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Routledge Handbook to Luigi Nono and Musical Thought

Jonathan Impett

Confronting Modernism

Publication details https://www.routledgehandbooks.com/doi/10.4324/9780429485732-4 Jonathan Impett Published online on: 19 Oct 2018

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Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 support Scherchen’sincreasing interestinperformingpre-classicalmusic. far asmeansallowed,visitedhim athishomeRapalloinLiguria,andcarriedoutresearch to assistant tobothMadernaand,increasingly,Scherchen.He attended Scherchen’sconcerts,as mirrors, totalchromatic harmonyconsolidating aboutquasi-tonalcentres –butmaintaina embody muchofDallapiccola’s influence–contrapuntaldevelopmentthroughcanons and and teachingwereasingleprocess ofsharedintensity.Maderna’searlyserialexperiments rapid, avariciousevolutionof Maderna’s compositionalthought;forMaderna,study,research Internationalen FerienkursefürneueMusik School. score toWolfgangSteinecke,founder,directorandguiding lightoftheDarmstadtSummer canoniche sullaseriedell’op.41diArnoldSchönberg submit worksfortheconcertshewastoconduct.Nonoworked ontheorchestral at Darmstadtin1947;onthisoccasionheproposedthatboth hisVenetianapprenticesshould can beovercome.’ jury, andIthinkthattheworkwillbeprogrammedifconsiderable performancedifficulties As Maderna’sconductingcareerbegantoflourish,Nono foundhimselfintheroleof Antoine Goléa’sfloriddescriptionconveystheimpactNono madeattheDarmstadt forwards, withlongspacesbetweenthem,inhabitedbyadisturbingsilence. soft shortsoundsorganisedthemselveslikeaprocessionofsignalsmovingslowly call insoundjustasavacuumcallstheair,irresistibly.[. . .] Littlebylittle,these scandal provoked,aboveall,bythesonicconsistencyofthismusic,whichseemedto him, withoutthinkingtwiceIwouldhavethoughthimtobeFrancisofAssisi.[. . .] never understood,anapparition,transparentintheairwhichseemedtovibratearound mysterious innervision,awhisperingvoice,airy,dyingonfinalsyllableswhichone expression, whichseemedtocomefromveryfarandbegoingfar,towardssome of thepre-renaissance,perhapsonefamiliarsaints.Thegentlenessavague all length,whichirresistiblymadeonethinkofthatsomepainting,stillprimitive, Tall, long,infinitelyslim,hecarriedonhisstraightnarrowshouldersaheadlikewise 3 These Variationsintheformofacanongaverisetoanenormousscandal,[. . .] a A monthlater,Steineckerepliedthat‘Thescoremetwith the highapprovalof 4 He immediatelyofferedNonoascholarshiptoattendthecourse. CONFRONTING MODERNISM The emergenceofalanguage Darmstadt in August1950. 3 36 rmautumn1949. InMay1950hesenthis from 2 Scherchen hadfirsttaughtconducting 5 He waspartytothe Variazioni 1 Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 Piece that willevolveandresurfacethroughouthiswork. consider hisearlyproceduresinsomedetail;weseetheemergenceofparadigmsandpractices compositional modernismandpoliticsiscrucialtotheindependencepoetryofhiswork. Nono developedthisapproachbeforebecomingembroiledinthewiderdiscoursesof composition asanethicalactivitysubtendsthepoeticintegrityofmusicalsurface.That properties throughaniterativecompositionalprocess.Atthesametime,aself-awarenessof Nono’s essentialistapproachtomaterialallowshimcarefullymanageitsevolvingstructural miraculously fineresources.Theseresourceshaveacruciallackofmimeticorsemanticburden. if theresultistobeasingleline–andinitialspinningofitswarpwooffrom are here,particularlytheweavingofdenselyworkedmaterialfrompolyphonicstrands–even foundations ofhissubsequentpractice.Manythefundamentalcomponentstechnique he consciouslysetsouttheelementsofacoherent,self-assuredandindividuallanguage of structuralandreferentialelementsismoremediatedinNono’smusic.In connections reflectingthediversityofhismusicalexperience.Fromoutset,interweaving Variazioni canoniche Figure 3.1 the outset.Hewritesouttwelve-noterowsfrom The ideaofbasingsuchasignificantworkonmaterialfrom SchönbergwaswithNonofrom yet likeDallapiccola,enclosedwithinhisrock-crystal.’ the, letssay,“traditional”technique.ButIneverreallyfeltlikepooroldLeibowitz[. . .] nor reflective distance:‘Personally,Ithoughtthatserialismofferedmusiciansmorepossibilitiesthan as referenceforNonoinmany respects. Sprechgesang as aseriesofintervalswellpitches.SchönbergsetsByron’s poemagainsttyrannyfor semitone andmajor3rd(Figure3.1).AsinhisnotesfromScherchen’slectures,eachisnotated The op.41rowstandsoutinitsreflectivesymmetryand concentrationontwointervals: Nono’s concisedescriptionofhisprocessholdsformuchcareer.Thischapterwill Maderna’s workretainsasyntheticquality;heconfrontsthelistenerwithmultiplicityof composition wasneverthemakingconcreteofpreformedstructures. appropriate formfromthematerialanditsinherentpossibilities.Thusforme just toseeinwhatdirectionsitcouldevolve.AndthenIcomposed,deducedan rhythmic. ThenIexperimentedwiththismaterial,subjectedittovariousprocedures like anetthatextendsinalldirections.[. . .] in termsoftheverticalorhorizontalbutembraceeverylevelcomposition– between resultingmusicalfigures;andtheserelationshipscannotbeexplainedaway important; forexamplepitchesdonotcountsomuchasintervals,therelationships with hisequalsandsociety.Inmyfirstpiecesindividualsoundsarenotso For meithasalwaysbeenclearthatamancanrealisehimselfonlyinhisrelationships op. 33aand I alwaysworkedinthreestages.Firstchosethematerial,intervallic,timbral, ‘Variazioni canonichesullaseriedell’op.41diArnold Schönberg’ , stringsandpiano.The Piano Concerto : seriesfromSchönberg op.41asnotatedbyNono Confronting modernism:Darmstadt op. 42aswellthe41 Ode is theembodimentofhisownethicalstanceandserves 37 6 Suite Ode toNapoleonBuonaparte op. 29, Quartet 7 Variazioni canoniche op. 30, Piano itself. Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 to sustainhisaestheticvision.Ashemapstheterrainofnewwork,modelsandprocedures Due lirichegreche scope approach toNono’searlyworks,butitstracesremainthroughoutthenextfortyyears. Guerrero makesaconvincingargumentforthefundamentalimportanceofHindemith’s (5 46+3+6–3–7–2+4+7+2–inNono’sdiatonicnotation).Thispracticewouldpersist; content ofeachseriesagainstanaxis‘calma–tensione’derivedfromHindemith’s result, andsubsequentlyeverythird,eliminatingpitchesalreadyused.Hemapstheinterval generate threenewseries.Hetakeseveryseventhnoteoftheoriginal, will persistandevolve.Forexample,heusesaniterative,narrowingspiralremappingto emerge thatallowaglimpseofNono’sconceptualmusicalspace–archetypesthought sequence ofvaluesreducingfromeightsemiquaverstoone,thelastthreegroupedtogether On thesamesheethesetsoutrhythmicbaseofwork–acharacteristicallyessentialist Canti diPrigionia Gregorian chantwasastapleinScherchen’sclasses.The Schönberg’s row,itconsistsalmostentirelyofsecondsandthirds.Theintervalanalysis serial explorationappearverses9and10fromtheGregorian The Eheconsiderseliminating;infact,itwillbecomeastructuralpivot.Inthemidstofthis compositional process. by Scherchen.SuchmultilayeredgraphicalfilteringwillbecomeincreasinglycentraltoNono’s using multiplecolours.Analysisincolourseemstoderivefromconductingpracticeastaught marks theseries’characteristicintervalsandworksovermaterialinitseverymanifestation conditioned bythemetricalstructure. is significant.Inlaterwork,suchdurationsbecomeabstractvalues;heretheirdevelopment in asequenceofcanonsandpermutations.Theroleplayedbytheconventionsnotation than anelaborationoftheoriginalbycreatingdistinctretrogrades.Thispropertyisretained retaining tiesbetweennotevaluesintroducesanasymmetrythatmakesthenewvariantmore make sixelementsinall( Figure 3.3 Figure 3.2 From thebeginningNonoplannedfour‘episodes’.Healreadydisplaysanacutesenseof The thirdvariant,richinperfectfourths,ismarked I I I ------, of compositionalstructures,thetimeanddegreemanipulationtheycansustain.The I Variazioni canoniche Variazioni canoniche I 1...... 1 2 2 , hisownstatementagainstrepression,whichNonopresumablyhadinmind. could bebuiltassinglespans;hereamorecomplexarchitectureisnecessary '------= Figure 3.3 : rhythmbaseand variant : thirdderivedrow 3 Confronting modernism:Darmstadt I ~ ). Avariantreplaceseachvaluewithtwoofhalfitslength; 1:-..-1 4 4 38 =-..1 r I 5-----, 5 serie iniziale -----, Dies Irae ~ r Dies Irae 6 6 is centraltoDallapiccola’s at onepoint( . Nononotesthat,like Unterweisung Figure 3.2 8 He ). Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 while retainingasenseoftheircompositionalrole. thought. Inworkingwithcontrapuntalmodelsitpermitshimtomanipulateabstractstructures increase. ThefoldingandstretchingofspacewillremaincharacteristicNono’smusical permutations onreducingsubgroupsof12,6,4or3notes,suchthatthenumberspossibilities similarities. Variantsofthisprocessaregroupedintofoursectionsinwhichheperformssuch Nono plotstheintervalsuccessionthusgenerated,notingsymmetries,periodicitiesand conventional ordering,anewseriesisderived;91056becomes1124(Figure3.4).Below, are projectedontothisnewspace.Bymappingthetransformedpitchspacebacka the verticalaxis,wenowhave119753124681012.Thepitchesoforiginalseries rather thanseries.Thefirstbeginswitha‘salto1’(‘jumpby1’).Insteadof12. . . 