ALP Update Alumni Edition October 2011
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Holland Festival Luigi Nono: Trilogie Van Het Sublieme
LUIGI NONO: TRILOGIE VAN HET SUBLIEME VAN TRILOGIE LUIGI NONO: HOLLAND FESTIVAL PROGRAMMA / PROGRAMME do 19.6 / thu 19.6 vr 20.6 / fri 20.6 za 21.6 / sat 21.6 zo 22.6 / sun 22.6 lunchconcerten symposium / conference symposium / conference tentoonstelling / exhibition Rijksmuseum, Passage Universiteitstheater Transformatorhuis Westergasfabriek Luigi Nono 1924–1990 Nono Interventions “... Hay que caminar ...” “... Hay que caminar ...” Maestro di suoni e silenzi Luigi Nono’s musical paths between politics Luigi Nono’s musical paths between politics and art and art tentoonstelling / exhibition concert Westergasfabriek Gashouder Westergasfabriek Gashouder tentoonstelling / exhibition Luigi Nono 1924–1990 Westergasfabriek Gashouder Caminantes … Ayacucho Maestro di suoni e silenzi Kyrie uit from Sacrae Symphoniae Luigi Nono 1924–1990 No hay caminos, hay que caminar … Andrej Maestro di suoni e silenzi Tarkowski concert Gloria uit from Sacrae Symphoniae Westergasfabriek Gashouder concert Prometeo. Tragedia dell’ascolto Westergasfabriek Gashouder Il canto sospeso Non consumiamo Marx Como una ola de fuerza y luz concert Westergasfabriek Gashouder La lontananza nostalgica utopica futura 2 3 INHOUD CONTENT programma context programme context Prometeo Tentoonstelling Prometeo Exhibition Info, credits, programma 6 Luigi Nono 1924–1990 Info, credits, programme 6 Luigi Nono 1924–1990 Toelichting 8 Maestro di suoni e silenzi Programme notes 10 Maestro di suoni e silenzi Info en credits 76 Info and credits 76 Il canto sospeso Il canto sospeso Info, credits, programma 12 Luigi Nono: symposium Info, credits, programme 12 Luigi Nono: symposium Toelichting 14 “... Hay que caminar ...” Programme notes 17 “... Hay que caminar ...” Info, programma 77 Info, programme 77 La lontonanza nostalgica Samenvattingen 78 La lontonanza nostalgica Abstracts 82 utopica futura utopica futura Info, credits, programma 20 Info, credits, programme 20 Toelichting 22 Programme notes 23 Caminantes .. -
Zur Person Berufliche Tätigkeiten
Matthias Theodor Vogt Klingewalde 40 Prof. Dr. phil. Dr. habil. Prof. h.c. D-02828 Görlitz www.kultur.org [email protected] Zur Person Tel.: +49/3581/42094.22 (01/2016) Fax: +49/3581/42094.28 GEBOREN am 5. Mai 1959 in Rom, römisch-katholisch, verheiratet, drei Kinder. Aufgewachsen in und bei Freiburg/Breisgau, 1979 humanistisches Abitur. Studium der Theaterwissenschaften, Philosophie, Germanistik und Musikwissenschaften an den Universitäten München LMU, Paris III, Aix-en-Provence, Berlin TU. 1983 Magister Artium (bei Klaus Lazarowicz und Susanne Vill, Ludwig-Maximilians-Universität München), 1988 Promotion zum Dr. phil. (bei Carl Dahlhaus, Technische Universität Berlin), 2008 Promotion zum Dr. habil. (am Institut für Baukunst der Mihály-Pollack-Fakultät, Universität Pécs / Fünfkirchen). 2012 Promotion zum Professor honoris causae der Universität Pécs / Fünfkirchen. 2014 Offizierskreuz des Verdienstordens der Republik Polen Regelmäßige Vortragstätigkeit auf deutsch, englisch, französisch und italienisch in zahlreichen Ländern seit 1983. Kontinuierliche Forschungstätigkeit seit 1990. Forschungsgebiete: Kulturgeschichte Europas, insbesondere kulturelle Transformationsprozesse; Kulturpolitikwissenschaften; Minderheitenfragen, Interkulturalität Zeitgenössisches Musiktheater. Kontinuierliche Lehrtätigkeit seit 1994. Rund 200 Bücher und Aufsätze als Autor, Herausgeber und Mitherausgeber. Zwei Schriftenreihen im Verlag Peter Lang Bern, Berlin, Bruxelles, Frankfurt am Main, New York, Oxford, Wien. Mitherausgeber u.a. Europäisches Journal für Minderheitenfragen -
Genesi Ed Estetica Del Suono Nel Prometeo Di Luigi Nono
