Photo of piano keyboard and pianist's hands by Gabriel Gurrola on Unsplash

History, analysis and commentary about western classical music

Berio - Sinfonia - Third movement - Page 1

Luciano Berio's Sinfonia is a five-movement work for 8 amplified singers and orchestra, commissioned by the New York Philharmonic for its 125th anniversary. The first four movements were premiered by The Swingle Singers and the New York Philharmonic conducted by Berio on 10 October 1968. The New York Philharmonic, conducted by Leonard Bernstein, first performed the completed five-movement version on 8 October 1970.

The work is a musical collage building large structures of sound layered with references to musical and literary works of influence. The title Sinfonia is intended to convey the meaning of sounding together.

The eight amplified singers are used as if they are instruments. They are required to sing instrumental lines as well as speaking, shouting, whispering and a range of vocal effects.

The third and central movement caused great impact through its use of the third movement of Mahler Symphony No 2 as a thread that runs throughout, overlaid with diverse texts and quotes from other sources.

The movement is headed In ruhig fliessender Bewegung [In quiet flowing movement], the instruction at the start of Mahler Symphony No 2, movement III.

The texts include excerpts from The Unnamable by Samuel Beckett (including quotes and misquotes), instructions from Mahler scores, graffiti and references to the other musical works quoted.

The table below and on the following pages outlines many but certainly not all the references. It lists the bar numbers in Sinfonia and the location of the source material from Mahler Symphony No 2 together with information about other references throughout the movement. Bar numbers are given for the first whole bar. Upbeats are not included. Bar numbers in parenthesis indicate the location in the Mahler score when no Mahler excerpt is playing.

The first occurrence of a musical work is in bold. Literary references and spoken text are in italics. Spoken text may span several bars. They are listed at their starting location.

Luciano Berio
Luciano Berio

To download a PDF of the printed musical excerpts click here

Berio bar 1
  • The brass flourish at the start of Schoenberg Five Pieces for Orchestra mvt IV Peripetie [Turning Point] begins Sinfonia Ex.1a
Berio bar 2
  • 8 voices: Peripetie (Title of the movement from Schoenberg Five Pieces for Orchestra - extending the last note of the brass flourish) Ex.1b
  • Flutes play the opening bars of Mahler Symphony No 4 mvt I Ex.1c
  • Strings and harp play the opening bars of Debussy La Mer mvt II Ex.1d
Berio bar 4
  • Tenor 1: Nicht eilen bitte [Not hurried please] (The direction at the start of Mahler Symphony No 4) (bitte [please] in Sinfonia is not in the Mahler score)
Berio bar 5
  • Soprano 1: les jeux de vagues [the play of the waves] (The title of Debussy La Mer mvt II) (les [the] in Sinfonia is not in the Debussy score)
Berio bar 6
  • Mahler Symphony No 4 mvt I Ex.1e
  • Bass 1: Recht gemachlich [Quite leisurely] (The instruction in the score of Mahler Symphony No 4 although he only manages to say Recht gema...)
  • Piano extends the harp motive from Debussy La Mer
Berio bar 7 / Mahler bar 10
  • Mahler Symphony No 2 mvt III in bassoons (hereafter referred to simply as Mahler)
  • Soprano 2: quatrieme symphonie (Referring to Mahler Symphony No 4)
  • Alto 2: deuxieme symphonie (Referring to Mahler Symphony No 2)
Berio bar 8 / Mahler bar 11
  • Mahler continues in clarinets and bassoons
Berio bar 9 / Mahler bar 11
  • Mahler bar 11 is repeated in clarinets and bassoons
  • Tenor 2: gemach... [leisurely]
  • Soprano 1: deuxieme partie (Referring to the second part of Debussy La Mer)
  • Alto 1: premiere partie (Referring to the first part of Mahler Symphony No 4)
  • Tenor 1: quatrieme partie (Referring to the fourth part of Schoenberg Five Pieces for Orchestra)
  • Bass 2: troiseme partie (Referring to the third part of Mahler Symphony No 2)
  • Harp and piano extend the motive from Debussy La Mer
Berio bar 10 / Mahler bar 12
  • Bass 1: In ruhig fliessender Bewegung [In quiet flowing movement] (Instruction from Mahler)
Berio bar 11 / Mahler bar 13
  • Tenor 1: sehr gemachlich nicht eilen [very leisurely not hurried] (Instruction from Mahler Symphony No 4)
  • Mahler continues in the violins through to bar 18
Berio bar 12 / Mahler bar 14
  • Sopranos and Altos join violins to spell out Mahler in solfege
Berio bar 16 / Mahler bar 18
  • Tenors join Sopranos and Altos to spell out Mahler in solfege
Berio bar 17 / Mahler bar 19
  • Soprano 2: and now?
  • Tenor 2: keep going
Berio bar 18 / Mahler bar 20
  • 8 voices: peripetie
  • Violin solo plays a fragment from Hindemith Kammermusik No 4
Berio bar 19-24 / Mahler bar 21-26
  • Mahler returns to clarinets
Berio bar 20 / Mahler bar 22
  • Bass 1: peripetie where?
  • Saxophone plays a fragment from Hindemith Kammermusik No 4
Berio bar 21 / Mahler bar 23
  • Soprano 1: peripetie
  • Alto 1: and now?
Berio bar 22 / Mahler bar 24
  • Tenor 2: nothing more restful than chamber music (a misquote from Beckett)
  • Bass 2: where now
Berio bar 23 / Mahler bar 25
  • Alto 2: who now
  • Oboe plays a fragment from Hindemith Kammermusik No 4
Berio bar 24 / Mahler bar 26
  • Alto 1: when now
  • Tenor 1: than flute
Berio bar 25 / Mahler bar 27
  • Soprano 2: than two flutes
  • Bass 1: I, say I
  • Mahler is played by flutes
Berio bar 26-31 / Mahler bar 28-33
  • Violin solo plays an extended fragment from Hindemith Kammermusik No 4
Berio bar 27-30 / Mahler bar 29-32
  • Singers join Hindemith Kammermusik No 4 in solfege
  • Mahler is played by strings and saxophones
Berio bar 33 / Mahler bar 35
  • Sustained cluster in high woodwinds
  • Short cluster in horns and trombones
Berio bar 33-42 / Mahler bar 35-44
  • Violin solo continues with Hindemith Kammermusik No 4
Berio bar 35-42 / Mahler bar 37-44
  • One by one singers join Mahler in solfege
Berio bar 43-50 / Mahler bar 45-52
  • Sustained cluster in woodwinds and strings
  • Hindemith Kammermusik No 4 extended in keyboard instruments
  • Mahler continues in clarinets and strings
Berio bar 44 / Mahler bar 46
  • Tenor 1: you are nothing but an academic exercise
  • Bass 2: no time for chamber music
Berio bar 46 / Mahler bar 48
  • Soprano 2: For though the silence here is almost unbroken it is not completely so ...
  • Alto 2: we want that ... who?
Berio bar 47 / Mahler bar 49
  • Alto 1: It seems there are only repeated sounds
  • Tenor 2: what?
  • Bass 2: we need to do something