1down to seepotentialstructureintheresults.Schönberg’srowistransformedbyremappingspace a graphicaltechniquethatallowshimbothtoperformdistantmanipulationsofthematerialand speak; high,muted stringharmonics;atempo ( establishes keyelementsofNono’s palette:lowwoodwindatadynamicsuchthattheybarely polyphonic weave.Thefirst, Variazioni canoniche Figure 3.4 Another areaforexplorationisopenedoutthroughaprocessofpermutationandremapping, Four episodesdoindeedemerge, characterisednotbyrowform,buttheirdifferent Reproduced bykindpermission.) : remappingofseries.(ALN01.01/05.©TheheirsLuigiNono. Confronting modernism:Darmstadt Largo vagamente 39 , setsthesonicscenedescribed byGoléaand ± = 30)belowthe rangeofhumanphysicality Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 of moderato This passage,itsdurationsdoubled, willbecomethefirstfiftybarsof order, markedassectionIand annotatedwithideasfororchestrationandtempo( tiality throughwhichaworknavigates. Finally,thefourvoicesareretranscribedinconventional concept ofnegativematerialwillbecomeimportant,areminder ofthebroaderspacepoten An additionalvoiceisconstructedofthenotes part iswrittenfirst,perhapsanartefactofhiscontinuingstudy ofconventionalcounterp is subjecttofurtheranalysisderiveasecondsetofnewvoices, nowfour.Inbothcasesabass mirror-canon. Thenotesoftheoriginalarefreelyselected,recombined andoctave-shifted.This ships. Below,heconstructsanewpolyphonyoffivevoices fromtheaggregateofdouble Nono looksforharmonicaugmentedfourths,unisons,semitones andemergentmotivicrelation of errandsforhisabsentfriend. inversion anddirection,transpositionrelativedelay( is developedasadoublemirror-canonaccordingtoschemedescribedinfulltermsof polyphonic, polychoralwriting,thiswillremainfundamentaltoNono’spractice.Thismaterial such textures;thenumberofindividualvoicesmaybemuchgreater.RootedinVenetian indications ‘a2’,3’etc.,redolentofearlierpolyphony,refertothesimultaneousnumber for weavingamusicalfabricirrespectiveofthenumbervoicesitultimatelycontains.His clearly presentedinthelastfourbars.Nono’suseofthismaterialdemonstrateshistechnique It appearstobeaproductoftheprocessreorderingdescribedabove,andrhythmcellis property willbecometheverystuffofNono’smusicinlaterworks. musical surfaceorareaproductoftheirownsearchforstructureinthisshiftingspace.This notes. Thelistenerisunsurewhetherperceivedmelodicfragmentsareactuallywrittenintothe that leavesspaceforhearingtoexploredetail;thewholepunctuatedbyisolated,ringingharp Figure 3.5 I muovendo t) t.J The resultingfour-voicepolyphonyissubjectedtopainstaking analysisinfourcolours. A canonicstructuredistributed amongmultiplevoicesofpercussionelidesintothe A 10-barpassageoftwo-partcounterpointformsthebasiswholesection( II II : : = . Sustainedrollsatextremedynamics willbecomeanotherstableNonotrope.Waves Variazioni canoniche:Largovagamente ~~ and - rallentando ~ bJ,....:j ~, ___L]i;£ are laidacrossa patchworkofcanons– intheiroriginand . H-.s> ' . Confronting modernism:Darmstadt .. ~ -r tL ~ , contrapuntalbasis L bbdJ 1_H__.. 40 not ~ ~ used inthesecondfour-partconstruct.This · r-- Figure 3.6 ~ J..,.J L . ~ . ). ‘PerBruno’referstoalist t- . c::;,J ~ ...... , . Largo vagamente n 1:f . c.. Figure 3.7 Figure 3.5 Andante . oint. ). ). - - Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 rhythmic structures.Thesixelementsofthe in theirstrengthasmusicalfabric,butwithoutatransparently imitativesurface.Theybeginas Variazioni canoniche Figure 3.6 correlation made priortothecanon.Schönberg’s rowisthusthefirsttoappear, thepresentation doubled tomakesixty-four bars. Pitchesappearpreciselyasintheplanofrhythm-pitch The secondvoiceappearsinthe doublemirrorcanon2–2R–3Rfrombar95(Figure3.9). these arethebasisof and aprocessofsubstitutionby whichtherestsaretobegraduallyreduced.Thefirstthree of and additionalimitation.Hethenmapsoutaseriesofmirror-canons basedonthesefivevoices, needed (Figure3.8). a sparserfive-partrhythmictexture,ignoringtiesintheoriginal whereadditionalattacksare increased byanadditionalquaverbetweeneachgroupofsix elements. FromthisNonoderives using thesequenceofpermutationsrhythmelements.Thegap betweenvoicesisprogressively process ofremediation,Nonothenconstructsathirty-twobar three-partrhythmcanonin6/8 row, retainingtracesofSchönberg’smelodicsuccessionin theirrearrangement.Inanother permutations. Eachoftheseisalsomappedasasequence pairsofpitchesfromtheoriginal The originalthree-partcanon providestherhythmof He iscarefultogivethenewvoicesquitedistinctcharacteristics, introducingasymmetries Nono. Reproducedbykindpermission.) Andante : combinationscheme.(ALN01.03.01/02(detail).©TheheirsofLuigi Confronting modernism:Darmstadt , thelast(marked ritmo base 41 base and theirmirrorsarerearrrangedinfour ) ofthethirdepisode Allegro violento Allegro violento , itsdurations . Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 Figure 3.7 Variazioni canoniche © TheheirsofLuigiNono.Reproduced bykindpermission.) : mirror-canon,filteringandretranscription. (ALN01.03.01/03r. i )'- Confronting modernism:Darmstadt · ~. I ! ..- 42 r v I ,' . ' ~ 1 U ~~ , I --, (,+, ' · r · ' ' ' ~ .. ~ /, , . ·v . "-.-/( , ~ ' I ~ \ . - I , ' ..., .o. • 1 · /' . ' , R') · · • ' · 1--+---. ' = - -+- :1:: =I = ---! I I Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 Bass complexity ofpercussiontotheperceptualambiguityextreme registersanddynamics. later work,clearlypitchedsoundsarethemid-pointonatimbral continuumfromthespectral piano, harpandtimpanilinktheremainingpercussioninto the structure.AsofteninNono’s notes orbriefpassagesofsustained broad, dramaticwavesofcrescendoanddiminuendopunctuatedbysingleattacks,repeated subsequent pitchspaceofthissection.Nonoexploitsrhythmicandimitativecontinuitytodraw of eachpitchbytwoinstrumentspreparingthepairwisepermutationsthatmapout Figure 3.8 Figure 3.9 twelve transpositionsofSchönberg’srow,eachfollowedby its mirror.Below,henotatestwo experimented withthefourth-richthirdvariantofrow at variousstages.Hewritesoutall structure ( in hisveryfirstsketchesforthe openingofthisfinalsectionandwilldetermineitsentireserial and contraction,ascentdescent, whichwriterswouldobserveinNono’swork.Itisevident from hisstudyofearlypolyphony. Hereinliestheoriginof‘wedge’shapeexpansion by back)andasbifurcation(two parallelpossibilitiesofdevelopment).Thisisalessonlearned there isafurthersimultaneity in hisexplorationofthisspacebothassequence(outfollowed graphically. Nonoregularlyseemstoimagineastructuresimultaneously withitsmirror,and mirror form.Hissequencesofpermutationsusepatternsforwards andreturn,oftenillustrated fourths andmapofmirroredrowsreflectNono’sinitialconception oftheworkasanenveloping ascending circlesoffourths–onebeginningonE,theother endingonE.Thetwincirclesof The final BASE clarinet 1-2 Variazioni canoniche Variazioni canoniche Figure 3.10 Lento seems tohavebeentakingshapeinNono’smindfromearly on.Hehad ). : derivationofnewvoicesfromcanonon : secondvoicefrom 3 Confronting modernism:Darmstadt fff . Extremeregistersandcolourscharacterisetheorchestration; Figure 3.8 43 5 , inbars95–8 6------, ritmo base Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 lyrical passage,theretrograderowonE rhythms permutedfromtheoriginalsix-elementcell.Accompanyingthisuniquelysustained the originalrowonF–sixthmemberofascendingcyclefollowedbyitsmirror,with centrepiece ofthissymmetricaljourneyisthesopranosaxophonesoloinbars244–53,presenting up throughtheentirestringsection.Thissustainedtexturesustaindissolvesintoindividual use oftheseries (itneverappearsstraightforwardly), andthewayinwhichSchönberg constructs which hepointstotheimportance offourthsandfifths,thefreedomoropacitySchönberg’s Nono, buttheresonancesare alsostructural.NonocertainlyknewLeibowitz’sanalysis, in row beginsandends,likefragments ofsong-memoryinaMahleriancoda. image emergingfromrolledcymbals. Theyrehearsethefour-noteshapewithwhichSchönberg’s gestures ofstringsolosarefocuseddownintopinpointoutlines ofpianoandharp,alastclear years later.Figurecondensesintoeversmallerunitsthrough thefinalsection.Theromantic context –bothshowstracesofmodalityandanticipatesthe ‘spectralist’composersofthirty process –theresonancegiventocertainpitchesbecauseoftheir relationtoawiderharmonic the cyclesoffourthswhichoccasionallyemergeexplicitly, asintheharpatbar264.This cycles offourthsillustratesthisprocess( distinct fromthenumberofinstrumentsforwhichitisscored). Theinitialexpansionintothe degree ofpolyphoniccomplexity,thenumberrealvoices acrosswhichitisdistributed(as remain silenttotheendofwork.Eachpresentation a row-formischaracterisedbyits strings –fourviolins,violasandcellos,twodouble-basses.Apart fromthesaxophone,wind interlocking shapestoshowthedistributionofdifferentversionsrowamongmultiple end bytheviolaatbar276.Onceagain,Nonoapproachesproblemgraphically,drawing series insinglevoicesarerare;thecompleteviolin1statementatbar226ismirrorednear and rhythmic.Aseriesmightcontinueafteragapwithanentirelydifferentgesture.Whole aggregates –especiallyinthepiano.Heplayswithdegreeofcontinuitytimbral,temporal with greatinvention.Therearemelodicloops,elisions,echoesandcompressionintoharmonic saxophone beginsitsreturninbar249.Eithersideofthissolo,Nonomanagesserialtransparency pizzicato attacksfollowingthemirrorofsameseriesatpreciselymomentwhen harp overthefourth-chordF the rowwhiledescendingcycleexploresitsvariants.Theoriginalisintroducedby but otherwiseunchanged.Withtwoexceptions,theascendingcyclepresentsoriginalformsof Nono hangsalltwelvetranspositionofSchönberg’srow,intheirvariousmirrorsandinversions, Figure 3.10 likewise presentedbytheharpatbar280,nowoverachordoffourthsbuiltonB inversion inthepiano.Itscomplementatendofwork,aretrogradestartingonF {1 !:. The moral,supra-politicalengagement ofSchönberg’s The remainingpitchmaterialderivesfromthemodulation of thevariousrowformswith Two circlesoffourths–onerisingE–E,fallingE–Eformtheskeletonaroundwhich 219 221 I Variazioni canoniche 2 229 224 223 : ~~ 226 RI (E) II R:A) 2 231 RI 3 4 : pitchstructureof (B)  Confronting modernism:Darmstadt jln 237 3 24 5 259 252 244 239 -e- –B–E–A–D sustainedfromtheopening,andbalancedbyan RI ~,;: 244 R @ Figure 3.11 – thesixthmemberofdescendingcyclemoves :: 253 I Lento 44 1·: 260 Rl (bars 217–83) ). (Eb) ~0 261 262 RI -e- (Bb) Ode ~- 265 265 I I •• clearly stoodasalandmarkfor i; 6 276 268 276 268 : 280 279 -e- R(F#) Rl .. (D) II @ . The  , is Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 unprepared’. Goléa, buthisconclusionwaslessgenerous;hefoundthe music‘incomprehensibletothe no musicinNono’swork,othersreflectedmoredetail.The across Germany–asituationdifficulttopictureinourowncentury. Whileseveralcriticsfound a verysubtlesensitivity tosound,butalsoan unevenfocus[. . .]’