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21701-Parole E Tes-Booklet-EN-Lay08.Indd English Luigi Nono Salvatore Sciarrino e Testi SCHOLA HEIDELBERG ensemble aisthesis Walter Nußbaum PAROLE 1 “L’opera d’arte m’attrae nel suo confuso … roughly locked into itself for the sake of formarsi anzi che in una pretesa com­ higher purity. Nono’s works and nature re- piutezza finale.” flect something of the intellectual honesty ( The work of art fascinates me more in the which Nietzsche longed for so ardently and confusion of its genesis than in any pre- which is so rarely produced by artists. sumed final fulfillment.) Hermann Scherchen, 1954 Salvatore Sciarrino, 2014 The sound events are mixed in such a man- The mysterious and powerful union betwe­ ner that the listener cannot perceive differ- en sound and words. Word and sound, ences between the original sound and the sound and word: that is singing. In order to time­space, neither in the concert nor when invent a song, it is not enough to compose listening to the recording, i.e. the listener for voice. It is necessary to first clean one’s cannot tell which sounds are being pro- spirit, in order to render the same intervals duced by the players or by the loudspeak- through which all the music in the world has ers at any given moment. passed, mountains of songs – in short, the Hans Peter Haller, 1991 gigantic garbage dump we live in. Ecology is the birth of a conscience in order to take ac- His … goal was to teach you how to pro- tion towards renewal. Thus, the ecology of duce music in one’s imagination, “thinking” sound means reverting to silence, ... only the it in different combined tempi …. This pro- mouth, its cavity, saliva remain. The lips are cedure required knowing what the last note loosened, confined by a dark void, by thirst would be when writing down the first. and by hunger. Luigi Nono on Bruno Maderna, 1987 Luigi Nono Salvatore Sciarrino, 2005 (Restagno, Incontri, 2004) We must not lose our optimism, but times are F.A.Z.: Your main characteristic? very difficult for culture today. For culture can- Luigi Nono: La nostalgia del futuro – not live by archiving alone. It must develop. If lon ging for the future. there is no development, there is no future. (F.A.Z., Fragebogen, 3.10.1986) Salvatore Sciarrino Salvatore Sciarrino, 2004 (Heidelberg, RNZ, 11.5.2004) 2 3 Salvatore Sciarrino (*1947) Salvatore Sciarrino (*1947) «L’alibi della parola» a quattro voci (1994) 14:07 «Tre canti senza pietre» a sette voci (1999) 20:16 – for [the] Hilliard Ensemble – 1 I. Pulsar (Augusto de Campos) 3:49 Members of SCHOLA HEIDELBERG: 9 I. (a Michel Serres) (mormorando) 8:13 Members of SCHOLA HEIDELBERG: 2 II. Quasar (Augusto de Campos) 3:56 Sopran: Carola Keil | Mezzo-soprano: Iris 0 II. (Liberamente accompagnando Controtenore: Joachim Buhrmann | 3 III. Futuro remoto (frammento da Wagner-Göttelmann | Contralto: Truike van con le pause) 6:58 Tenore 1: Sebastian Hübner | Tenore 2: Jörg Francesco Petrarca) 2:08 der Poel | Controtenore: Joachim q III. (silenzio è un muro con fessure) Deutschewitz | Basso: Ekkehard Abele 4 IV. Vasi parlanti Buhrmann | Tenore: Sebastian Hübner | 4:49 (pittori vascolari attici) 3:53 Baritono: Matthias Horn | Basso: UlrichMaier