Musica notturna delle strade di Madrid (Night Music of the Streets of Madrid), Opus 30 No. 6 (G. 324), is a quintettino (quintet) for stringed instruments (ca. 1780), by Luigi Boccherini, the Italian composer in service to the Spanish Court from 1761 to 1805.

Luciano Berio (24 October 1925 – 27 May 2003) was an Italian composer noted for his experimental work (in particular his 1968 composition Sinfonia and Sequenza, a series of solo pieces for instruments using extended techniques), and for his pioneering work in electronic music. His early work was influenced by Igor Stravinsky and experiments with serial and electronic techniques, while his later works explore indeterminacy and the use of spoken texts as the basic material for composition.

Luciano Berio (24 October 1925 – 27 May 2003) was an Italian composer noted for his experimental work (in particular his 1968 composition Sinfonia and Sequenza, a series of solo pieces for instruments using extended techniques), and for his pioneering work in electronic music. His early work was influenced by Igor Stravinsky and experiments with serial and electronic techniques, while his later works explore indeterminacy and the use of spoken texts as the basic material for composition.

List of works by the Italian composer Luciano Berio.

List of works by the Italian composer Luciano Berio.

Sinfonia for 8 Singing Voices and Orchestra is a 1968 work by the Italian composer Luciano Berio commissioned by the New York Philharmonic (for its 125th anniversary) and dedicated to Leonard Bernstein. The "singing voices" are not incorporated classically but rather speak, whisper and shout excerpts from texts in order to paint in sound an abstract and distorted history of culture. They are usually amplified. The source texts include Claude Lévi-Strauss's The Raw and the Cooked, Samuel Beckett's novel The Unnamable and instructions from musical scores by Gustav Mahler. The dedicatee writes in the text version of his Charles Eliot Norton Lectures from 1973 that Sinfonia was representative of the new direction classical music was taking after the pessimistic decade of the sixties.

A concerto (; plural concertos, or concerti from the Italian plural) is, from the late Baroque era, mostly understood as an instrumental composition, written for one or more soloists accompanied by an orchestra or other ensemble. The typical three-movement structure, a slow movement (e.g., lento or adagio) preceded and followed by fast movements (e.g., presto or allegro), became a standard from the early 18th century. The concerto originated as a genre of vocal music in the late 16th century: the instrumental variant appeared around a century later, when Italians such as Arcangelo Corelli and Giuseppe Torelli started to publish their concertos. A few decades later, Venetian composers, such as Antonio Vivaldi, had written hundreds of violin concertos, while also producing solo concertos for other instruments such as a cello or a woodwind instrument, and concerti grossi for a group of soloists. The first keyboard concertos, such as George Frideric Handel's organ concertos and Johann Sebastian Bach's harpsichord concertos, were written around the same time. In the second half of the 18th century, the piano became the most used keyboard instrument, and composers of the Classical Era such as Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven each wrote several piano concertos, and, to a lesser extent, violin concertos, and concertos for other instruments. In the Romantic Era, many composers, including Niccolò Paganini, Felix Mendelssohn, Frédéric Chopin, Robert Schumann, Johannes Brahms, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, continued to write solo concertos, and, more exceptionally, concertos for more than one instrument; 19th century concertos for instruments other than the piano, violin and cello remained comparatively rare, however. In the first half of the 20th century, concertos were written by, among others, Maurice Ravel, Edward Elgar, Richard Strauss, Sergei Prokofiev, George Gershwin, Heitor Villa-Lobos, Joaquín Rodrigo and Béla Bartók, the latter also composing a concerto for orchestra, that is without soloist. During the 20th century concertos appeared by major composers for orchestral instruments which had been neglected in the 19th century such as the clarinet, viola and French horn. In the second half of the 20th century and onwards into the 21st a great many composers have continued to write concertos, including Alfred Schnittke, György Ligeti, Dmitri Shostakovich, Philip Glass and James MacMillan among many others. An interesting feature of this period is the proliferation of concerti for less usual instruments, including orchestral ones such as the double bass (by composers like Eduard Tubin or Peter Maxwell Davies) and cor anglais (like those by MacMillan and Aaron Jay Kernis), but also folk instruments (such as Tubin's concerto for Balalaika, Serry's Concerto in C Major for Bassetti Accordion, or the concertos for Harmonica by Villa-Lobos and Malcolm Arnold), and even Deep Purple's Concerto for Group and Orchestra, a concerto for a rock band. Concertos from previous ages have remained a conspicuous part of the repertoire for concert performances and recordings. Less common has been the previously common practice of the composition of concertos by a performer to be performed personally, though the practice has continued via certain composer-performers such as Daniil Trifonov.

Luciano Berio (24 October 1925 – 27 May 2003) was an Italian composer noted for his experimental work (in particular his 1968 composition Sinfonia and Sequenza, a series of solo pieces for instruments using extended techniques), and for his pioneering work in electronic music. His early work was influenced by Igor Stravinsky and experiments with serial and electronic techniques, while his later works explore indeterminacy and the use of spoken texts as the basic material for composition.