Simone Broglia “Vibrano intese segrete”. Genesi ed estetica del suono nel Prometeo di Luigi Nono. Il Prometeo rappresenta per Nono il raggiungimento di un’idea: l’opera in funzione dell’ascolto. Arriva quasi al termine della carriera del compositore, segnando così il picco massimo di una ricerca tanto profonda da non riuscire ancora ad ammettere sintesi, ma solo l’unione più o meno organica e vitale di diverse parti che vanno a formare il corpo di un gigante. La sintesi arriverà dopo Prometeo, con la maturità di un’esperienza tanto complessa che gli permetterà di lavorare in formazioni più agili e progetti meno dispendiosi. Prometeo è un’opera del 1984, la cui idea nasce però anni prima con Io, frammento da Prometeo del 1981 e che si farà carico di portare con sé i vari campi della ricerca noniana. Quella di un nuovo teatro musicale, che parte con Intolleranza 1960 e si sviluppa con Al gran sole carico d’amore e che ha l’intento primario di cercare un maggiore coinvolgimento sinestetico attraverso il dislocamento spaziale della scena. La ricerca sulla dimensione elettroacustica, che passa dalla fissità del nastro magnetico suonato con lo strumento dal vivo alla continua capacità di dialogo rigenerante del live electronic e del calcolatore 4i; la ricerca compositiva sulle prassi esecutive e i microintervalli. A questo lavoro di carattere estetico si deve sommare però, come spesso avviene in Nono, una necessità etica: portare in primo piano l’ascolto vuol dire sviluppare una modalità sovversiva rispetto al sistema egemone di trasmissione acustica, estetica e culturale. Ecco allora che, se Venezia diventa la similitudine primaria di un ascolto contrario alla monodirezionalità, il coinvolgimento del giovane architetto Renzo Piano diventa essenziale per la progettazione di uno spazio in grado di ricreare un multiverso sonoro. -
Luigi Nonos »Prometeo, Tragedia Dell'ascolto«
Aus: Martha Brech Der komponierte Raum: Luigi Nonos »Prometeo, tragedia dell'ascolto« August 2020, 270 S., kart., 94 SW-Abb. 40,00 € (DE), 978-3-8376-5293-2 E-Book: PDF: 39,99 € (DE), ISBN 978-3-8394-5293-6 Raum kann integraler Bestandteil einer Komposition sein – davon handelt der drit- te Teil der Trilogie zum hörbaren Raum und seiner Technologie. Im Mittelpunkt der Studie steht mit Nonos Prometeo eine der bekanntesten und komplexesten Raum- kompositionen des 20. Jahrhunderts. Ausgangspunkt der Untersuchung ist die Re- konstruktion des hörbaren Klangs der im speziellen Holzbau von Renzo Piano ver- teilt aufgestellten Musiker, Sänger und Lautsprecher bei der Uraufführung 1985. Die Analyse der Raum-Klang-Verhältnisse zeigt, dass die elf Teile des Prometeo aus sich ständig wandelnden Raumklangskulpturen bestehen, die mit den Texten aus Massimo Cacciaris Libretto interagieren. Martha Brech (PD Dr.) ist Musikwissenschaftlerin und Tontechnikerin. Sie forscht und lehrt zum Thema elektroakustischer Musik an der Technischen Universität Berlin im Fachgebiet Audiokommunikation. Weitere Informationen und Bestellung unter: www.transcript-verlag.de/978-3-8376-5293-2 © 2020 transcript Verlag, Bielefeld INHALT Vorwort / Danksagung | 7 Einleitung I Prometeo – Prometheus | 9 II Raum in der Musik / Raum im Prometeo | 11 III Musikalische Mittel in Raumkompositionen | 13 IV Zur Analyse der hörbaren klangräumlichen Beziehungen im Prometeo | 26 Analysen Vorbemerkungen | 55 Analyse Prologo | 57 Analyse 1° Isola | 91 Analyse 2° Isola / 2° Isola a (Io – Prometeo) -
Luigi Nono Prometeo, Tragedia Dell'ascolto LUIGI NONO (1924–1990)
contemporary Luigi Nono Prometeo, Tragedia dell'ascolto LUIGI NONO (1924–1990) PROMETEO, TRAGEDIA DELL’ascOLTO (1981/1985) for singers, speakers, chorus, solo strings, solo winds, glasses, orchestral groups, and live electronics Arrangement of texts by Massimo Cacciari SACD 1 1 I. PROLOGO 20:07 2 II. ISOLA 1° 23:06 3 III. ISOLA 2° a) IO–PROMETEO 18:03 4 b) HÖLDERLIN 08:10 total time 69:38 SACD 2 1 c) STASIMO 1° 07:48 2 IV. INTERLUDIO 1° 06:41 3 V. TRE VOCI a 12:05 4 VI. ISOLA 3°– 4°– 5° 17:10 5 VII. TRE VOCI b 06:48 6 VIII. INTERLUDIO 2° 05:01 7 IX. STASIMO 2° 08:56 Peter Hirsch, Luigi Nono (May 1986, Köln) total time 64:54 3 Petra Hoffmann, Monika Bair-Ivenz, soprano Solistenensemble des Philharmonischen Orchesters Freiburg Susanne Otto, Noa Frenkel, alto Hubert Mayer, tenor Sigrun Schell, Gregor Dalal, speakers Solistenensemble des SWR Sinfonieorchesters Baden-Baden und Freiburg Solistenchor Freiburg electronic realization: EXPERIMENTALSTUDIO für akustische Kunst e. V., Monika Wiech, Elisabeth Rave, Svea Schildknecht, soprano former EXPERIMENTALSTUDIO der Heinrich-Strobel-Stiftung Birgitta Schork, Evelyn Lang, Judith Ritter, alto des Südwestrundfunks e. V. Thomas Gremmelspacher, Klaus