landscape, disappearing from time to time underground, only to emerge later totally transformed." Many have described Berio's third movement as a "
1103:
This movement was added by Berio a year later, intended to balance the first four. The movement revisits the text from the previous sections, organizing the material in a more orderly fashion to create what Berio calls "narrative substance".
767:, and many others (including Berio himself) creating a dense collage, occasionally to humorous effect. When one of the reciters says "I have a present for you", the orchestra follows immediately with the introductory chord from
585:
overall form of the piece is an arch form with elements of the first movement reflected in the fifth and connections between the second and fourth. The third movement, a study of inter-relations, stands on its own.
1392:
Losada, Cristina
Catherine. “A Theoretical Model for the Analysis of Collage in Music Derived from Selected Works by Berio, Zimmermann, and Rochberg.” PhD diss., City University of New York, 2004. p. 31.
698:
and has the orchestra play a slightly cut-up, re-shuffled and occasionally re-orchestrated version of it. Berio himself stated, "If I were asked to explain the presence of Mahler’s
Scherzo in
2472:
792:
with chromatically descending sixteenth notes two measures before a similarly descending line appears in Mahler's scherzo. This is then accompanied by another violin descent, taken from
1111:
opens with the words "rose de sang" (French for "rose of blood"), and the fourth movement of Mahler's symphony begins with the words "O Röschen rot!" (German for "O rosebud red!").
2115:(2002). "The Third Movement of Berio's Sinfonia: Stylistic Counterpoint, Thematic and Formal Unity in Context of Polystylistics, Broadening the Concept of Thematicism (1970s)". In
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to represent an abstract and distorted history of culture. The eight voices are not incorporated classically but rather speak, whisper and shout excerpts from texts including
784:
The quoted fragments are often chosen because they bear a rhythmic or melodic likeness to Mahler's scherzo. For example, Berio uses a violin line from the second movement of
223:, with Berio conducting. At the time, the work was still in four movements. In the months after the premiere Berio added a fifth movement, which was first played when
623:. One mythical transformation however, had a structure for which he was not able to find a musical equivalent, and Berio himself said that he used this form in his
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660:
This movement exists in two versions: one for voice, flute, clarinet, violin, cello and piano, the other for eight voices and orchestra. The orchestral version of
643:] who had demonstrated the fact. I apologized for the misunderstanding, which was, I said, the result of my lack of musical training, but I'm still baffled.
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892:, third movement (the only quotation that is ongoing) entering in bar 7, from where it continues to the end of the movement, though not always audibly
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1107:
It opens with a quotation from LĂ©vi-Strauss that is at the same time a veiled reference to Mahler's second symphony: the fifth movement of
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Orchestre
Philharmonique, Sinfonia Singers, dir. Ward Swingle, cond. Berio, Adès, Semaines musicales internationales de Paris, 1973 (live)
1930:
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232:
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2020:, 128–144. Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt 12. Mainz: Schott Musik International.
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1774:
Berio, Roomful Of Teeth, Boulez, Ravel, Seattle
Symphony Orchestra, Ludovic Morlot – Sinfonia / Notations I–IV / La Valse
247:
and The
Swingle Singers conducted by the composer. The New York Philharmonic first played the five movement version of
2098:
Plaza, Eduardo (2009). "La différance y la intertextualidad en el tercer movimiento de la
Sinfonia de Luciano Berio".
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2056:
1960:
1917:
1899:
1862:
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Berio, Mahler – Matthias Goerne, The
Synergy Vocals, BBC Symphony Orchestra, Josep Pons – Sinfonia / 10 Frühe Lieder
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Berio – Virpi Räisänen, Finnish Radio
Symphony Orchestra, Hannu Lintu – Sinfonia, Calmo, Ritirata Notturna Di Madrid
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The
Modification and Instrumentation of a Famous Hornpipe as a Merry and Altogether Sincere Homage to Uncle Alfred
714:
first used musical quotation techniques on a grand scale at the turn of the 20th century about 65 years earlier).
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2127:, translated by John Goodliffe, 216–224. Russian Music Studies. Bloomington, Indiana: Indiana University Press.
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was representative of the new direction classical music was taking after the pessimistic decade of the sixties.
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The eight individual voices simultaneously recite texts from various sources, most notably the first page of
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Berio, Baervoets – Berio: Sinfonia für 8 Stimmen und Orchester – Baervoets: Konzert für Viola und Orchester
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449:
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Hicks, Michael (1980–81). "Text, Music, and Meaning in the Third Movement of Luciano Berio's Sinfonia".