Luigi Nono (1924–1990) «Polifonica – Monodia – Ritmica» 18:33 B O N U S T R A C K per sei strumenti e percussioni (1951) 5 I. Polifonica – (Adagio/Allegro Luigi Nono (1924–1990) – Per Eunice Katunda [see p. 19 ] – mode- rato/Allegro) 1 0:50 «Polifonica – Monodia – Ritmica» 8:31 Newly reconstructed, unabridged 6 II. Monodia – (Largo) 5:51 per sei strumenti e percussioni (1951) w I. Polifonica – (Adagio/Allegro ‚Pre-World-Premiere‘ Version 7 III. Ritmica – (Allegro moderato) 1:52 – Per Eunice Katunda [see p. 19 ] – moderato/Allegro) (First Recording) | ensemble aisthesis: (version abridged by Hermann Scherchen) e II. Monodia – (Largo) Flauto: Brigitte Sauer | Clarinetto: Udo Grimm (live recording of the World Premiere, r III. Ritmica – (Allegro moderato) | Clarinetto basso: Winfried Rager | Saxofono Darmstadt 10.7.1951) alto: Sascha Armbruster | Corno: Erasmus Kowall | Piano: J. Marc Musicians of the Reichow | Percussioni: Dirk Rothbrust | M. Darmstadt Federal Theatre Orchestra TOTAL TIME 68:40 Homann | Boris Müller | Adam Weisman (Orchester des Landestheaters) ======================== conductor: Hermann Scherchen Luigi Nono: «Sarà dolce tacere» Canto per otto soli [SATB-SATB] da 8 Sarà dolce tacere 7:13 ‚La terra e la morte‘ di Cesare Pavese – a Bruno Maderna per il 21 aprile 1960 – Members of SCHOLA HEIDELBERG: Soprano 1: Carola Keil | Soprano 2: Iris Tenore 1: Joachim Buhrmann | Tracks 1 – 7 co-produced by Hessischer Rundfunk / hr2 Wagner-Göttelmann | Alto 1: Truike van der Tenore 2: Sebastian Hübner | Basso 1: Tracks w – r with friendly permission of Staatsorchester Darmstadt, Myriam Scherchen, Poel | Alto 2: Barbara Ostertag | Matthias Horn | Basso 2: Martin Backhaus Nuria Schoenberg Nono and IMD Darmstadt 4 5 Sinòssi – Lives & Works, a Selection 1944 * Massimo Cacciari (Venice) 1956 Nono, Zur Entwicklung der Serien- 1945 Cesare Pavese, Anche tu sei collina, 2.–4.7.1951 Second International Dodeca- technik (lecture in Gravesano, published as 1866 * Ferruccio Busoni (Empoli), H. G. in: La terra e la morte (Earth and Death) phony Congress and Darmstadt Summer an essay) Wells (Bromley) 28.4.1945 Liberation of Venice Course; there, among others: 1956 WP Nono, Il canto sospeso (Cologne, 1874 * Arnold Schoenberg (Vienna) 1947 Nono, graduation from law school 2.7.1951 WP Schoenberg, Tanz um das conducted by Scherchen) 1882 * Gian Francesco Malipiero (Venice) (Padua) and encounter with (lessons from, goldene Kalb from: Moses und Aron (con- 1957 Helmut Lachenmann, encounter with 1883 * Edgar(d) Varèse (Paris) friendship with) Bruno Maderna ducted by Scherchen) Nono 1891 * Hermann Scherchen (Berlin) 4.4.1947 * Salvatore Sciarrino (Palermo) 10.7.1951 World Premiere Nono, 1957 Nono, Die Entwicklung der Reihentech- 1904 * Luigi Dallapiccola (Mitterburg/Pazin) 1948 Maderna, Nono, Eunice Katunda par- Polifonica – Monodia – Ritmica nik and Schoenberg Seminar (Darmstadt) 1908 * Cesare Pavese (Cuneo) ticipate in Scherchen’s conducting course in (abridged and conducted by Scherchen) 1958–1960 Helmut Lachenmann studies 1912 Scherchen participates in the prepara- Venice: friendship and mutual inspiration 13.7.1951 † Arnold Schoenberg (Los Angeles) with Nono (Venice) tion for the world premiere (WP) of