Michael von Bibra, Martin Ohm, tenor Uli Rausch, Matthias Schadock, Philipp Heizmann, bass André Richard, director, chorus master, artistic coordination, spatial sound conception, sound director ensemble recherche Reinhold Braig, Joachim Haas, Michael Acker, sound directors Bernd Noll, sound technician Martin Fahlenbock, flutes Shizuyo Oka, clarinets Barbara Maurer, viola Peter Hirsch, 1st conductor Lucas Fels, violoncello Kwamé Ryan, 2nd conductor Mike Svoboda, alto trombone, euphonium, tuba Ulrich Schneider, contrabass Christian Dierstein, Klaus Motzet, Jochen Schorer, glasses 4 5 PRÄAMBEL ANSPRUCH (UND) BESCHEIDENHEIT Luigi Nonos »Prometeo« im Aufbruch zu neuen Verhältnissen D Luigi Nono hat fast sein gesamtes Spätwerk in Zusammenarbeit mit dem EXPERI- MENTALSTUDio des SWR realisiert. -
Martha Brech Composed Space in Luigi Nono's Live-Electronic
Proceedings of the Electroacoustic Music Studies Network Conference, Florence (Italy), June 20-23, 2018. www.ems-network.org Martha Brech Composed Space in Luigi Nono’s Live-Electronic Composition Prometeo Research project: History and Technology of Musical Spaces Audio Communication Group, Technical University Berlin [email protected] Introduction Among the electroacoustical space compositions of the pre-digital era, Luigi Nono’s Prometeo, tragedia dell’ ascolto (1985) is extraordinary—not only because it is still performed regularly today, it is also an extremely complex work of the mixed category. Nono composed it as a texture of interwoven musical fragments, some based on lyrics that Nono had fragmented and rearranged from a libretto by Massimo Cacciari’s which itself was based on antique Greek mythologies, Ayschylos’ Prometheus tragedy, and modern literature excerpts from Friedrich Hölderlin and Walter Benjamin. Performing the work requires four orchestra groups, solo wind and string groups, a glass soloist (used as percussion), a mixed choir, a group of five solo singers and two speakers, a huge amount of equipment for live electronics (such as harmonizer, vocoder, reverb, delay, a sound motion device called Halaphon etc.), and at least twelve loudspeakers. Each group of musicians and each loudspeaker are placed on an individual position in the performance hall. Because until today only little was known about precisely how space is involved in the composition and what its functions are therein, the focus of my research project on spatial composition in the analogue era lies, at the moment, on the spatial aspects and their composition and representation in Prometeo —and that is also the focus of this paper. -
Mario Lavista
Música para charlar Música para charlar is the title of a piece by Silvestre Revueltas, and can be translated as “chit-chat” or “background music.” Hopefully, the music on this concert will mark the beginning of a fruitful dialogue between those who make music on both sides of the border: some small talk over the picket fence that separates our neighboring backyards or, as Revueltas would have liked it, a frank exchange of ideas over, let’s say, a few glasses of tequila. —Carlos Sanchez-Gutierrez This concert is made possible in part by major grants from the US-Mexico San Francisco Contemporary Music Players Fund for Culture and the Clarence E. Heller Charitable Foundation. We thank also the Zellerbach Family Fund and the William and Flora Hewlett Monday, May 13, 2002 at 8 pm Foundation for their support of this evening’s program. Center for the Arts Theater Carlos Sanchez-Gutierrez’s Clyde Beatty is Dead was commissioned with a grant from the Fromm Music Foundation at Harvard University, which has also helped to underwrite this premiere performance. Música para charlar JAVIER TORRES MALDONADO Performers Figuralmusik II (1996) U.S. Premiere Tod Brody, flute William Wohlmacher, clarinet RICARDO ZOHN-MULDOON Blair Tindall, oboe Danza Nocturna (1986, rev. 1989) Rufus Olivier, bassoon Gianna Abondolo, cello Lawrence Ragent, horn Julie Steinberg, piano Charles Metzger, trumpet I William Winant, percussion Ralph Wagner, trumpet II Hall Goff, trombone UAN RIGOS Peter Wahrhaftig, tuba J T Roy Malan, violin I Ricercare II (1993, rev. 1998) -
6. January 2021 Luigi Nono: Intolleranza 1960 Download