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2161:
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Emons, Hans (1998). "Berios Sinfonia und Mahlers 2. Sinfonie: Re-Komposition als ästhetische Idee". In
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627:—though Lévi-Strauss did not initially notice this. Interviewed by Didier Eribon, Lévi-Strauss said:
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1222:
832:" in which a ship filled with gifts is headed towards the island dedicated to the goddess of love.
797:
2105:
Ravizza, Victor (1974). "Sinfonia fĂĽr acht Singstimmen und Orchester von Luciano Berio. Analyse".
2077:(1971). "Probleme der Collage in der Musik aufgezeigt am 3. Satz der Sinfonia von Luciano Berio".
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Berio – New Swingle Singers, Orchestre National De France, Pierre Boulez – Sinfonia – Eindrücke
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had found that many myths were structured like musical compositions, with some myths having a "
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for three orchestras (during the introductions of the vocalists near the end, bars 555–560)
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8:
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2002:
Bayer, Francis (1988). Thèmes et citations dans le 3e mouvement de la Sinfonia de Berio.
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1051:
Brief recapitulation of the opening of the movement: Schoenberg's "Peripetie", Debussy's
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139:
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1055:(this time from the third movement "Dialogue du vent et de la mer"), starting at bar 488
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part from the "Double pas de quatre" as well the castanet part from the “Bransle Gai”)
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690:, Berio lays the groundwork by quoting multiple excerpts from the third-movement
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963:(the "Dance of the Earth" sequence at the end of the first tableau), bars 170–85
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2017:
1987:
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611:. The form of the piece is also inspired by LĂ©vi-Strauss, who in his work on
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1985:
Bandur, Markus (2005). " 'I prefer a wake': Berios Sinfonia, Joyces
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Goldford, Louis J., Janne E. Irvine, and Robert E. Kohn (2011). "Berio's
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Musikwissenschaft zwischen Kunst, Ă„sthetik und Experiment: Festschrift
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1067:, very first chord of the entire piece from the first movement ("Don")
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Luciano Berio, The Swingle Singers, New York Philharmonic – Sinfonia
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880:, second movement, "Jeux de vagues" (opening measures), in bars 4–5
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1073:'s Cantata No. 2, Op. 31, fifth movement (opening), in bars 547–54
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Quattro versioni originali della "Ritirata notturna di Madrid"
2012:(1972). "Zum dritten Satz der Sinfonia von Luciano Berio". In
1868:. Accompanied by three 7-inch LP recordings (analog, 33â…“ rpm).
1447:
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2169:
616:
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Symphony, second movement (melody stated with the clarinets)
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1857:
1973, Cambridge, Massachusetts: Harvard University Press,
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fragments, and distortions of previous textual material.
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219:
was premiered on October 10, 1968 by the orchestra and
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1910:
Playing on Words: A Guide to Luciano Berio's Sinfonia
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1289:. CD recording, Seattle Symphony Media SSM1018, 2018.
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Berio himself describes the movement as a "Voyage to
1323:
2079:
Musik & Bildung: Zeitschrift fĂĽr Musikerziehung
1980:
Sinfonia von Luciano Berio. Eine analytische Studie
1951:
Music Since 1945: Issues, Materials, and Literature
1714:
Berio – Canticum Novissimi Testamenti II – Sinfonia
1376:
1374:
150:for its 125th anniversary. Composed in 1968–69 for
1948:
1882:
1878:20, nos. 1–2 (Fall–Winter/Spring–Summer): 199–224.
1789:; Dalmonte, Rosanna; Varga, Bálint András (1985),
1785:
1489:
1465:
1365:
1353:
1335:
825:protests in Paris, and notes from Berio's diary.
2051:, 151–160. Würzburg: Königshausen & Neumann.
864:A brief quotation from the beginning of Mahler's
664:was shortly after its completion integrated into
2630:
1699:Luciano Berio – Formazioni, Folk Songs, Sinfonia
1646:". Universal Edition (Accessed 5 November 2013).
1371:
1311:
1167:. LP recording, two 12-inch discs. SWF 21/22. :
2654:Music commissioned by the New York Philharmonic
1943:
1453:
1410:
672:motives (which also appears in the quote from
2208:
2014:Die Musik der sechziger Jahre. Zwolf Versuche
1850:The Unanswered Question: Six Talks at Harvard
473:, bass drum, snare drum, bongos, tambourine,
2569:Studio di fonologia musicale di Radio Milano
1907:
935:(played by the flutes and oboes), in bar 106
813:. Other text fragments include allusions to
640:
239:, and subsequently in London at the July 22
2100:Musicaenclave: Revista venezolana de mĂşsica
988:(one of the waltzes composed for the opera)
2659:Music dedicated to ensembles or performers
2215:
2201:
1931:"Symphony guide: Luciano Berio's Sinfonia"
1022:(the drowning scene late in the third act)
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36:
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1157:Southwest German Radio Symphony Orchestra
1007:the end of the second movement of Bach's
233:Southwest German Radio Symphony Orchestra
1894:, Chicago: University of Chicago Press,
1871:
1477:
1422:
1147:
1119:
2109:41, no. 5 (September–October): 291–297.