. band ofpigs’,Nonorecalled. that mayhavebeenexacerbatedbyScherchensilencingthe audience; hedescribedthemas‘a have afundamentalandenduringimpactonNono’sthought. recasting oftherelationshipbetweenwordandmusicalfigure,hisreimaginingsong,will the finalcadence)anticipateNono’sownincorporationofothermaterial.Schönberg’sradical and Beethoven(theFifthSymphonyattheentranceofreciterheroickeyE properties ofNono’s a languagethatmovesfreelybetweenchromaticandtriadicpatterns.Alloftheseareimportant Figure 3.11 v 4·vu. ,fVyQ r: LZ: ':t For the Nono laterdescribedtheperformanceon27Augustas‘an incredible scandal’,asituation lc , slowly maltreathistone-rowto death. puts sectionsofexceptionaldevelopment againstlong-windedpassageswhichthus Nono inanevenmoreconcentrated, esotericwayinhis sonority: BrunoMadernainhis The Italiancomposersdemonstrateafelicitousconnection betweenstructureand 1'. ... . - Variazioni canoniche (Reproduced bykindpermissionofRicordi.) Göttinger Tageblatt 10 ~+ Developments atfestivalssuchasDarmstadtwerediscussedin detail innewspapers (...- 1 . .. Variazioni . = : , Nono’s‘economicalvariations onathemeofSchönbergbespeak Lento 9 Confronting modernism:Darmstadt . Inaddition,Schönberg’sexplicitreferencestothe Hans HeinzStuckenschmidtreportedthescenedescribedby . 1 ..... bars 223–27,showingdistributionofrowsOaandIb. I . - Composizione II 11 c::; - 45 ..... -, Jo· for chamberorchestra,andLuigi ,.-..-- ... Variazioni canoniche Darmstädter Echo . 12 There wasalso partisan . -- . ;- ...... found that: . :· II .-;·. which Marseillaise -:- ·.~ ...... @ in Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 state ofmusic. differently tothoseofhispeers –constitutedacoherentresponsetothehistoricalandtechnical eccentric inhisintuitionsand concerns,thatthethoughtstakingshape–formulatedquite important productofmeeting Varèse appearstohavebeenasensethatNonowasnotalone or earlier work. marked hisrehabilitationinEuropeandtheacknowledgementofvisionarynature to becomefundamentalhiswork. representation, andtheroleoftechnologythatwereentirelyoutsidehisexperience thus encounteredideasoninformationtheory,psychoacoustics,modelsofsound,graphical musicians thatMeyer-Epplerillustratedgraphically,projecting‘thescoreofthefuture’.Nono in termsofitsenergydifferentfrequencybands,aradicallynewmodeconceptionfor of harmonicspace’, likewise turntoLatin-Americansources.Nonowasparticularly struckbyVarèse’s‘projection also resonatedwithNono;inhisworkpremieredatDarmstadt thefollowingyear,hewould clear attractorsinbothpitchandrhythm.Varèse’sfascination withtheenergyoffiguralrhythm of pitchmaterialfromhorizontal,linearenergytoavertical gravitationalforceandtheuseof which pre-datetheirmeeting:theuseofpitchtoarticulate rhythm,thedimensionalshifting and dynamicsbeginstoblurthedistinction.Thereareother VarèsianfeaturesinNono’swork structuring featureofhislaterworks.Alreadyintheseearly pieces theuseofextremeregisters and not-sound–anactivesilenceofmanypossiblecolours –whichwillbecomeaprincipal sounds intheopeningofhisownwork.Hereheisestablishing acontinuumbetweensound have seen,Nonowasalreadyexploringtheliminalspace betweenpitchedandunpitched the vocoder,developedforanalysisandresynthesisofspeech. Timbre inElectronicMusic’whichhedemonstratednotonlyfilteringtechniquesbutalso the newscienceofinformationtheory.AtDarmstadthegavealectureon‘TheProblem and itsrelationshipwithspeechinabook1949. Phonetic InstituteoftheUniversityBonn,hadsetoutaviewpurelyelectroniccomposition editor RobertBeyerandscientistWernerMeyer-Eppler.Meyer-Eppler,onthefacultyof Three lectureson‘TheSound-WorldofElectronicMusic’weregivenbycomposerandsound of Darmstadt,Nono’sdevelopmentwasfuelledbycontactwithextraordinaryindividuals. in 1985. and NonowouldreconstructitfromthepartsforaperformanceconductedbyMichaelGielen variations wouldhavetowaitthirty-fiveyearsforanotherperformance;theonlyscorewaslost This lastobservationwillproveprescientintermsofthemottoNono’syears.The past andfuture[. . .] Nothingisknown,neitherthebordersnorpathsthatleadtothem.’ reaction: Hans-WernerHenze,anotherofScherchen’sprotégés,foundthat‘Thismusicunites Most dramaticwasNono’sencounterwithEdgardVarèse,whosepresenceatDarmstadt Varèse’s As wellastheself-confidencegainedfromafirstencounterwithinternationalatmosphere of thatfamousmysterycomposition. me inthatwaywhatIhaddonewithoutrealising.Asyouseeit’salwaysaquestion problems, hemademeunderstandwhatquestionsthatscoregaveriseto,informing analysed itforsomehoursandtheninsteadofgivingmehisopinion,heposed The dayaftertheperformanceIwenttohisclassandheaskedmeforscore.He Ionisation 17 for percussionwasperformedtheweekbefore an imagethattellsusmuchabout hisownmodesofthought.Themost Confronting modernism:Darmstadt 16 46 14 His workwithcommunicationrelatedto 15 Sound istherebyunderstood Variazioni canoniche . Aswe 13 Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 – twomajorcompositionalprojects: in occupiedCzechoslovakia and subsequentcondemnationtodeathinBerlin1943. behaviour. Assembled fromnotessmuggled outoftheprison,itdetailsbasestandfinesthuman Julius literary project,atreatmentofKafka’s and humanprogress.ItissurelynocoincidencethatMaderna hadbeenworkingonanother and echoes,asenseofthefundamentalrelationshipbetween creativity,individualstruggle of humanity.Theletteralsopointstotheemergencelonger termconcerns:silences,songs parallel three-partnarratives,oneconcernedwiththeexperience ofmusic,theotherwiththat the DarmstadtSummerSchoolin1951.Itsuggestsaclose relationshipbetweenthem;two Ritmica This characteristicallynon-linearlettersummarisesNono’swork sincetheprevioussummer felt nature–in You willsensethepresenceofCatundainmywork:withEuniceparticularlyI clearer tome– and whichdrawmeintoherprimordiallife,makingtheindestructibleforceeven monodia during yourcourse,isagradualcomingalongsidetonaturefindmyself,inthe polifonica In thisworkIhavetriedtoexpressthreesuccessiverelationshipswithnature: together withthescoreontransparencies. I havesentacopyofmymusicforDarmstadttoZürich:‘Polifonica-monodia-ritmica’, Dearest Maestro, Venice, 2June1951 completely men.’ struggle: beingamanwillcontinuetorequirecourageousheart,untilmenarefinally in ahundred,lifeisstrongerthandeath’,that‘thedutyofmandoesnotendwiththis execution, isstrongandsereneinthecertaintythat‘lifecutdownonegrows the dangersofisolation;andinthirdepisodeman,despitehisimpending In thesecondepisodememoryofrealitystruggleallowsovercoming agony – almost destroyhim–arrest,interrogation,violenceandtheconsequentstateofsemi- I havefinishedthefirstepisode:itcharacteriseslimitswhichwouldconstrainman, man – Fuc for wind,pianoandpercussion,finishedbutradicallyedited beforeitsperformanceat ˇík Fuc ’s Notes fromtheGallows ˇík , listeningdirectlytosilences,songs,echoesthatsheseemssuggest , basedonanoriginalBrazilianrhythmshownmebyCatundainVenice ’s journalisticskills areevidenteveninthisdistressing document,andthebook ritmo Fuc 18 ˇík , whichislifeitself. the forceofnatureisidentifiedwithsereneresolution Confronting modernism:Darmstadt Dodecaphonic variations is anaccountofhisimprisonment asaresistanceorganiser Fucˇík Trial ‘Fuc nevertobefinished,and , , likewisenottobecompleted. 