Berio : Sinfonia part 3 & 4 - CO / Chailly *

Musical quotations:
A partial list of musical quotations used in the third movement of Sinfonia in order of their appearance:
Schoenberg's Five Pieces for Orchestra, fourth movement, "Peripetie" (violent scale from bars 2--3 played by the brass), in bars 1--6
Claude Debussy's La mer, second movement, "Jeux de vagues" (opening measures), in bars 4--5
A brief quotation of Mahler's Symphony No. 4 (Mahler) in bars 2--10, beginning just before.....
Mahler's Resurrection Symphony, 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 (Hicks 1981--82, p. 212)
Paul Hindemith's Kammermusik Nr. 4
Ravel's Daphnis et Chloé, flute solo from the Pantomime
Debussy's "Jeux de vagues" returns
Berlioz's idée fixe from the Symphonie Fantastique (played by the clarinets), in bar 106
Ravel's La Valse (orchestra plays octave motif with piccolo playing a chromatic scale)
Stravinsky's Le Sacre du Printemps (the "Dance of the Earth" sequence at the end of the first tableau), bars 170--85
Stravinsky's Agon (upper oboe part from the "Double pas de quatre")
Richard Strauss's Der Rosenkavalier (one of the waltzes composed for the opera)
a chorale by Johann Sebastian Bach
the end of the second movement of Bach's Second Brandenburg Concerto
Alban Berg's Wozzeck (the drowning scene late in the third act)
Beethoven's Pastoral Symphony, second movement (melody stated with the clarinets)
Resumption of Hindemith's Kammermusik No. 4 in the solo violin, starting in bar 429
Another quotation from Beethoven's Pastoral Symphony, ending in bar 448
Brief recapitulation of the opening of the movement: Schoenberg's "Peripetie", Debussy's La Mer (this time from the third movement "Dialogue du vent et de la mer"), starting at bar 488
Boulez's Pli Selon Pli, very first chord of the entire piece from the first movement ("Don")
Anton Webern's Cantata op. 31, fifth movement (opening), in bars 547--54
Karlheinz Stockhausen's Gruppen for three orchestras (during the introductions of the vocalists near the end, bars 555--60)
It's worth noting that more than a few of the quoted pieces were performed from time to time in the CBS TV series Young People's Concerts. Berio may very well have been inspired by viewing these performances as he was living in the United States at the time. This might explain why he dedicated the work to Leonard Bernstein.

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