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The title of this work aptly describes its cheerful, adventurous character; experiments abound, especially in the first and third moments, entitled Mattina and Convivium. Between them is a Notturno contrasting with the first movement. The voices are treated like instruments in Mattina, called upon to produce “quasi pizzicato sounds,” whereas legato predominates in Notturno, accompanied by a languorous clarinet solo; then Berger presents Convivium, making it sound like a drinking orgy. Throughout the work, the winds and the percussion are used very sparingly; the male chorus plays the main role, singing wordlessly.