1925:
1341:
1041:in the solo violin, starting in bar 429
2631:
2189:focuses on Berio's literary allusions.
1892:Conversations with Claude LĂ©vi-Strauss
2279:Concerto for Two Pianos and Orchestra
2196:
2066:: From Modernism to Hypermodernism".
1814:
1811:. New York: Marion Boyars Publishers.
1613:
1380:
1317:
835:
2149:, including sound and score sample,
1434:
656:, a work dedicated to the memory of
270:
1815:Berio, Luciano (1986). "Sinfonia".
1044:Another quotation from Beethoven's
947:(orchestra plays octave motif with
13:
2068:Interdisciplinary Literary Studies
1995:'Poetik des offenen Kunstwerks'".
1971:
1089:
919:Debussy's "Jeux de vagues" returns
477:, gĂĽiro, sleigh bells, 2 triangles
258:
195:states in the text version of his
185:, instructions from the scores of
14:
2670:
2222:
2140:
2121:Aleksander Vassilievitch Ivashkin
2070:13, nos. 1 & 2 (Fall): 19–44.
1955:, New York City: Schirmer Books,
1098:
681:
588:
267:is scored for a large orchestra:
255:, to whom the work is dedicated.
251:on October 8, 1970, conducted by
2616:
2593:
2592:
2538:
2425:
2185:, The Modern Word's analysis of
1490:Berio, Dalmonte & Varga 1985
1466:Berio, Dalmonte & Varga 1985
1247:Finnish Radio Symphony Orchestra
717:The orchestra plays snatches of
1428:
916:, flute solo from the Pantomime
619:" form and others resembling a
607:) by the French anthropologist
211:Originally commissioned by the
1395:
1386:
1366:LĂ©vi-Strauss & Eribon 1991
1354:LĂ©vi-Strauss & Eribon 1991
1114:
848:in order of their appearance:
844:used in the third movement of
227:was performed during the 1969
146:which was commissioned by the
1:
2639:Compositions by Luciano Berio
2102:3, no. 1 (January–April): 23.
2031:, edited by Reinhard Kopiez,
1855:Charles Eliot Norton Lectures
1293:
1229:Gothenburg Symphony Orchestra
1193:Royal Concertgebouw Orchestra
991:another extract from Ravel's
889:Symphony No. 2 (Resurrection)
747:, as well as quotations from
575:In ruhig fliessender Bewegung
197:Charles Eliot Norton Lectures
2094:, Barcelona: RĂ dio Web MACBA
1982:. Vienna: Universal Edition.
1908:Osmond-Smith, David (1985),
1821:Orchestre National de France
1175:Orchestre National de France
556:
206:
7:
2091:Variations #3: The Approach
1454:Schwartz & Godfrey 1993
1437:"The Brazen Head: Sinfonia"
1411:Schwartz & Godfrey 1993
1048:Symphony, ending in bar 448
668:. It uses a fair amount of
215:for its 125th anniversary,
10:
2675:
2006:, no. 13 (October): 69–73.
1999:, no. 128 (April): 95–109.
1947:; Godfrey, Daniel (1993),
1839:. pp. 4–5. ECD 88151.
1644:for 8 Voices and Orchestra
1037:Resumption of Hindemith's
1009:Brandenburg Concerto No. 1
951:playing a chromatic scale)
771:, the first movement from
90:October 10, 1968
77:and eight amplified voices
2590:
2556:
2514:
2505:Requiem of Reconciliation
2489:
2457:
2406:
2340:
2294:
2264:
2239:
2230:
1875:Perspectives of New Music
858:Five Pieces for Orchestra
821:Berio noticed during the
686:In the third movement of
652:In 1968, Berio completed
593:In the first movement of
117:
109:
101:
86:
81:
70:
62:
52:
44:
35:
27:
20:
2041:Christian Martin Schmidt
1729:Luciano Berio – Sinfonia
1223:Philips Classics Records
678:in the third movement).
631:ou know that Berio used
597:, Berio uses texts from
142:by the Italian composer
2523:Thema (Omaggio a Joyce)
2081:3, No 5 (May): 229–235.