47 ˇ ík’ Polifonica –Monodia 19 Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 speech rhythmsinaframeworksuggestedbytheNazis’firstinstruction: his wifeandfinalmeditationsbeforeexecution.Fromthis,Nonoderivesquasi-natural the permutationtechniquesof a dynamicgeneratorofintervallicmaterial.Theserieshadlostanytracethematicismwith from dramatic elementsatthislevel,however.Heevolvesseparate seriesfor the start,asNonoexperimentswiththree-sidedacrosticpermutationsofforces( and atDarmstadtaweekbeforehisown Warsaw with bothsingingandspeakingsoloists.AmodelmayhavebeenSchönberg’s confronted head-onboththeethicalandtechnicalaspectsofhisviewcomposition. despite theirdifferentlanguages.Buoyedbytheexperienceof work arethemomentswhenprisonerssingtogether,unitedintheirresistancetoinhumanity went throughmanyeditions.ParticularlypoignantandsignificantforNono’slaterdramatic Figure 3.12 distilling adialoguefromcrucialscenes: chorus), materialandcompositionalapproaches(melody,rhythm,harmony).Hebeginsby seems tobringmusic intoexistencefromnothing, presagingNono’slaterobsession withliminal reassembling themintoextended lines.Thephysicalityofhismaterialisbecomingimportant. serialism. Healsobeginstocut pagesofsketchesintostripsone,twoorthreestaves, episode:contrapuntalandharmonicconstruction. episode:monody; 3 episode:harmonic–rhythmic; 2 1 intended sequenceofwhichisthemirrorNono’ssubsequent in music.Fromtheseheplanstoderivetwoversionsfor eachofthethreeepisodes, octaves. Individualandsocialstructuresorthogonallydefine a conceptualspacetobeexplored and theNazis–‘harmonic’,majorminorsevenths sixthsdescendingacrossseven ‘melodic’, anoutward-facingundulatingseriesofmajorand minorninthsandmajorsixths– 3.12 Scherchen inhiscourse,arrangedsuchthatitsinherentsymmetryispartiallyobscured( and oftheparallelwork:voices(melody)–percussion(rhythm)harmony. shifting andaugmentingthedelaybetweenentries.Inthisheplansamicrocosmofwhole nested permutationsoftheanapestrhythm Writers wouldlaterpointtotheimportanceofanexpandingall-intervalseriesinworks Fucˇík The firstepisodeiscompleteapart fromsomeofthevocalparts.Again,aslowintroduction Nono experimentswithapplying permutationtodynamics,anticipatingamoreintegrated Nono’s startingpointisanexpandingall-intervalseriesofthekinddemonstratedby ). Il cantosospeso which NonohadheardScherchenconductatleasttwice:the1948VeniceBiennale – nomorepolishedtitleemergesisconceivedasacantataforchorusandorchestra Fuc ˇík : pitchseries onwards. HereNonoalreadyexplorestheroleofseriesasapitchmine, Confronting modernism:Darmstadt Variazioni canoniche Fuc Variazioni canoniche ˇík Hände Auf! ’s arrestandbrutalinterrogation,separationfrom 48 . In Fucˇík to constructa Nonostillpreferstocharacterise , . Threeepisodesareplannedfrom Variazioni canoniche • Polifonica –MonodiaRitmica Marsch! canone atomicaa4 Fuc He workswith A Survivorfrom ˇík Fuc , Nononow ˇík himself – , Nazis, Figure by : Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 approaches Nonohadrefinedinhisworkon forensically, experimentingwiththeprimacyofvariousparameters inthecompositionalprocess, Maderna overthepreviousmonths. material –theBrazilianpopularsong by Nono’sunderstandingofthecommon,transformingownership ofasimplepiecemusical its compositionmanifestsadesiretoexplorethepersonaland socialpowerofmusic,motivated external narratives.Thefaircopyofthescoreisdedicatedto EuniceKatunda.Theprocessof rhythm. possibly beregardedasindulgent.Thesuddennessofhisdiscontinuing however: thatNonowasresistingthetemptationtotreatmaterialinanywaycould orchestral texture. of howtogiveitappropriatedramaticprominenceagainstthebackgroundcloselywoven annotation ofthetext.Hislinedissolvesascomposerseemstowrestlewithquestion The moreabstractnatureof will resurfacein Fuc is disturbedbyextremecrescendosofunpredictablespeed.An percussion arejoinedbypitchedsoundsinextremeregisters,energyincreasingasthetexture and self-constructionofthemusicfromspace,silenceslightestgestures.Pianissimo sounds attheboundariesofaudibilityorstability.Heshareswithlisteneremergence canon. Thisrhythmiccomplexityevolvesindialoguethrough the entriesofwindandstringsintensifyingdramaprovidingdistortingmirrorsfor around the‘nazicanon’.Theshout‘Händeauf!’initiatesprocessinanarrayofpercussion, part, an he woulddescribetherisksofsoundbecominglostinitsownbeauty. narrative withitsownemotionalmomentum.Stilldecadeslater,workingliveelectronics, he hadsurprisedhimselfwiththeeasewhichhistechnicalfluencycouldgenerateamusical climate. had recognisedthataworkbasedontextbycommunistwasunperformableinthecurrent structurally andpoeticallycompletebeforetheadditionoftext.StenzlsuggeststhatNono solos andchoralpartscarryingthewordsthemselves.Ineffect,therefore,musicwas orchestral texture,albeitonthebasisofrhythmderivedfromtext,whichNonolays compositional processitselfpresentedatechnicalchallenge:theconstructionofcomplex either thathisownworkwasnolongernecessaryoritdramaticallyirresolvable.The East Berlin,whichNonosawduringhisfirstvisit.Itmaybethatafterthisexperiencehefelt as eachpairin oneiterationisreplacedby asinglepitchinthenext. The newpitchis by nowconventionalintheir work. Newsequencesofdiminishinglengtharethengenerated second, andafinaledrivenby rhythmicenergy. developmental weightinthefirstmovement,clearer,more spaciousmelodicfocusinthe a dramaticfunction.Here,theirsequenceconstitutesperfectly classicalscheme:structuraland structured quiteautonomously. Intheopening as aseriesoftechnicalstudiesfor political andtechnicalideasdevelopedintheearlierproject. ˇík Why wasNonounabletofinishaprojectsoclosehisheart?Thepoliticalcurrencyof Polifonica ’s bookisillustratedbyBurjakowski’s1951–2productionattheDeutschesTheaterin 20 Fuc ostinato ritmico The powerfulmelodramaoftheexistingepisodesuggestsamorepersonalreason, , themostcomplex,consistsof fourepisodesbasedonthesamepitchmaterialbut ˇík is aloneinthefinal Intolleranza 1960 , betweentheunbending ‘Polifonica –MonodiaRitmica’ Polifonica –MonodiaRitmica Confronting modernism:Darmstadt , whichinmanywaysistherealisationofmusical-dramatic, 23 Fucˇík adagio The originalseriesisanalysedby intervalcontent,aswas Jumanja . Evenhere,however,theworkisboundupwith , hisspeechrhythmderivedfromNono’sinitial Variazioni canoniche 49 Adagio shared withhimbyKatunda. ritmo nazi Nono adoptsatechniquedeveloped by would seemtoconfirmitsinception Fuc and . In ˇík allegro violente Fuc ’s interrogationinthethird Fucˇík ˇík 21 ’s freerhumanprose , thesetypesafforded The voiceof Fucˇík 22 follows, built suggests that He doesso Fuc ˇík Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 - @ Figure 3.13 0 Cf {0 r- - ~ {~~~~~~~~~~ (j 1./ I 1@1.. , I . il 7. Polifonica " &;~ t Reproduced bykindpermission.) U· ~ 3 / f I · 5 • ~ 1-l. ~ I - < · '-' I t, : seriessubstitutionprocess.(ALN 02.03/02rsx.©TheheirsofLuigiNono. .il , 4 (Q . R L, . 4 (;Q)t., • ~f . q I I ~. , ._A- Confronting modernism:Darmstadt b 2 L ~ !I , j · i 1 r "' b 6 1.£.- to :::&1' 50 b ~ - 1- . :-, · l .7-=t;t} 'j . b 6 I t )~ h f II l r . L f. i u • q q , ! /1 0 b 3 6 1. \\ ::;:. II Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 4 Pitch centresandcharacteristicintervalsthusemergetodissolveintoamorecomplextexture subsequent increaseoftextural,rhythmic,intervallicdensityfollowsNono’splan( Clarinet, bassclarinet,fluteandhorntheneachaddasinglenotetothetexture are touchedonlywithfeathers;themusicarisesfromdistantmemoryofitsownoutline. the entireensemble. as entropyincreases,untilatbar34theyarepresentedinsequence,eachdistributedthrough some intoquavers.Thesearerecombinedaccordingtoaplanofpermutationsproducethe long –shortseed( Variazioni canoniche outlining thepitchcontourofinitialentries.Thewindplay of theotherwiseemptytwelfthlineprocesswithwhichpiecebegins,theirsuccession by cymbals–adifferentpitchassociatedwitheachtherowform.Cymbalsalonemarkstart forms incanon,separatedby3quavers.Someinterveningrestsandrepeatednotesarereplaced – twobarsoffive,onetwo.Hebeginsfromthemostreducedstageeachfourrow- decreasing thedensityofeventsasprocessevolves( Repeated notesarereplacedwithrests,givingeachformitsownrhythmiccharacterand of serialism.Nonoarrangestheresultsasinvertedpyramids,oneforeachformseries. opportunity fordisequilibriumbeingsoughtbycomposersastheyconfrontedtheimplications material butlittleaudiblethematicrelationship.Thisfilteringofpitchescreatesthekind only asinglepitchremains.Theintermediatestageshaveintervallicrootsintheoriginal Figure 3.14 by C of fivesemitones)countingfromA,thenoteorigin.HenceinthiscaseAandDarereplaced determined bythedifferencebetweentwoitreplaces(A–Dor1–6inthiscase,a *ctarinelto * ...I... Piatti Saxofono *Ctarinetto The To thisheaddsadditionalsemiquavers,producingfurtherrhythmicfigurationbycombining Nono laysbarethesepropertiesbyallocatingafull12quaverstoeachstageoftheprocess * ! Flauto Piano Corno '+ 1.  3 2 . . . . Thisprogressivelyreducesthelengthofderivedseries,suchthatafterteniterations Meoo /rledio Grande PicCD/0 Andante basso alto Polifonica pie c . ,,. ltl !«.. ltJ ... v tJ tJ 11 " II II 11 8 5 that followsisaremediated,redistributedrhythmiccanonofthetypeusedin · bacheffe Adagio POLl 1'PY'srr"''""'l\ . Hebeginsbygeneratingasetofelementalrhythmicfiguresfromthesimple : opening,bars1–14 Figure 3.15 ..1'1 FONJCA dt f'i?PH~ J!- . pt'uma 72 fro ). Confronting modernism:Darmstadt :n'.llsamprc ..1\ ~ 2 8 51 5 8 suono ../'1 ~ d ' cc:.o ..... suonad 1'P.PS<~mpr• "'P'":f~rco Figure 3.13 11 -- : J'l ~ Pl'Psempre sempre suonod’eco - ). PPJISCI'fpre .. 8 2 ~ 5 8 ~· , thecymbals Figure 3.14 ~ · ). Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 Clar. ( Rhythmic elementsnowderive fromKatunda’ssong,itsmainfiguredividedintothreeunits redistributed canonicstructure, itusesexactlythesamepitchmaterialasprevioussection. Figure 3.15 Figure 3.14 significance. Choice,circumstance andtechniquearecarefullysituatedintheprocess. of themusicalsurfaceisoften opaqueinNono,itisbecauseofthisrichnessorigin and highly integratedandabletowithstandradicalcompositiondecisions. Ifthestructuralderivation that bothaffordhisnextintendedmanipulationandarerobust underitstransformation:plastic, of multiplemodesdecision-making.AteachjunctureNono iscarefultoproducematerials invention andselectionissuchthateveryelementoftheresulting musicalsurfaceistheproduct example ofNono’scraftatthismoment.Thefoldingtogether oflayersprocessdesign, this casewascertainlyarchitecturalratherthanrhetorical, butthis work atitsfirstperformanceDarmstadton10July1951. Indeed,Nono’ssenseofformin bars between58and59ofthepublishedscore–may havebenefitedthedramaof origins stillfurther. usually the‘tails’ofsixteenthnotes–retranscriptionisfor windonly,cloudingitsrhythmic largely obscuredintheprocess( by internalloops,creatinglocalfigure,patternandpitchcentre. inversion oftheopeningseriesmatchtengroupssixrhythmcells.Theyareextended an incrementalprocessofadditionalrests.Permutationsinversion,retrogradeand upper andlowervoicesoftherhythmiccanon.Themiddlevoicedisruptstheirsymmetryby Pia..tti Figure 3.17 Clar. Sox Cor...... Fl . Scherchen’s cutalsoencompasses thefiftybarsoffollowing That Scherchenalmostentirelyremovedthispassagefrom the performingedition–120 Finally, thecanonisanalysedforintervalcontentandretranscribed,itsthree-partnature bcuso . 1 ... 2 1. 3 . . . 8 ;.;II *Kling/ I~ "' t) tJ tJ II 11 . Polifonica continued - ). wie r;-,--, ~ nob#:rt! : rootrhythmfromAndante +~ 8 2 8 5 Confronting modernism:Darmstadt Figure 3.16 - ../'\ -- ]\ ~ _,._ ). Despitereferencestopercussioninthecanon– 52 -.._../ ,...... , 2 8 ~~ 5 8 .:. .. )1 '- Allegro moderato .. Andante - rf~ ~ """"' ... .. _ .. presents afine "' J\ ~ J\ . Another .. ~ ~ "' Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 Figure 3.16 Polifonica Nono. Reproduced bykindpermission.) : retranscriptionofopening Confronting modernism:Darmstadt 53 Andante . (ALN02.03/02vsx.©Theheirs ofLuigi ,1 t I ,_ / f . l Yv\ Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 of theactperformance,just asheoftenusespercussiontoinvestigatetheedgeofpitch. process. Herethequietestpossible soundsmagnifyandexploretheedgeofsilence, of anacoustictoasinglesound willprovideenoughfeedbacktoseedthecompositional the wholeandwillbecomeavital structuringmetaphor.Inhislateworks,thephysicalresponse not dramaticorcolouristicdevices;theyareessentialtechnical/aesthetic materialwoveninto at theopeningof references to‘echoesandsilences’.‘Suonod’eco’isaperformance instructionthatappearshere, imagery ofPavese,inwhoseworkNonowouldsoonbe immersed. Mostresonantarethe It appearstobebyNonohimself,recallingtheconcernsof hisgrandfatherandechoingthe personal confirmationofhismusic’spoeticorigins,orperhaps foranotherreader,Maderna? an almostprogrammaticnarrativeinonesketch: structures andreturningtoisolatedpercussionsounds. of themovementmirrorsopening,reinforcingbidirectionalnatureunderpinning rhythmic unisons.Aprogressivereductionofdensityanddiversitytowardstheend sometimes inwavesoffragmentedpolyphony,punctuatingthetexturewithharmonic internal canonsastheyshiftbetweenpercussion,pianoandwind;sometimespurerhythm, edition) andgeneratestherestofmovement.Densityorchestrationgiveshapeto announced bypercussionaloneatthestartof by theintroductionandmanagementofasymmetries.Thebasicrhythmpatternisfinally exist together,whetherrhythmorpitch,allowinghimtopilottheirdevelopmentthroughtime create sixthree-beatvariants,eachwithitsretrograde.Materialsandtheirmirrorbydefault as in Polifonica Figure 3.17 For The roleofthistextisambiguous:astructuringdevice,his responsetohisownwork,a The centralmovement An additionalquaverrestallowsNonotopermute,shiftandreconfiguretheseelements we aresanddunes,sea;serenenocturnalatmosphere nature callsus;wehearit,sweetlypenetratinguswithviolence, withlovinginsistence nature continuestosing Joy growswithinus;weareconstantlymoreawareoftherelationship–perhaps It isalreadylessdifficulttounderstand Nature beginstojoinin Gradually theechoesrevealthemselvesassongsoffreedom [. . .] butisthispossible? The desiretounderstandandparticipateisstrengthenedbythewillliberate Still difficult! They seemlessuncleartous:perhapsthey’renotjustechoes To beabletojoinin!Verydifficult natural lifeareheardfromafar In thefaceofnature(sanddunes–seaserenenocturnalatmosphere)echoes Variazioni canoniche ourselves fromthesuperstructuretowhichweareconditioned Monodia . Nonoselectsasequenceofseries permutatedinpairsandspatiallyreordered Variazioni canoniche : rhythmfromKatunda . Theyarecharacterised asbeingeitherharmonic ormelodicaccording Monodia Confronting modernism:Darmstadt is anorchestrated,elaboratedmonody,towhichNonoadds , andthroughoutNono’swork.Echoessilencesare 54 Allegro 24 (bar 179=bar59inthepublished Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 Figure 3.18 Luigi Nono.Reproduced bykindpermission.) Interval circles:‘melodic’and‘harmonic’. (ALN02.02.01/82r,81v(details).©Theheirsof Confronting modernism:Darmstadt 55 Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 Figure 3.18 continued Confronting modernism:Darmstadt 56 Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 basso Como Clar Clar. Piatto ( the firstrepeatedpitchesofmovementandreturningtopercussioninadoubleecho pairs, phrasesoffournotes,sixandfinallyanextendednine-notephraseendingwith section: firstwithasinglenotebarelyemergingfromthesoundofcymbals,thentwooverlapping percussion. Wehearthefinegrainofhismaterialasmelodyisconstructedthroughfirst the monody,sculptingtexturebyoverlappingandproliferation,addinghisideasfor through theentiremovement.Nonousespoemasaguideforitsorchestration–distributing Figure 3.19 at thecostofentirelyremovingmelodicheartmovement. movement acharacteristicallysymmetricalform: as inthemultiplyfoldedandkneadedformsofchaostheory.Nonoarrangesthemtogive Monodia, chainsofintervalsdifferentlengthspersist,aretransformed,disappearandreturn are balancedbythewidest.Inbothcasestritone,stillpoint,standsatcentre. The melodicwheelembodiesaprincipleofcomplementaritywherebythenarrowestintervals to circulardiagramsMadernaandNonoderivedfromHindemith( harmonic wheelderivesdirectlyfromHindemith’s wheels ofGoetheorJohannesItten,whoseworkwouldinformNono’slatemusic.The by coincidencetheyresembleoneofSchönberg’srow-manipulatingdevices,orthecolour Figure 3.19 In thefirstperformanceandsubsequentedition,Scherchenretaineddramasymmetry . A –2harmonic/melodic,4harmonic,originalseries. B –9melodic A –4harmonic,2harmonic/melodic 1 6 :: ~ ~ I) f'l Monodia Largo 4 4 L__3__j ). ====--PPP ~ ::: ,.,. 28 EB bars 1–6 , .1=40, suono ppp rna -===:P - libero d'eco ~ := Confronting modernism:Darmstadt := ~ := L_:3--.l 57 legato PPP Unterweisung ~ := suono legato ppp ----- := d'eco , withtheadditionofninths. Figure 3.18 27 The monodyruns ~ := ). 25 EB ====- Probably not -====:pp ~ EB #~-~- pppp 26 Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 even ifitiscompletelyisolatedinitsuniqueness.’ for 10soloists,LuigiNonowritesatwelve-tonemusicof the highestmentalconcentration, boundaries ofmusicmightbeoverstepped.KarlH.Wörner wrote:‘inhisthreemovements coherence andoriginalityofthework,althoughsomewere uncertainastoatwhatpointthe Darmstadt thepreviousyear. resonance ofitsfinalbarsisaclearechosimilareffectattheendhis – MonodiaRitmica perceptible pitchandtime,therestsofrhythmsubjectaugmenteduntilitdissolves. percussive pianochordsandcymbals;resonancepercussiondiebackintothespaceofbarely as ifbeingfoldedaway.Finally,selectivepianoresonanceispunctuatedbyasynthesisof xylophone, emergingfromasustainedhornnoteandfollowedimmediatelybyitsretrograde presented withtheirmirror.Theremnantsofpitchconsistaseriesbythe divisions whiletheepisodesdevelopfragmentedandpermutatedsubgroups,almostinvariably intervals, asisitsnegative,arest.Theminimalcountersubjectplayswithdifferentinternal according toitsrole.Asinglebeat,theessenceofrhythm,issimplyrepeatedatdiminishing by theessentialistnatureofitsmaterial(Figure3.20). horn. Theformalityofafugue,repletewithsubject,countersubjectandepisodes,isdisguised the openingofwholepiece:unpitchedrhythmemergesfromsustainedpitch pitched instrumentsandpercussioninamirroroftheopeningemergencepitchfromnoise. leads topurerhythmintheaccelerandolastmovement,pianomediatingbetween Certain pitchesaresubjecttomoresustainedrepetition(‘naturecontinuessing’)asperiodicity suggest fasterrhythmicgrids.InhisfinaldraftNonomarksthislastsection‘piùarmonica’. single rhythmicgestures.Repeateddemi-semiquaversandisolatedtom-tomtripletsbeginto diversity ofinternalrhythmicfigurationincreasessuchthatcomplexmelodicconstructsbecome of silencesuntiltheentiremiddlesectionisalmostseamless.Atsametimerateand drawn totheirdynamicequilibrium.Themovementproceedsbytheprogressiveelimination from itssonicbackgroundbybreath.NosoundisstaticinNono’smusic;attentionconstantly Ritmica Figure 3.20 noise.’ language leadstothecompleteabstractionofcomposition and endscoherentlyinrhythmic Musik evening anddescribed itasbeingastudyfor alongerwork. The performancewasaresoundingsuccessinthehall.Critics largelyadmiredtheintensity, Once again,thereisnofigureinthis;materialdoesnotemergeover-formedbutmoulded The mirrorcontinuesintheopeningoffinalmovement The monodyisasongsuspendedabovethesoundofquietlyrollingcymbal,asifcondensed Herbert Fleischeridentified of thankslikeaboxerafterdelivering aknock-outblow. snobs). AgainandagainMrNono appearedonthestagewavingbothhandsasasign shocking. Formorethantenminutes thehallwasinrapturousuproar(mainlyyoung advantage: thewholethinglastedonlysixminutes.