The Modification and Instrumentation of a Famous Hornpipe as a Merry and Altogether Sincere Homage to Uncle Alfred, sometimes shortened to Hornpipe, is an arrangement for six players of Henry Purcell's Hornpipe, from The Fairy-Queen, by Italian composer Luciano Berio. This arrangement was composed in 1969.

Rendering is a 1989/1990 composition by the Italian composer Luciano Berio. Cast in three movements for full orchestra, it takes as its structure the fragmentary score of Schubert's uncompleted D major symphony, D 936A. The work lasts for around 33 minutes. Its first two movements were completed in 1989 and first performed in June of that year, with Nikolaus Harnoncourt conducting the Concertgebouw Orchestra in Amsterdam. The third movement followed early the next year, and all three movements were played together for the first time in April 1990 under Riccardo Chailly, also in Amsterdam. Berio claims to conduct a restoration of the sketches, entering where there are gaps or partial work. However, Brian Newbould, who made his own conjectural orchestration of the Schubert, has pointed out that Berio sometimes interrupts Schubert, even mid-phrase, where there is no gap in the sketch. As the title suggests, Berio fulfils a function close to that of a builder completing a house: his contributions fill the gaps like mortar fills the spaces in between the solid structure. Berio uses Schubertian motifs and quotes from the existing score, but in doing so emphasises the chasms in the score rather than attempting to smooth the interruptions away. As Giordano Montecchi states Schubert's fragments give rise to musical moments of vertiginous beauty which nevertheless constantly founder in the emptiness of what was "not done" - and Berio fills this emptiness with... an iridescent musical screed woven around the timbre of the celesta... separating the fragments and at the same time holding them together, enabling them to reach the symphonic goal for which they were intended..." Unlike pieces such as the various editions of Gustav Mahler's fragmentary Tenth Symphony, or Brian Newbould's conjectural orchestration of the Schubert, Rendering is intended as a completed work in its own right, rather than a 'performing version' of Schubert's Tenth. It is scored for 2 flutes, 2 oboes, 2 clarinets in B-flat, 2 bassoons, 2 horns in F, 2 trumpets, 3 trombones, timpani, celesta, and strings Rendering has proved one of Berio's most enduring pieces and has been recorded several times, twice by Chailly alone. When illness caused the Italian maestro to withdraw from performances in Munich in 2011, David Robertson took over and the result was a new reading and recording by the Bavarian Radio Symphony Orchestra.

The following is a non-exhaustive list of notable compositions for the harp.

The trombone is a musical instrument in the brass family. As with all brass instruments, sound is produced when the player's lips vibrate inside a mouthpiece, causing the air column inside the instrument to vibrate. Nearly all trombones use a telescoping slide mechanism to alter the pitch instead of the valves used by other brass instruments. The valve trombone is an exception, using three valves similar to those on a trumpet, and the superbone has valves and a slide. The word trombone derives from Italian tromba (trumpet) and -one (a suffix meaning 'large'), so the name means 'large trumpet'. The trombone has a predominantly cylindrical bore like the trumpet, in contrast to the more conical brass instruments like the cornet, the flugelhorn, the baritone, and the euphonium. The two most frequently encountered variants are the tenor trombone and bass trombone; when the word trombone is mentioned alone; it is mostly taken to mean the tenor model. These are treated as non-transposing instruments, reading at concert pitch in bass clef, with higher notes sometimes being notated in tenor clef. They are pitched in B♭, an octave below the B♭ trumpet and an octave above the B♭ contrabass tuba. The once common E♭ alto trombone became less common as improvements in technique extended the upper range of the tenor, but it is regaining popularity for its lighter sonority. In British brass-band music the tenor trombone is treated as a B♭ transposing instrument, written in treble clef, and the alto trombone is written at concert pitch, usually in alto clef. A person who plays the trombone is called a trombonist or trombone player.

The violoncello ( VY-ə-lən-CHEL-oh, Italian pronunciation: [vjolonˈtʃɛllo]), commonly abbreviated as cello ( CHEL-oh), is a medium-low pitched bowed string instrument of the violin family. Its four strings are usually tuned in perfect fifths: from low to high, C2, G2, D3 and A3. The viola's four strings are each an octave higher. Music for the cello is generally written in the bass clef; the tenor clef and treble clef are used for higher-range passages. Played by a cellist or violoncellist, the instrument enjoys a large solo repertoire with and without accompaniment, as well as numerous concerti. As a solo instrument, the cello uses its whole range, from bass to soprano, and in chamber music, such as string quartets and the orchestra's string section, it often plays the bass part, where it may be reinforced an octave lower by the double basses. Figured bass music of the Baroque era typically assumes a cello, viola da gamba or bassoon as part of the basso continuo group alongside chordal instruments such as organ, harpsichord, lute, or theorbo. Cellos are found in many other ensembles, from modern Chinese orchestras (as a replacement of Gehu 革胡）to cello rock bands.