2027:Helga de la Motte-Haber
1978:Altmann, Peter (1977).
1807:Berio, Luciano (1985).
648:Second movement: O King
229:Donaueschingen Festival
2043:, Barbara Barthelmes,
1261:BBC Symphony Orchestra
1139:, conducted by Berio,
658:Martin Luther King Jr.
645:
633:The Raw and the Cooked
605:The Raw and the Cooked
245:BBC Symphony Orchestra
172:The Raw and the Cooked
2547:Recital I (for Cathy)
2125:Mstislav Rostropovich
2123:, with a foreword by
2075:Wolfgang Martin Stroh
1148:Five-movement version
1133:New York Philharmonic
1120:Four-movement version
1077:Karlheinz Stockhausen
1003:Johann Sebastian Bach
932:Symphonie fantastique
629:
213:New York Philharmonic
148:New York Philharmonic
122:New York Philharmonic
2498:A Garland for Dr. K.
2233:List of compositions
2168:Symphony orchestra,
2073:Krieger, Georg, and
1884:LĂ©vi-Strauss, Claude
1817:Sinfonia / EindrĂĽcke
1616:"Proms 1969 Prom 04"
1435:Ruch, Allen (2023).
1179:The Swingle Singers
1141:Columbia Masterworks
561:The work is in five
489:electric harpsichord
432:, tam-tam (medium),
189:and other writings.
2583:(completed in 2002)
2172:ensemble (vocals),
1929:(5 November 2013).
1912:, London: Ashgate,
1825:New Swingle Singers
1661:(list of releases).
1241:Deutsche Grammophon
1161:The Swingle Singers
1137:The Swingle Singers
609:Claude LĂ©vi-Strauss
469:, tam-tam (small),
221:The Swingle Singers
167:Claude LĂ©vi-Strauss
126:The Swingle Singers
2515:Other compositions
2341:Instrumental music
2117:A Schnittke Reader
2029:zum 60. Geburtstag
1845:Bernstein, Leonard
1793:, London: Boyars,
1771:Anon. (n.d.(j)). "
1638:Anon. (n.d.(a)). "
1211:Orchestre de Paris
960:The Rite of Spring
842:musical quotations
840:A partial list of
836:Musical quotations
744:The Rite of Spring
675:The Rite of Spring
163:musical quotations
161:, it incorporates
2649:Choral symphonies
2644:1969 compositions
2604:
2603:
2399:
2349:Cinque variazioni
2255:Cronaca del luogo
2174:Christian Baldini
2151:Universal Edition
2113:Schnittke, Alfred
2033:Josef Kloppenburg
1945:Schwartz, Elliott
1756:Anon. (n.d.(i)).
1741:Anon. (n.d.(h)).
1726:Anon. (n.d.(g)).
1711:Anon. (n.d.(f)).
1696:Anon. (n.d.(e)).
1681:Anon. (n.d.(d)).
1666:Anon. (n.d.(c)).
1651:Anon. (n.d.(b)).
1039:Kammermusik No. 4
985:Der Rosenkavalier
749:Arnold Schoenberg
641:Osmond-Smith 1985
600:Le cru et le cuit
553:
552:
328:soprano clarinets
253:Leonard Bernstein
241:Promenade concert
193:Leonard Bernstein
131:
130:
57:Leonard Bernstein
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2621:
2620:
2619:
2612:
2596:
2595:
2557:Related articles
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2265:Orchestral works
2248:Un re in ascolto
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2193:
2158:
2095:
2039:, Hans Neuhoff,
2037:Heinz von Loesch
2004:Analyse musicale
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1283:Roomful of Teeth
1279:Seattle Symphony
1215:Electric Phoenix
1201:Riccardo Chailly
1197:Electric Phoenix
1189:, recorded 1984.