Luigi Nono: Intolleranza 1960 Luigi Nono © Roberto Masotti / Lelli e Masotti Archivio During the 2021 Festival summer, two completely opposed ways of perceiving the world are a central preoccupation of our opera and theatre productions: radical individualism versus the humanistic idea of a society based on solidarity, as invoked by Luigi Nono in his work Intolleranza 1960. “Nono’s reflections have never been more important than today.” “While Don Giovanni, Richard III or even Elektra bestride the world with remarkable ruthlessness, acting almost without human ties and without systems of social order,” Artistic Director Markus Hinterhäuser explains, “we join Luigi Nono in asking the important questions: what is community? How can we try to find a kind of justice? – Thus, we offer a counter-model to radical individualism, namely Luigi Nono’s appeal to humanity: Intolleranza 1960 – a work of humanism, a work of altruism, a work of justice.” Luigi Nono’s Intolleranza 1960 can be understood as a modern passion, focusing on the awakening of human consciousness and the fundamental conditions of human life. “Luigi Nono speaks of the certainty that humans must be helpers to humankind. There is no truer way to phrase this: how we as humans must act and react within a world which is increasingly relentless, but with which we must deal, in which we must live. This reflection on the notions of ‘tolerance’ and ‘intolerance’ has presumably never been more important than today, now, at this very hour,” says Markus Hinterhäuser. Over the course of the past three decades, Luigi Nono’s works have been performed in benchmark productions in Salzburg. -
MTO 12.1: Guerrero, Serial Intervention in Nono's Il Canto
Volume 12, Number 1, February 2006 Copyright © 2006 Society for Music Theory Jeannie Ma. Guerrero KEYWORDS: Nono, total serialism, integral serialism ABSTRACT: The instrumental movements of Luigi Nono’s Il canto sospeso exhibit a variety of procedures that override determinations made by serial structures. The overrides, as I describe them, yield novel textures in multiple musical dimensions and seem to inspire Nono’s experimentation with electronic media later in his career. Further, multidimensional textures create formal musical and symbolic regions that underlie Nono’s projection of highly charged textual matter. Received January 2006 [1] Nono’s experimentation with total serialism during his association with the Darmstadt Summer Courses (roughly 1950 to 1960) produced works whose lineage to serialism becomes interwoven with other compositional strands. The mixture of ideas fosters competition between organizing forces in his compositions from that time, yielding an outward appearance of erratic or conflicted behavior especially with regard to serial principles of ordering.(1) For instance, Nono’s studies in Renaissance puzzle canons during the previous decade shaped his musical endeavors.(2) Not unlike his contemporaries, he occasionally used imitative procedures inspired by puzzle canons as organizing elements that operated beyond the reach of serial material.(3) Pitch-class palindromes, for example, subject their generative twelve-tone series to replicative symmetry, in complete independence from any inherent symmetry that the -
Luigi Nono: a Composer in Context Carola Nielinger-Vakil Frontmatter More Information
Cambridge University Press 978-0-521-84534-2 - Luigi Nono: A Composer in Context Carola Nielinger-Vakil Frontmatter More information Luigi Nono The anti-fascist cantata Il canto sospeso, the string quartet Fragmente – Stille, an Diotima and the ‘Tragedy of Listening’ Prometeo cemented Luigi Nono’s place in music history. In this study Carola Nielinger-Vakil examines these major works in the context of Nono’s amalgamation of avant-garde composition with communist political engagement. Part I discusses Il canto sospeso in the context of all of Nono’s anti-fascist pieces, from the unfinished Fučík project (1951) to Ricorda cosa ti hanno fatto in Auschwitz (1966). Nielinger-Vakil explores Nono’s position at the Darmstadt Music Courses, the evolution of his compositional technique, his penchant for music theatre and his use of spatial and electronic techniques to set the composer and his works against the diverging circumstances in Italy and Germany after 1945. Part II further examines these concerns and shows how they live on in Nono’s work after 1975, culminating in a thorough analysis of Prometeo. carola nielinger-vakil is a freelance flautist and musicologist based in London. She has published widely on the music of Luigi Nono. In collaboration with Martin Brady, she has also written on film music by Paul Dessau. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-84534-2 - Luigi Nono: A Composer in Context Carola Nielinger-Vakil Frontmatter More information Music Since 1900 general editor Arnold Whittall This series – formerly Music in the Twentieth Century – offers a wide perspective on music and musical life since the end of the nineteenth century. -
Luigi Nono Prometeo Tragedia Dell’Ascolto
STR 37096 Luigi Nono Prometeo Tragedia dell’ascolto PMS PMS 000 000 4 Teatro Farnese venerdì 26, sabato 27, domenica 28 maggio 2017, ore 20.30 PROMETEO TRAGEDIA DELL’ASCOLTO Per solisti vocali e strumentali, coro misto, quattro gruppi strumentali e live electronics Ensemble Prometeo Musica di LUIGI NONO Casa Ricordi, Milano. Nuova edizione a cura di André Richard e Marco Mazzolini Testi a cura di MASSIMO CACCIARI da Walter Benjamin (Sul concetto di storia), Eschilo (Prometeo incatenato), Euripide (Alcesti), Johann Wolfgang von Goethe (Prometeo), Erodoto (Storie I, 32), Esiodo (Teogonia), Friedrich Hölderlin (Schicksalslied e Achill), Pindaro (Nemea, VI), Arnold Schönberg (Das Gesetz e Moses und Aaron), Sofocle (Edipo a Colono) Direttore MARCO ANGIUS Soprani Contralti Tenore LIVIA RADO KATARZYNA OTCZYK MARCO RENCINAI ALDA CAIELLO SILVIA REGAZZO Voci recitanti Live electronics SERGIO BASILE ALVISE VIDOLIN MANUELA MANDRACCHIA NICOLA BERNARDINI Direttore assistente Maestro del coro CATERINA CENTOFANTE MARTINO FAGGIANI Coro del Teatro Regio di Parma ENSEMBLE PROMETEO FILARMONICA ARTURO TOSCANINI CORO DEL TEATRO REGIO DI PARMA Assistente ai live electronics Luca Richelli Altro maestro del coro e maestro collaboratore Massimo Fiocchi Malaspina; Maestro collaboratore Claudio Cirelli Direttore di scena Giacomo Benamati Si ringrazia BH Audio per l’assistenza tecnica e la fornitura delle apparecchiature elettroacustiche ed elettroniche Si ringrazia Centro di Sonologia Computazionale dell’Università di Padova Responsabile di produzione Ilaria Pucci; -
National Endowment for the Arts FY 2017 Spring Grant Announcement
National Endowment for the Arts FY 2017 Spring Grant Announcement Artistic Discipline/Field Listings Project details are accurate as of June 5, 2017. For the most up to date project information, please use the NEA's online grant search system. Click the grant category or artistic discipline/field below to jump to that area of the document. 1. Art Works grants by discipline/field Arts Education Dance Folk & Traditional Arts Literature Local Arts Agencies Media Arts Museums Music Opera Presenting & Multidisciplinary Works Theater & Musical Theater Visual Arts 2. Research: Art Works Grants 3. Our Town Grants 4. Partnerships (State & Regional) Arts Education Number of Grants: 113 Total Dollar Amount: $3,375,000 Abada-Capoeira San Francisco $10,000 San Francisco, CA To support the expansion of a capoeira residency and performance program for students in San Francisco area schools. Students will learn capoeira, a traditional Afro-Brazilian art form that combines ritual, self-defense, acrobatics, and music in a rhythmic dialogue of the body, mind, and spirit. Students will develop their physical and cognitive skills through weekly classes with professional artists, learning the physical elements of the art form, the music, historical and cultural information, and performance concepts. Students will work in partners and as a group, interacting in an atmosphere that encourages creativity and spontaneity. Emphasis will be placed on teamwork, concentration, and the use of movement, rhythm, and song as methods of expression. Actors' Shakespeare Project (aka ASP) $30,000 Somerville, MA To support Shakespeare Inside and Out youth theater programs. Participating youth (many of whom are involved in the court system) develop artistic, literacy, social, and pre-professional skills through the study of Shakespeare and other ensemble-based theater projects.