Schoen- 1950 Scherchen conducts and speaks in 1952 Nono and Maderna join the CPI 1958 Nono attends the Warsaw Autumn berg’s Pierrot lunaire op. 21 (Berlin) Prague, whereupon a campaign begins and 1952 WP Nono, Epitaffio per Federico Festival and writes Diario polacco ’58 14.3.1915 * Eunice Katunda (Rio de Janeiro) his contract in Winterthur (CH) is cancelled; García Lorca No 1 (Darmstadt, conducted 1960 Nono, Text­Musik­Gesang (lecture in 1919 * Emilio Vedova (Venice) founding of the publishing house Ars Viva by Bruno Maderna), No 2 (Baden-Baden, Darmstadt, published as an essay) 1920 Scherchen, founding of MELOS (Berlin) (Zurich) conducted by Hans Rosbaud) 21.4.1960 Nono, Sarà dolce tacere, com- 21.4.1920 * Bruno Maderna (Venice) 1950 Nono participates in the Darmstadt 1953 No 3 (Hamburg, conducted by posed and dedicated to Bruno Maderna 29.1.1924 * Luigi Nono (Venice) Summer Course for the first time; there, Maderna) on his 40th birthday 27.7.1924 † Ferruccio Busoni (Berlin) among others: 1953 Publishing house Ars Viva taken over 7.2.1961 its World Premiere (Washington) 1924 Schoenberg in Italy, ten performances 20.8.1950 German Premiere (GP) of by B. Schott’s Söhne, Mainz 13.4.1961 WP Nono, Intolleranza 1960 of Pierrot lunaire Schoen berg, A Survivor from Warsaw Op. 46 12.3.1954 WP (in concert) Schoenberg, (Venice, conducted by Bruno Maderna), 1930 * Michel Serres (Agen) 26.8.1950 WP Maderna, Composizione II Moses und Aron (Hamburg, conducted dedicated to Arnold Schoenberg 1931 * Augusto de Campos (São Paulo) (conducted by Scherchen), by Rosbaud), Nono first encounters Nuria 1965 Nono, first visit to Los Angeles 1932 * Nuria Schoenberg (Barcelona) 27.8.1950 WP (scandal) Nono, Variazi- Schoenberg 1965 † Edgar(d) Varèse (New York?) 1935 Scherchen, founding of the publishing one canoniche sulla serie dell’op.41 di A. 1954 Scherchen founds his own studio in 12.6.1966 † Hermann Scherchen after house Ars viva (Brussels) Schoenberg (conducted by Scherchen) Gravesano (Ticino) a heart attack suffered while conducting a 1935 * Helmut Lachenmann (Stuttgart) Edgard Varèse in Darmstadt (GP of Ionisa- 1954 Nono, Liebeslied, dedicated to Nuria work by Malipiero (Florence) 1937 Scherchen moves to Switzerland tion, among other works) 1955 Nono, Canti per 13 and Incontri, mar- 1967 Sciarrino, Un fruscìo lungo trent’anni 1942 f. Nono studies law in Padua; also 27.8.1950 † Cesare Pavese (suicide, Turin) ries Nuria Schoenberg (A Thirty­Year Swishing) for 4 percussionists studies music with Malipiero and his student 1951 Nono composes the cantata Fucik and 1955 (–1966) Scherchen, Gravesaner Blätter (published 1999) Raffaele Cumar Polifonica – Monodia – Ritmica (publication series) 1973 WP Sciarrino, Amore e Psiche 6 7 1.8.1973 † Gian Francesco Malipiero 1990f. Sciarrino, Perduto in una città d’acque (Treviso) (per pianoforte), inspired by a visit to Nono 13.11.1973 † Bruno Maderna (Darmstadt) during his illness in Venice 1973 Nono, essay Erinnerung an zwei Musi- 3.8.1990 † Eunice Katunda (São José dos ker (Malipiero and Maderna) Campos) 1975 Augusto de Campos, Caixa preta 1991 WP Sciarrino, Morte a Venezia (concrete/graphic poetry) 1993 Opening of the Archivio
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