913:Daphnis et Chloé
670:whole-tone scale
335:
334:
322:
321:
271:
138:(Symphony) is a
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2623:Classical music
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2448:Cries of London
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1974:
1972:Further reading
1969:
1963:
1920:
1902:
1865:
1827:feat. cond. by
1801:
1640:Luciano Berio:
1628:
1626:
1604:
1596:
1592:
1584:
1580:
1572:
1568:
1560:
1556:
1548:
1544:
1536:
1532:
1524:
1520:
1512:
1508:
1500:
1496:
1488:
1484:
1476:
1472:
1464:
1460:
1452:
1448:
1441:The Modern Word
1433:
1429:
1421:
1417:
1409:
1405:
1400:
1396:
1391:
1387:
1379:
1372:
1364:
1360:
1352:
1348:
1340:
1336:
1328:
1324:
1316:
1312:
1304:
1300:
1296:
1285:, conducted by
1267:, conducted by
1235:, conducted by
1217:, conducted by
1199:, conducted by
1181:, conducted by
1163:, conducted by
1150:
1122:
1117:
1101:
1092:
1090:Fourth movement
980:Richard Strauss
838:
798:violin concerto
794:Johannes Brahms
790:violin concerto
757:Johannes Brahms
739:Igor Stravinsky
704:musical collage
684:
650:
591:
582:
559:
554:
524:in three groups
346:tenor saxophone
332:
331:
319:
318:
261:
259:Instrumentation
209:
199:from 1973 that
93:
91:
12:
11:
5:
2672:
2662:
2661:
2656:
2651:
2646:
2641:
2626:
2625:
2602:
2601:
2591:
2588:
2587:
2585:
2584:
2576:
2571:
2566:
2560:
2558:
2554:
2553:
2551:
2550:
2543:
2533:
2526:
2518:
2516:
2512:
2511:
2509:
2508:
2501:
2493:
2491:
2490:Collaborations
2487:
2486:
2484:
2483:
2480:Op. 120, No. 1
2476:
2469:
2461:
2459:
2455:
2454:
2452:
2451:
2444:
2437:
2430:
2418:
2410:
2408:
2404:
2403:
2401:
2400:
2352:
2344:
2342:
2338:
2337:
2335:
2334:
2327:
2320:
2313:
2306:
2298:
2296:
2292:
2291:
2289:
2288:
2281:
2276:
2268:
2266:
2262:
2261:
2259:
2258:
2251:
2243:
2241:
2237:
2236:
2231:
2228:
2227:
2220:
2219:
2212:
2205:
2197:
2191:
2190:
2177:
2153:
2142:
2141:External links
2139:
2137:
2136:
2110:
2103:
2096:
2086:Leidecker, Jon
2082:
2071:
2060:
2049:Günther Rötter
2045:Heiner Gembris
2021:
2018:Rudolf Stephan
2007:
2000:
1997:Musik-Konzepte
1988:Finnegans Wake
1983:
1975:
1973:
1970:
1968:
1967:
1961:
1941:
1923:
1918:
1905:
1900:
1888:Eribon, Didier
1880:
1869:
1863:
1841:
1812:
1809:Two Interviews
1805:
1799:
1791:Two Interviews
1787:Berio, Luciano
1783:
1768:
1753:
1738:
1723:
1708:
1693:
1678:
1663:
1648:
1635:
1614:Anon. (1969).
1610:
1603:
1602:
1590:
1578:
1566:
1554:
1542:
1530:
1518:
1506:
1494:
1492:, p. 109.
1482:
1480:, p. 212.
1470:
1468:, p. 108.
1458:
1456:, p. 376.
1446:
1427:
1425:, p. 214.
1415:
1413:, p. 378.
1403:
1401:Losada, p. 55.
1394:
1385:
1370:
1368:, p. 178.
1358:
1356:, p. 177.
1346:
1334:
1322:
1310:
1308:, p. 423.
1306:Bernstein 1976
1297:
1295:
1292:
1291:
1290:
1287:Ludovic Morlot
1276:
1273:Harmonia Mundi
1265:Synergy Vocals
1258:
1244:
1226:
1219:Semyon Bychkov
1208:
1190:
1172:
1154:
1149:
1146:
1145:
1144:
1121:
1118:
1116:
1113:
1100:
1099:Fifth movement
1097:
1091:
1088:
1087:
1086:
1074:
1068:
1056:
1049:
1042:
1035:
1023:
1011:
1005:
995:
989:
977:
964:
952:
936:
920:
917:
905:
896:Paul Hindemith
893:
881:
872:Claude Debussy
869:
