Tre canzoni popolari for voice and piano (1947); in 1952 a fourth song is added, changing the title to Quattro canzoni popolari; arrangements of two songs, "Ballo" and "La donna ideale", are incorporated into Folk Songs (1964)
Due pezzi sacri for two sopranos, piano, two harps, timpani and twelve bells (1949)
Magnificat for two sopranos, chorus and orchestra (1949)
Concertino for solo clarinet, solo violin, harp, celesta and strings (1949; revised 1970)
1950s
Quartetto for wind quartet (1950)
Tre vocalizzi for voice and piano (1950)
El mar la mar for two sopranos and five instruments (1950); reduction for two sopranos and piano (1953); arrangement for soprano, mezzo-soprano and seven instruments (1969).
Opus no. Zoo for reciter and wind quintet (1951; revised 1971)
Due liriche di Garcia Lorca for bass and orchestra (1951)
Quattro canzoni popolari for voice and piano (1952); the Tre canzoni popolari from 1947, with a fourth song added; arrangements of two songs, Ballo and La donna ideale, are incorporated into Folk Songs (1964)
Sequenza VI for viola (1967); reused as a solo part in Chemins II (1967) and Chemins III (1968)
Chemins II for viola and nine instruments (1967); the viola part is Sequenza VI (1967); reused in Chemins III (1968)
O King for mezzosoprano and five instruments (1968); later incorporated into Sinfonia (1968)
Chemins III for viola, nine instruments and orchestra (1968); the viola part is Sequenza VI (1967), the nine instruments play the same parts as in Chemins II (1967)
Sinfonia for eight solo voices and orchestra (1968); incorporates O King (1968); the version that premiered in 1968 was in four movements, a fifth was added in 1969
Questo vuol dire che for three female voices, small chorus, tape and other available resources (1968)
Sequenza VIIa for oboe (1969); arranged as Sequenza VIIb; reused in Chemins IV (1975)
Sequenza VIIb for soprano saxophone (1969); arrangement of Sequenza VIIa (1969)
Air for soprano and orchestra (1969); version for soprano, piano, violin, viola and cello (1970); movement from Opera (1970)
Chemins IIb for orchestra (1969); reworking of Chemins II (1967); reused in Chemins IIc (1972)
1970s
Melodrama for tenor and eight instruments (1970); movement from Opera (1970)
Opera for ten actors, soprano, tenor, baritone, vocal ensemble, orchestra (1970); includes reworked materials from Traces (1963); two movements, Air (1970) and Melodrama (1970) may be performed separately; revised in 1977 to include Agnus (1971) and E vó (1972)
Erdenklavier for piano (1970); published as the fourth movement of Six encores (1990)
Memory for electric piano and harpsichord (1970; revised 1973)
Autre fois: berceuse canonique pour Igor Stravinsky for flute, clarinet and harp (1971)
Ora for soprano, mezzosoprano, flute, cor anglais, chorus and orchestra (1971); withdrawn
Bewegung for orchestra (1971; revised 1984)
Bewegung II for baritone and orchestra (1971); withdrawn
Agnus for two sopranos, three clarinets and electric organ (1971); incorporated into the revised version of Opera (1977)
E vó for soprano and ensemble (1972); incorporated into the revised version of Opera (1977)
Chemins IIc for bass clarinet and orchestra (1972); Chemins IIb (1969) with an added solo part
Après Visage for tape and orchestra (1972); withdrawn
Coro for forty voices and instruments (1976); extended 1977
Ritorno degli snovidenia for cello and thirty instruments (1977)
Les mots sont allés... – "recitativo" for cello (1978)
Encore for orchestra (1978; revised 1981)
Scena (1979); incorporated into La vera storia (1981)
1980s
Entrata (1980); incorporated into La vera storia (1981)
Chemins V for clarinet and the 4C digital system, developed by Peppino di Giugno (1980) (Although this was informally performed at IRCAM the piece remained unfinished and was withdrawn. The solo clarinet part was slightly edited and became Sequenza IX.)
Sequenza IXa for clarinet (1980); drawn from Chemins V (1980); arranged as Sequenza IXb (1980) and Sequenza IXc (1980)
Sequenza IXb for alto saxophone (1980); arrangement of Sequenza IXa (1980)
Sequenza IXc for bass clarinet (1980); arrangement Sequenza IXa (1980)
Accordo for four groups of twenty-seven instruments (1980); the number of players may be multiplied, Berio preferred a total of at least 400 instruments
La vera storia for soprano, mezzosoprano, tenor, baritone, bass, vocal ensemble and orchestra (1981); incorporates Scena (1979) and Entrata (1980)
Corale for violin, two horns and strings (1981); the violin part is Sequenza VIII (1975)
Fanfara for orchestra (1982)
Duo – "teatro immaginario" for baritone, two violins, chorus and orchestra (1982); study for Un re in ascolto (1984)
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