866:Symphony No. 4
862:
837:
834:
805:Samuel Beckett
765:Paul Hindemith
761:Henri Pousseur
719:Claude Debussy
712:Symphony No. 2
696:Symphony No. 2
694:from Mahler's
683:
682:Third movement
680:
649:
646:
590:
589:First movement
587:
581:
580:
578:
576:
573:
570:
567:
558:
555:
551:
550:
545:
544:
543:
537:
531:
525:
517:
516:
510:
504:
503:
501:electric organ
497:
491:
485:
479:
478:
464:
440:, snare drum,
427:
405:
404:
401:
394:
393:
392:
386:
380:
373:
367:
361:
360:
354:
348:
342:
340:alto saxophone
336:
324:
313:
307:
301:
295:
289:
283:
282:
279:
277:
269:
260:
257:
208:
205:
177:Samuel Beckett
129:
128:
119:
115:
114:
111:
107:
106:
103:
99:
98:
88:
84:
83:
79:
78:
72:
68:
67:
64:
60:
59:
54:
50:
49:
46:
42:
41:
33:
32:
25:
24:
9:
6:
4:
3:
2:
2671:
2660:
2657:
2655:
2652:
2650:
2647:
2645:
2642:
2640:
2637:
2636:
2634:
2624:
2614:
2613:
2610:
2599:
2589:
2582:
2581:
2577:
2575:
2572:
2570:
2567:
2565:
2562:
2561:
2559:
2555:
2549:
2548:
2544:
2541:
2537:
2536:Laborintus II
2534:
2532:
2531:
2527:
2525:
2524:
2520:
2519:
2517:
2513:
2507:
2506:
2502:
2500:
2499:
2495:
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2492:
2488:
2482:
2481:
2477:
2475:
2474:
2470:
2468:
2467:
2463:
2462:
2460:
2456:
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2442:
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2436:
2435:
2431:
2428:
2424:
2423:
2419:
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2416:
2412:
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2409:
2405:
2397:
2396:
2392:
2388:
2384:
2380:
2376:
2372:
2368:
2364:
2358:
2357:
2353:
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2350:
2346:
2345:
2343:
2339:
2333:
2332:
2328:
2326:
2325:
2321:
2319:
2318:
2314:
2312:
2311:
2310:Chamber Music
2307:
2305:
2304:
2300:
2299:
2297:
2295:Chamber music
2293:
2287:
2286:
2282:
2280:
2277:
2275:
2274:
2270:
2269:
2267:
2263:
2257:
2256:
2252:
2250:
2249:
2245:
2244:
2242:
2238:
2234:
2229:
2225:
2224:Luciano Berio
2218:
2213:
2211:
2206:
2204:
2199:
2198:
2195:
2188:
2184:
2183:
2178:
2175:
2171:
2167:
2163:
2159:
2154:
2152:
2148:
2145:
2144:
2134:
2133:0-253-33818-2
2130:
2126:
2122:
2118:
2114:
2111:
2108:
2104:
2101:
2097:
2093:
2092:
2087:
2083:
2080:
2076:
2072:
2069:
2065:
2061:
2058:
2057:3-8260-1524-X
2054:
2050:
2046:
2042:
2038:
2034:
2030:
2028:
2022:
2019:
2015:
2011:
2008:
2005:
2001:
1998:
1994:
1990:
1989:
1984:
1981:
1977:
1976:
1964:
1962:0-02-873040-2
1958:
1953:
1952:
1946:
1942:
1938:
1937:
1932:
1928:
1924:
1921:
1919:0-947854-00-2
1915:
1911:
1906:
1903:
1901:0-226-47475-5
1897:
1893:
1889:
1885:
1881:
1877:
1876:
1870:
1866:
1864:9780674920002
1860:
1856:
1852:
1851:
1846:
1842:
1838:
1834:
1830:
1829:Pierre Boulez
1826:
1822:
1818:
1813:
1810:
1806:
1802:
1800:0-7145-2829-3
1796:
1792:
1788:
1784:
1780:
1776:
1775:
1769:
1765:
1761:
1760:
1754:
1750:
1746:
1745:
1739:
1735:
1731:
1730:
1724:
1720:
1716:
1715:
1709:
1705:
1701:
1700:
1694:
1690:
1686:
1685:
1679:
1675:
1671:
1670:
1664:
1660:
1656:
1655:
1649:
1645:
1643:
1636:
1625:
1621:
1617:
1612:
1611:
1609:
1608:
1599:
1598:Anon. n.d.(j)
1594:
1587:
1586:Anon. n.d.(i)
1582:
1575:
1574:Anon. n.d.(h)
1570:
1563:
1562:Anon. n.d.(g)
1558:
1551:
1550:Anon. n.d.(f)
1546:
1539:
1538:Anon. n.d.(e)
1534:
1527:
1526:Anon. n.d.(d)
1522:
1515:
1514:Anon. n.d.(c)
1510:
1503:
1502:Anon. n.d.(b)
1498:
1491:
1486:
1479:
1478:Hicks 1980–81
1474:
1467:
1462:
1455:
1450:
1442:
1438:
1431:
1424:
1423:Hicks 1980–81
1419:
1412:
1407:
1398:
1389:
1382:
1377:
1375:
1367:
1362:
1355:
1350:
1343:
1338:
1331:
1330:Anon. n.d.(a)
1326:
1319:
1314:
1307:
1302:
1298:
1288:
1284:
1280:
1277:
1274:
1270:
1266:
1262:
1259:
1256:
1252:
1249:conducted by
1248:
1245:
1242:
1238:
1234:
1233:London Voices
1230:
1227:
1224:
1220:
1216:
1212:
1209:
1206:
1202:
1198:
1194:
1191:
1188:
1184:
1183:Pierre Boulez
1180:
1176:
1173:
1170:
1166:
1162:
1158:
1155:
1152:
1151:
1142:
1138:
1134:
1130:
1128:
1124:
1123:
1112:
1110:
1105:
1096:
1084:
1083:
1078:
1075:
1072:
1069:
1066:
1065:
1064:Pli selon pli
1060:
1057:
1054:
1050:
1047:
1043:
1040:
1036:
1033:
1032:
1027:
1024:
1021:
1020:
1015:
1012:
1010:
1006:
1004:
1000:
996:
994:
990:
987:
986:
981:
978:
975:
971:
970:
966:Stravinsky's
965:
962:
961:
956:
953:
950:
946:
945:
940:
937:
934:
933:
928:
924:
921:
918:
915:
914:
909:
906:
904:
902:
897:
894:
891:
890:
885:
882:
879:
878:
873:
870:
867:
863:
860:
859:
854:
851:
850:
849:
847:
843:
833:
831:
826:
824:
820:
816:
812:
811:
810:The Unnamable
806:
801:
799:
795:
791:
787:
782:
780:
779:Pierre Boulez
776:
775:
774:Pli selon pli
770:
766:
762:
758:
754:
750:
746:
745:
740:
736:
735:
730:
729:Maurice Ravel
726:
725:
720:
715:
713:
709:
705:
701:
697:
693:
689:
679:
677:
676:
671:
667:
663:
659:
655:
644:
642:
638:
634:
628:
626:
622:
618:
614:
610:
606:
602:
601:
596:
586:
579:
577:
574:
571:
569:
568:
566:
564:
549:
546:
542:
541:double basses
538:
536:
532:
530:
526:
523:
519:
518:
515:
511:
509:
506:
505:
502:
498:
496:
492:
490:
486:
484:
481:
480:
476:
472:
468:
465:
463:
459:
455:
451:
447:
443:
439:
435:
434:sizzle cymbal
431:
428:
426:
422:
418:
414:
410:
407:
406:
402:
400:
397:
396:
395:
391:
387:
385:
381:
378:
374:
372:
368:
366:
363:
362:
359:
358:contrabassoon
355:
353:
349:
347:
343:
341:
337:
329:
325:
323:
317:clarinet in E
314:
312:
308:
306:
302:
300:
296:
294:
290:
288:
285:
284:
280:
278:
275:
274:
273:
272:
268:
266:
256:
254:
250:
246:
242:
238:
235:conducted by
234:
230:
226:
222:
218:
214:
204:
202:
198:
194:
190:
188:
187:Gustav Mahler
184:
183:
182:The Unnamable
178:
174:
173:
168:
164:
160:
157:
153:
149:
145:
144:Luciano Berio
141:
137:
136:
127:
123:
120:
116:
113:Luciano Berio
112:
108:
105:New York City
104:
100:
89:
85:
80:
76:
73:
69:
65:
61:
58:
55:
51:
47:
43:
39:
34:
31:
30:Luciano Berio
26:
23:
19:
16:
2578:
2545:
2535:
2528:
2521:
2503:
2496:
2478:
2471:
2464:
2458:Arrangements
2446:
2439:
2432:
2421:
2420:
2413:
2361:
2354:
2347:
2329:
2322:
2315:
2308:
2301:
2283:
2271:
2253:
2246:
2186:
2181:
2147:Work details
2119:, edited by
2116:
2106:
2099:
2090:
2078:
2067:
2063:
2024:
2016:, edited by
2013:
2010:Budde, Elmar
2003:
1996:
1986:
1979:
1950:
1936:The Guardian
1934:
1927:Service, Tom
1909:
1891:
1873:
1848:
1837:Radio France
1819:(CD liner).
1816:
1808:
1790:
1772:
1757:
1742:
1727:
1712:
1697:
1682:
1667:
1652:
1641:
1627:. Retrieved
1619:
1606:
1605:
1593:
1581:
1569:
1557:
1545:
1533:
1521:
1509:
1497:
1485:
1473:
1461:
1449:
1440:
1430:
1418:
1406:
1397:
1388:
1361:
1349:
1342:Service 2013
1337:
1325:
1313:
1301:
1264:
1237:Péter Eötvös
1214:
1196:
1160:
1136:
1126:
1108:
1106:
1102:
1093:
1080:
1071:Anton Webern
1062:
1052:
1045:
1038:
1029:
1017:
992:
983:
967:
958:
942:
930:
926:
911:
900:
887:
875:
868:in bars 2–10
856:
845:
839:
827:
809:
802:
783:
772:
768:
753:Anton Webern
742:
732:
722:
716:
708:Charles Ives
699:
687:
685:
673:
665:
661:
653:
651:
636:
632:
630:
624:
604:
598:
594:
592:
583:
560:
547:
413:glockenspiel
264:
262:
248:
224:
216:
210:
200:
191:
180:
170:
134:
133:
132:
21:
15:
2574:Tempo Reale
2564:Polystylism
2407:Vocal music
2317:Différences
2240:Stage works
2176:(conductor)
1251:Hannu Lintu
1169:SĂĽdwestfunk
1165:Ernest Bour
1115:Discography
901:Kammermusik
815:James Joyce
458:sleigh bell
446:wood blocks
311:cor anglais
243:, with the
237:Ernest Bour
140:composition
2633:Categories
2415:Folk Songs
2180:A Musical
1381:Berio 1986
1318:Anon. 1969
1294:References
1269:Josep Pons
1014:Alban Berg
955:Stravinsky
853:Schoenberg
786:Alban Berg
467:vibraphone
442:tambourine
421:snare drum
403:3 players:
399:Percussion
154:and eight
118:Performers
94:1968-10-10
53:Dedication
2303:Due pezzi
2285:Rendering
1831:. Paris:
1629:21 August
1026:Beethoven
929:from the
927:idée fixe
613:mythology
563:movements
557:Movements
475:castanets
438:bass drum
419:(large),
390:bass tuba
384:trombones
287:Woodwinds
207:Premieres
179:'s novel
156:amplified
152:orchestra
110:Conductor
75:Orchestra
63:Movements
2598:Category
2580:Turandot
2530:Epifanie
2422:Sinfonia
2356:Sequenza
2187:Sinfonia
2166:UC Davis
2088:(2009),
2064:Sinfonia
1890:(1991),
1847:(1976),
1642:Sinfonia
1127:Sinfonia
1109:Sinfonia
1046:Pastoral
1031:Pastoral
993:La valse
944:La valse
846:Sinfonia
823:May 1968
819:graffiti
734:La valse
700:Sinfonia
688:Sinfonia
666:Sinfonia
637:Sinfonia
625:Sinfonia
595:Sinfonia
483:Keyboard
462:triangle
377:trumpets
352:bassoons
333:♭
320:♭
281:8 voices
276:Soloists
265:Sinfonia
249:Sinfonia
225:Sinfonia
217:Sinfonia
201:Sinfonia
135:Sinfonia
102:Location
82:Premiere
45:Composed
22:Sinfonia
2434:A-Ronne
2324:Circles
2182:Ulysses
2162:YouTube
1779:Discogs
1764:Discogs
1749:Discogs
1734:Discogs
1719:Discogs
1704:Discogs
1689:Discogs
1674:Discogs
1659:Discogs
1607:Sources
1275:, 2016.
1257:, 2014.
1243:, 2012.
1225:, 1996.
1207:, 1990.
1171:, 1975.
1143:, 1969.
1082:Gruppen
1019:Wozzeck
999:chorale
972:(upper
949:piccolo
923:Berlioz
830:Cythera
710:in his
692:scherzo
635:in his
522:violins
508:Strings
430:marimba
417:tam-tam
409:timpani
293:piccolo
231:by the
92: (
71:Scoring
48:1968–69
2609:Portal
2331:Kol-Od
2131:
2055:
2047:, and
1959:
1916:
1898:
1861:
1823:&
1797:
1255:Ondine
1129:(1968)
1059:Boulez
1053:La Mer
884:Mahler
877:La mer
724:La mer
662:O King
654:O King
621:sonata
572:O King
548:
535:cellos
529:violas
471:cymbal
425:bongos
299:flutes
159:voices
2273:Nones
2170:Volti
2157:Video
2107:Melos
1833:Erato
1620:Proms
1205:Decca
1187:Erato
939:Ravel
908:Ravel
903:No. 4
617:fugal
495:piano
454:gĂĽiro
371:horns
365:Brass
305:oboes
124:with
2441:Coro
2129:ISBN
2053:ISBN
1993:Ecos
1991:und
1957:ISBN
1914:ISBN
1896:ISBN
1859:ISBN
1795:ISBN
1631:2019
1281:and
1263:and
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1195:and
1177:and
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1135:and
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969:Agon
514:harp
450:whip
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379:in C
330:in B
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66:Five
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2383:VII
2160:on
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