[. . .]. Whathappenedthenwas Then camea‘work’fromthe23-year-oldItalianLuigiNono; ithadapriceless : ‘TheItalianLuigiNonopushesfarthestahead.Theextreme economyofhismusical 30 Even anunconvincedcritichadtoacknowledgetheclamorous reception: : rhythmicseed is atributetoVarèseaswellKatunda;thepercussion-reverberatingpiano Confronting modernism:Darmstadt Polifonica –MonodiaRitmica 58 29 His viewwasechoedin 32 as themostoriginalworkof 31 Perhaps Nono had suggesteda Ritmica , nowwithreferenceto Ionisation Die Zeitschriftfür , heardat Polifonica Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 part, hesays,buthasalsolearnedfromScherchennottoreflectflattery. awareness andgrowingindependence.Notonlyhadheimmediatelyacknowledgedhismentor’s of Nono:twodifferent perspectivesofthesame musicalorganism,ortwopossible worldsthat imagined forboththeoverallform andtheinnerstructureoffirstmovementischaracteristic that allowshimtoconceive of developmentsinmultipledimensions.Thebinarymodel rhythmic implications.Theidea ofsimultaneousprojectionsisaclearlyspatialmodethought by aconceptofcounterpoint, ofproliferationonmultipletime-scalesthatinevitably has numbers orremapping.Inparticular, therelationshipbetweenmelodyandharmonyismediated work itselfdemonstrateshissearchforawayofrelating parameters thatrunsdeeperthan of parametersthatwaspreoccupyingyoungcomposers.On the other,developmentof premiere ofStravinsky’s arranged aninvitationforSteinecketocomeasaguesttheBiennaleinSeptember, Nono’s positionatDarmstadt,althoughonlyin1957wouldhebecomeafacultymember.He that Nonoisabovethevanityofothers. rather thanwithSchott.Inaletteremphasisinghisrole,heambiguouslyexpressescertainty success ofthework,aslettersmakeclear.Hewrotetohiswifeafterperformance: of therelationshipbetweenNonoandhismentor.Thelatterclearlysawroleasvitalto Herbert Hübner,producerof link withtheongoing a lettertohisfriend: proposed aneworchestralwork,tobeconductedbyMaderna.Nonosetouthisintentionsin correspondence withNonosincehearing and ‘Doktor’become‘Gigi’‘LieberFreund.’ reflected intheircorrespondenceevolvesfromrespectfulformalitytowarmfriendship;‘Herr’ by Scherchen.Steineckewasunabletoattend,butoverthenextfewmonthsrelationship On onehand,‘reductionofintervention’reflectsthesearch foramoreorganicintegration His successinthisfinalconcertofthe1951SummerSchoolseemstohaveconsolidated Scherchen alsoputpressureonNonotopublishtheworkwithhisown not todrawfalseconclusionsfromthissuccess. .]. Thankfully Nonoseemstohaveenoughintegrity . which Ihadmoderatedalittle[. broke outintobravoandpraise.Theproblemwithhisworkisitscerebralnature, The applauseforNonowasrareayoungman–attheendofpieceeverything processes [‘soluzionedicontinuità’]. movement willbeessentiallyrhythmicandschematic,naturally withoutmechanical harmonic planethatinthesecondmovementdevelopsinto polyphony.Thesecond projections ofthesquaresinaharmonicsenseinsteadrhythmically, toinitiatea ways, atfirstalone,rhythmisalsoderivedfromthesquare, then, usingsimultaneous counterpoint. Twomovements:thefirstamelodyusing squaresintwodifferent own interventiontotheaspectoftimbre–alinethatprogressively givesriseto problem gettingrighttothebottomofmagicsquareproceduresandreducingmy I amthinkingaboutawork[. . .] inwhichIconfrontthefamousmelodic/harmonic Fucˇík h Rake’sProgress The ‘Composizione perorchestra[n.1]’ project. TheswingeingcutsmadebyScherchenaretellinginterms Confronting modernism:Darmstadt Das NeueWerk 36 and aSchönbergmemorialconcerttobeconducted 34 Variazioni canoniche 59 Nono’s immediateresponseillustrateshisself- for North-WestGermanRadio,hadbeenin 33 at Darmstadt.Ayearlaterhe 35 Ars VivaVerlag Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 however farremovedithasbecomefromitsseed, of anine-noteseries( 1955 also tohavebeenapointofdiscussionwithMaderna,whoadoptssimilarprincipleinhis spring fromthesameunderlyingpremises.ItwillresurfacethroughNono’swork,butappears Figure 3.21 introduction and – acoincidenceseemsunlikely.Asinthatworktherearefourepisodes,hereframedbyan canoniche position ofneutralityatthecentretheirintervalwheelstothatextremetension. this Hindemith-derivedcontinuumofintervallictension,thetritonehasmovedfromitsearlier hand nowrelatesdurationtointervallictension( first episodearethemostliteralintheirnon-interventionsuchprocesses.AtableMaderna’s emerging asenseofprocessasinherentinthematerial,materialitself.Theintroductionand op r;- ' - - - ing Scherchen’sdisciplineofchoicelimitation.Inplacevariationorproliferationwesee This determinestherhythmofslowintroduction,pitchesasequencepermutations Composizione perorchestra[n.1] :. ' -- Quartetto perarchiinduetempi .I __ ~ . Givenhisarchitecturalplottingofbalanceandproportion–alwaysearlyintheprocess -----~-- Composizione perorchestra [n.1] bf. © TheheirsofLuigi Nono.Reproducedbykind permission.) __ - - -- _ -- _ ~ __ finale tripartito _ - _ ------Figure 3.22a 3t: --··-· . ForthemostpartNonousesaseriesofonlyninepitches,devel Confronting modernism:Darmstadt . . ... --· ) distributedamongagroupofhigh-pitchedpercussion–the . Finally,attheheartofthisworkthereisstilldrama,theatre, -- - -- :· lasts 283bars,preciselythesamenumberas - -· · ;;;,; - ""'l -- -- : interval/durationmappings.(ALN 03.01.03/01(detail). --· · . ~ i I -- . .. -·- · _ ·-" 1 .,._ 1 - ~ ----- :/ r · ---- _ -· - __ ---- · · - · :- ;---·- · 60 - - . ·-· ·· · ___ . · - ·- . -:--·· · . · - -;- - -· Figure 3.21 . . -- · - · - - - - _L ·· - ---~ Fucˇík ·· -·---- · ------~ __ ·-· _ · _ . ~ - -- L i ------. - . - - . - - - - ~ · - ·· - - · - -- --c - -- - - ). AsGuerrerohaspointedout,in - - · . Variazioni 37 - Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 a) 3.22c such thatafterafullcycleofninetheoriginalseriesisrestored( values fromtheLatinsquaredeterminingintervalsbetweenrecurrenceofeachpitch the series( here (3,4,6,9,11,15).Onelineofvaluesisthenreadfromthesquareforeachelement numbers sothatthecomposercanexperimentwithdifferentvalues,includingduplications– of thesamedimensionsaspitchseries–here9 every horizontalandverticallinecontainsthesameelementsinadifferentorder,isconstructed the firstsquareheusesonlybracketedelements). reducing hisinterventioninthispassageto‘theaspectoftimbre’( (‘displacement technique’).Here,Nonoplotsthefirstepisodefromrepeatedpitch,F, of displacementmatrices;NonoandMadernarefertothisastheir‘tecnicadeispostamenti’ ing abasicduration;Nonousesquaver.Organisationofpitchandrhythmisunifiedinseries the nineinitialoffsets.Thegridsthusproducedaremappedontomusicalsurfacebyselect each pitchaddsupto90:thesumofnumberseries(72),nineinstancesnotesand and 15(B)silences,followedbydifferentpermutationsofthenumberseries.Thesequencefor Figure 3.22 instruments ofMaderna’s‘fixedsounds’( him inpreviousworks–the‘magicsquare’ofhisletter. Maderna, asolutiontotheintegrationofmelody,harmonyandrhythmthathadsoexercised range ofthelargestringorchestra.HereNonobeginstouseatechniquedevelopedwith instruments continuetopunctuatethefirstepisodeasamonodyworksitswayacrossentire b) d) c) ~ , initialrepetitionsofsuccessivememberstheseriesareseparatedby3(F),4(F f'l ~ 344151169911 : =69 Composizione perorchestra [n.1] s • Figure 3.22b (detail). ©Theheirs ofLuigiNono.Reproduced by kindpermission.) trin , . I ::± ll· ca. gs · !!':"' 1 (rna · • ' d ..--- libero · • ~ ). Thepitchseriesismappedontoagridofthesamedimensions, • II· harp Confronting modernism:Darmstadt LL ~:il , L percu • _ __ I• u : derivationofepisode1,bars17–21. (ALN03.01.02/05r ss ppjJ'f .. ion l .J ~. suoni fissi • · . . L 61 +.-._ × 9. Itconsistsinitiallyoflettersratherthan ), asRizzardihasobserved. '"'y elements d) bars d) c) a) b) (Nono nine-note start line 39 " tJY:..__Y A Latinsquare,asquareinwhich begins from of 17-21 in y- displacement Figure 3.22c ' square ~---~ Latin series from Figure 3.22d ~ square I) r bracketed matrix ..__., ). Thus,in –notethatin 38 The same  ), 4(C) Figure - Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 and triadsthatoccur. displacement matrixof rhythmic voiceisaddedwitheachnewcycle( opening ofthesecondepisode(bar71)inafragmentedmonodytowhichanadditional pattern oftwo,threeandfourattacksseparatedbyrests.Theyarepresentedinsequenceatthe characteristics: threedifferentshort/longpairs,asequenceofdiminishingnotevalues,and external andretrogradepermutationsgrowfromthreerhythmcellswithdistinctive performances of hisandBrecht’s Dessau inFrankfurt,where Scherchen wasconductingthecontroversialfirstWestern 1949. ShortlybeforetheHamburg premiereof Einheitspartei Deutschlands might havesomewiderrelevance. SEDmaywellbeasubversivereferencetothe German throughthisperiod– appear onanearlypage‘forHamburg’,suggestingthatthemotif 1957 Darmstadtlectureonthedevelopmentofserialtechniques,Nonowouldpointtothis quite differentmusicalsurfacesbychangingtheoffsetvalues,time-baseorpitchseries.Inhis Through thissymbolic–graphicaltechnique,thesamestructureofrelationshipscanproduce (con sordina,sultasto,sempre time-base generatesagreatervarietyofrhythmicfigurationagainstsustainedauraviolins space. Halfwaythroughthefirstepisodetheseprojectionsbegintomultiply;anaccelerated become mobile,bidirectionalobjectsfromwithinwhichhecanprojectonto‘real’musical into differentspaces.Unitsofmaterialandtheirassociatedpolyphonicserialprocesses generating counterpointbyworkingthroughthematmultipletempi.Materialisproliferating displacement matricesindicatehowhehadconsideredreadingthemintwodirectionsand with whichheconstructsarichspaceforthemonodytomovethrough.Annotationsinhis density andrhythm.Nonoleaveshimselffreetoconcentrateoncolour,registerdynamics, which thecomposercreateshisownmusic.’ into awiderspace.[. . .]. Theresultsofthepermutationsproducesonicmaterial[. . .] from innovation ashavingfreeddodecaphonyfromitsone-dimensionality:‘theseriesisprojected Figure 3.23 accelerando. ThethreenotesEs(E the timpani.Afteraseriesofmultiplecanonstheyrestate themottoatendofafinal The remainingsectionsavoidanysuggestionofmechanicalprocess.Chainsinternal, The finale,forpercussiononly,isintroducedbythethreemissing pitches–E From thistwo-dimensionalmatrixemergesanintegratedpatternofmelody,harmony, In thiswayrepetitions,patternsandsimultaneitiescanemergefromaserialprocedure. ---=== Composizione perorchestra[n.1]:IIepisodio hn if . cy m . Figure 3.22c (German SocialistUnityParty), thestatepartyofDDRsince Confronting modernism:Darmstadt ppppp Die Verhöhrdes Lukullus @ ) andsuspendedcymbals. fromthebeginning,selectingsinglepitchesdyads ), E,D–Nono’ssketchesareannotatedincreasinglyin 40 62 , monodybars71–78 Composizione Figure 3.23 . 41 ). HereNono’slinefollowsthe Dessau, tobecome theleading Nono hadmetcomposerPaul @ Sozialistische , E,D–in Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 reanimated byanewsenseofplaceinthewiderworld.Nono wrotetohisfriend: opportunity andresponsibility,asNonomakesclearinconciliatoryletterstohisparents: figures inGermanculturallifesuchasPiscatorandHartmannengenderedaclearsenseof outside theprotectedenvironmentofDarmstadtandbeingacceptedasafellowartistbymajor he accompaniedHübnertoHannover,hearanewpiecebyHenze.Asuccessfulpremiere Maderna. Aftertheproject,onwaytoZürichtakeconductinglessonswithScherchen, Erwin Piscator,recentlyreturnedtoGermany,andspentthedaysinexciteddiscussionwith previously astudentofScherchen.InHamburgheencounteredtheradicaltheatredirector Karl AmadeusHartmann–composer,produceroftheMusicaVivaseriesinMunichand sweet andlivelycountryisevergreater.’ musicians likeyougrowseverstrongerandmorepowerful,thatourhopetoworkinyour myself everclosertothemusicallifeofGermany,thatbrotherhoodwithpeople[Mensch]- conservative provincialismofhisowncountry.AmonthlaterhewrotetoHübner:‘Ifeel positive’. offered bypeoplewhohavefaithinme–nowit’suptoturnthemintosomething his parents:‘YoucanimaginehowhappyIam–knowwellthatalltheseopportunitiesare already hadasenseoftheimportancethismoment;ashearrivedinHamburg,wroteto level ofhistechnicalfluency,andwiththiscametheconfidencetoconfrontotherissues.He The efficiencywithwhichNonowasabletorespondthisimportantcommissionreflectsthe the musicalnotesDEEs(Des)ashissignature. establishment musicianoftheDDRandwithwhomNonolaterhadextensivecontact,used like Byzantinemosaics.’ rhythms, almostconfusinglynaturalisticinitseffectandyetatthesametimestrictlystylised Italy’. Symphony Orchestragavethepremiereon18February1952,inaprogrammecalled‘Young Discussion offutureplanswithMadernahadevidentlyproceeded apaceatHamburg, The triptoHamburgseemshavebeentransformative.InFrankfurtNonohadalsomet and total.Ithink wewillneverdie. obligation andaheavyresponsibility. [. . .] Hewants thatourworkshouldbeintense more certainthanever,alsoour responsibility.Scherchentoldme:yourtalentbrings others, openlyanddirectly.Now ourworkandlifeincommonisstronger is. InfactI’msure. I haveagreatyearningfortheincredibleplansofHamburg. Ithinkthat’swhatlife almost inadream–andthatmyinnerstrengthismostviolent [. . .] and tensioninmymusic–givenappearance,ordemeanour, ofbeingcalmand concentration withwhichweshouldlive. actually liveforever[. . .] wehaveunderstoodevenmoreclearlytheintensityand certain pointBrunoandIsaid:maybewe’llsuddenlyjustcollapse, orperhapswewill seven hours–andallbecauseoftheintensitywork,limitedtime.Ata We willalwaysrememberthesedaysinHamburg–fourwehavesleptperhaps Die Welt You couldsaythatit’sthefirst timethatwehaveshownourselvestogethertothe Hübner andothermusicianshavetoldmethattheyweresurprised attheviolence 42 His workwastakenseriouslywhenMadernaandtheNorth-WestGermanRadio described itas‘Animpressionisticplayingwithextremecolours,soundsand 43 Such receptioncontrastedwithwhatheperceivedasthecorrupt Confronting modernism:Darmstadt Engagement 44 46 63 45 Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 affection. through thirty-fiveyearsofcorrespondence–arelationshipdeepeningmutualrespectand Such crucialdifferencesofperspectivefueltherichexchangeideasthatwouldlaterrun Communist Party),andhemaintainedascepticisminrespectofanyperceivedmusicalformalism. friend: ‘Don’tletyourselfbeinfluencedbythesouth.Thenorthisforus.’ concert, whenMadernahadreturnedtothesouthofItalyforconcerts,Nonowrotehis evidently beginningtoexercisehimintermsofbothcareerandpolitics.AftertheHamburg is increasinglydemo-Christianandcompliant.’ could beseenas‘artisticheresy’andwould‘makelifedifficult forbothofusinaEuropethat this wouldentailcontradictingthepartyline;onother, suchexplicitpoliticaldeclaration the contextofmid-centuryleft-wingorthodoxy,asMilapointedoutinaletter.Ononehand, such ajournalbeingprogressivebothmusicallyandpoliticallyrepresentedsignificantrisksin invited toDarmstadtandtheydiscussedthepossibilityofanewmusicjournal.Theiridea as aproxycold war. into anew,muchlongerstruggle thatexternalpowersfrombothsidessuccessfullymanipulated decades. By1952,therefore,the politicaloptimismofthenewItalianRepublichadevolved right-wing ChristianDemocrats, withUSsupport,wouldgovernItalyforthenext four Palmiro Togliattibecameamass party,thesecondlargestincountry.Nevertheless the coming ofage.ThePCItook partintheinitialpost-wargovernmentof1946andunder resistance’ itshouldperhapsbeunderstoodinthelightofthese eventsthatinformedhisown a senseofnewpossibilityfortheItalianpeople. Pavone hasdescribedasthecivilwarof1943–5.Milaspoke ofthattimeasa‘self-revelation’, become membersofthePCI.ThePCIhadstronglinkswith theresistancemovementinwhat Maderna hadalsodecidedtomakecleartheirparty-political affiliationsinthenewItaly,to Giustizia eLibertà generation olderthanNono.Hisradicalpolitics,rootedintheItalianliberalismofCroceand 1952. and encouragedhimtostudyconducting.‘It’sadog’slife,’hewroteMadernainJune visited ZürichtoassistScherchen,whosuggestedheshouldtakeovertherunningofArsViva onto transparencyforScherchen’spublishingventure,whilerunningerrandsboth.He of 1951and1952inVenicetakingcareMaderna’scompositionclasscopyingscores arrive, there’stroubleforus,’wroteMadernaoftheclosedcirclebroadcastingandfestivals. of post-warEurope,musicalandpoliticalinfluencewereinextricable.‘WheretheItalians become mostnotableintheareaofpolitics.Inalmostentirelystate-fundedculturalworld influence ofGermanyintheirwork. in NovemberofthesameyearhewouldwritetoMadernaconcernedaboutdominant of theVenetians’reputationinwiderworld. as particularlyunsupportive–perhapsbothprotectiveoftheirpowerwithinItalyandenvious Composer-turned-power-brokers suchasMarioLabrocaandPeragallowereregarded echoes Nono’slaterreferencesto‘asenseofthepossible’. and commonstruggleatthebeginningofresistance,ahumanism bothjoyfulandtragicthat openness –gold!’ identified onlyMassimoMilaas‘arareman,forhissimplicity,seriousness,human would writetoStockhausenthatbothheandMadernahopedliveinGermany. While beginningtoengagewiththemanoeuvringsofcultural power,bothNonoand Mila –anti-fascist,partisanleader,mountaineer,publicintellectualandmusiccriticwasa While hisfriendsweretouringEuropepursuingtheirconductingcareers,Nonospentmuch The differencesintonebetweentheimpassioned,committeddeclarationsoftwofriends 47 Nationality –or,perhapsregionality,givenNono’sdevelopinginternationalismwas 53 They hadmetinVenicesomemonthsearlier.NonoarrangedforMilatobe , werenotalignedwiththoseofthePCI( 52 Confronting modernism:Darmstadt 64 55 54 Pavone documentsaspiritofvision,liberation 51 Of thepowerfulItaliancritics,Nono 56 Partito ComunistaItaliano When Nonotalksof‘continuous 48 A monthlaterhe , theItalian 49 And yet 50 Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 observations onliterarycriticismseemtoencapsulateNono’semergingethos: Adorno, eveninhisconsiderationoftherelationshipbetweenmaterialandform.Gramsci’s realism adoptedbymuchpost-warcommunism;inmanyrespectsithasmorecommonwith artists tolead,presenttruthsandalternatives,isatoddswiththeZhdanovdoctrineofsocialist for life;livingitisdifficult,however.’ line thatwillresurfaceinoneofMaderna’sletters:‘Itisnot difficult tofindsplendidformulas observations onlove,oldage,solitude,happiness,moralreform andthechurch.Hemarksa in mattersofpersonaldevelopmentthanpoliticaltheory;inside thebackcoverhelistsGramsci’s The notesonNono’scopyhavetheairofabiblicalconcordance. Nonoseemsmoreinterested own situationandintellectualdevelopment,onhisfamily theeducationofhischildren. and thevolumesoftheorydistilledfrom successor asleaderofthePCI,whoreturnedtoformpartnewItaliangovernmentin1944. sister-in-law inRome,tohiswifetheUSSRandthencePalmiroTogliatti,Gramsci’s was enhancedbytheirmyth-inducingtransmission:fromhisprisoninthesouthofItalyto also pre-dateexternalawarenessofthebrutalityStalinism.TheirsignificancetoItalianleft address thespecificstateofevolutionItaliansociety,ratherthanassumingaSovietmodel;they quent ItalianandEuropeancommunismaswellculturaltheorymoregenerally.Hiswritings contribution toanationalre-formation.Gramsci’sideaswouldinfluencemanyaspectsofsubse released untilhewastooilltosurvive.Theirpublicationbetween1947and1951amajor fromwhichhewasnot imprisonmentbythefascistgovernmentfrom1926-1937– in ‘exile’– particular roletotheartist-intellectual.ThematurewritingsofAntonioGramsciwereproduced febrile politicalatmosphereofpost-warItaly,andGramsci-informedItaliancommunismgavea ever, takingapoliticalstancemusthavebeenunavoidableforanincreasinglypublicfigureinthe [Scherchen] isright.’ direct, practicalcontactwith reality. [. . .] MORESOLID,REALMUSIC.Even herehe the politicalmotivationofMaderna, whorepliedwithsomeadmonishment:‘Myjoining is are fusedinseparablyfromthisearlypoint.Nonoseemsto have expressedsomedoubtasto artist–intellectual standattherootofNono’smusicalandpolitical development;thetwolines I havedonewhatcan.Butpractically, notreadingnicetextsorfollowinggreatexamples.’ .] . conscious anddeeply-rootedact. Ihavedoneitinamomentoffundamentalimportance. [. ‘higher’ feeling;heholdsVerdispecificallyresponsible. sentimentalise andtherebydistractfromhumanrealitieswhilegivingtheimpressionofoffering theatre inItalianculture,whichencouragesthenationaltendencytomelodrama– views onthepoliticalrolesofcultureandartist.Gramscinotesdominantrolelyric class toleadsocialchange–hisobservationsontheparticularnatureofItalianculture,and concept oftheorganicintellectual–engagedwhowillemergefromworking as particularlyimportantatthisformativepointintheevolutionofNono’sthought:Gramsci’s The Nono seemstohaveacquiredthesebookssoonaftertheirpublication:the His sisterRinahassuggestedthatNonowasintroducedtocommunismbyKatunda;how This seemstohavestruckachord withNono.Twomonthslaterheconfessed:‘Ireallyneed artist andhisworks. way ofsensingandseeingrealityand,therefore,aworldwhichisconnaturalwiththe cannot butbeintimatelytiedtoanewconceptionoflife,suchthatitbecomes [. . .] Onehastospeakofafightfornewculture,thatis,morallife It seemscleartomethatonecantalkofa‘newculture’ratherthanart’. Letters fromPrison 61 58 were thefirsttobepublished,mostpersonal–reflections onhis Confronting modernism:Darmstadt 59 Gramsci’s humanismandhisviewsontheroleof Prison Notebooks 65 57 His insistenceontheresponsibilityof . Threestrandsshouldbeidentified Letters fromPrison 60 - - a Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 the USA,hadreturnedtoGermanyin1951. connected. BrechthimselfhadbeenaprotégéofErwinPiscator,who,afterhisexpulsionfrom Nono andMadernatothethoughtofradicalWeimarculturewithwhichhehadbeenclosely Visconti andwouldcertainlynothavegoneunnoticedbyNono.Scherchenhadintroduced the autumnof1951,butweredeclinedentryvisas.ProtestwasledbyfilmdirectorLuchino Brecht’s BerlinerEnsemblehadbeeninvitedtotheVeniceInternationalTheatreFestivalin of works,tobecome In theeventitwaspoetryofLorcathatprovidedstimulus andtextforthenextgroup from Piscator’s1929 gave everyopportunityforhisradicalproductions.Nonowasmostlikelyabsorbingtheideas socialist press;asaseniorGermanartistfreeofNaziassociationthenewculturalestablishment imagination.’ ‘I suddenlyfoundmyselfinthepresenceofonepeoplewhowouldmostinspiremy as acomposer. works becomesperhapsthemostappropriateanalogyforNono’sperceptionofhisownactivity of hisapproachtocompositioningeneral.Fromtheearly1950sonwards,makingtheatre Nono’s conceptof and hisdistributionofnarrativeacrossmultiplethreadstime-scaleswouldallcontributeto preoccupations. Piscator’suseofarchitecturalandtheatricalspace,othermediasuchasfilm, mix ofpolitical,aestheticandtechnologicalelementsmusthaveresonatedwithNono’scurrent pre-compositional formalthinkingandtheprimacyofdramainhisimagination: with Piscator.Hisrequestforadviceontheselectionofafurthertextgivesaninsightintohis project, asettingofMyakovsky’s culture oforganisingaproductionbyPiscator,possiblyinVenice.Hedescribeshiscurrent Politische Theater sociocultural responsibility.HevolunteerstofacilitatepublicationofanItaliantranslation regime inSpain providedItaliancommentators andartistswithparallelsto theirownrecent opposition tocommunisminItaly wasstillcentredaroundtheChurch.Thecontinuingfascist had servedasametaphorfor darkpoliticalforcesinItaly.Throughthepost-waryears, Manzoni’s reputation wasspreadingrapidly asawarenessoftheextenthisachievementgrew.From Lorca’s poetryin1949.Thirteen yearsafterLorca’sassassinationbySpanishfalangists, his Nono metPiscatorinHamburgFebruary1952.Hewouldlaterrecallthemomentwhen human intermsofourpoliticalopinion. text mustnotbeexplicitlypolitical,otherwiseitwillcertainly notbeperformed,but commentator. [. . .] Andtheywillspeak, recount,sing–alsowithSprechgesang.The musical constructionbetweensoloandchoir.Thechoir canalsofunctionas The textmustbe[both]individualandcommon,sothat I canbuildadialectical simple humantext,inwhicheveryonethinksaboutandreflects oncontemporarylife. feelings ofcontemporarywomen,apiecelife.Itmustbegeneral, I wouldlikeaGermantext,inwhichwomenspeak,tell,singofthecontemporary I promessisposi Lorca: drama,struggleandreference–‘Epitaffion.1–3per 64 In theirsubsequentexchangeofletters,Nonodisplayshiskeensense – aprojecteventuallyrealisedin1960andstressestheimportancetoItalian azione scenica Political Theatre Epitaffio 1–3perFedericoGarciaLorca to Dallapiccola’s ‘Epitaffio n.1:Españaenelcorazón’ Confronting modernism:Darmstadt (‘staged action’),notonlyinthestageworks,butatroot Federico GarciaLorca’ Lenin while hewasworkingon , andhisdesiretodiscussanewformofmusictheatre Il Prigioniero 65 66 62 Piscator’s returnwasmuchdiscussedinthe , SpanishoppressioninItalyand elsewhere . KatundahadgivenNonocopiesof Fucˇík . 63 Its intellectuallycoherent Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 to articulatecolour, materialsandmusical roles. Fluteandvibraphone carry themelodic phrase inthepiece,clarinet cyclingthroughpermutationsofitsfournotes. emerge: ‘haflorecidoencírcolos concéntricos’isaccompaniedbythelongestuninterrupted speech patternsofthepoem, spoken byabaritone.Momentsofmadrigalianword-painting Two phrasesofsopranovocalise reinforcethisimageandrelatetheinstrumentalmaterialto the pitches recallsthemelosofAndalusianmusicthatLorca himselfhadsoughttopreserve. and rhythmemergeself-organisingfromsilencenoise.The obsessivecirclingaroundafew made haveanecessary,essentialrelationship.Bothariseinthe actoftheirperformance.Pitch matter ofintegrity,validation.Itdemonstratesthatthework andthestufffromwhichitis and temporalsuspension. to thedetailofsound,performanceandreception;ithelps playermaintainasenseoftension monody (Figure3.24d).ShiftingtherhythmtoavoidbeatsistypicalofNono’sclose attention characteristic clarinet He selectsandhewsmaterialbeforesculptinghisdesignlayer bylayer.Theopening–againa and subjectedtoatwo-dimensionalpermutation(Figures3.24a,b). three four-notegroups,expandingandcontractinginrange(fourth,fifth,augmentedfourth) previous worksalreadycontainedindicatorsofpossiblepaths.In suggests theurgencyofcommonsearchforapost-dodecaphonicwayforward.Nono’s surround themorecomplextreatmentofMyakovsky’s and percussion,itsetstwopoemsbyLorca– dedicated toLorca.Forsopranoandbaritonesoloists,speakingchoruswoodwind,strings will become response areindivisibleinthegerminationofwork.Asimplearchitectureemergesforwhat patterns andideasfororchestrationordynamics.Structuralthoughtinstinctivepoetic their structure,includingHöhepunkt–aremnantofScherchen’smelodicanalysisrhyme past andthehazardsthattheystillfaced. not justthepoetof significance itheldforKatunda.Hewasattractedbythemetaphysical,surrealqualitiesofLorca, radical, ofcrueltyandlove,evenconsonancedissonance,notleastthepersonal and adeepsenseofhistory,politicalchargeindividualhumanity,thepopular explored byBerio,haverootsintheSpanish-influencedcultureofBourbonrule. and culturalvision.ManyofthemorevitalmusicsItaly,suchasSiciliansongslater to whichNonocouldsubscribe,thatprovidetheauthenticbasisforhiscompositional nobility ofcausewithwhichtoidentify.Thereisperhapsalsoayearningforvitalfolkculture instability, corruptionandintriguemayhaveavertedcivilwarinItaly,buttheyaffordedlittle Don Perlimplin For theconcludingLorcapoem – Again, wehearthematerialformingitselffromalmostnothing. Thishabitseemsalmosta Durations arenowmappedfromintervalsinamoresophisticated manner(Figure3.24c). Nono’s correspondencewithMadernaand,sinceDarmstadtin1951,Stockhausen For NonotheresonancesofLorca’spoetryweremanifold:combiningmodernism or fivesounds.Thesefoursoundscancomefrom or fournotes.Ifyoutakethepiecesof I wasstillundertheinfluenceofthosestudiesthatScherchenhadmedousingthree strings oftheguitar. from Katundaor,inthelastpartof España enelcorazón and ofNono’sown pp , 68 gitani suono d’eco Confronting modernism:Darmstadt and Intolleranza ( Spain intheheart cante jondo against asuspendedcymbal–isfilteredfromtheresulting Casida delarosa 66 Guardia civil Even in1961,theyearofMaderna’sLorcasetting , aright-wingcoupwasrealpossibility.Political . 67 67 Epitaffio Tarde As Nonoselectspoems,hemarksaspectsof ), thefirstofseriesthree – Nonodividestheseriesasymmetrically , simplyfromthesoundsofsix and Lenin you seethatthey’rebasedonfour Casida delarosa . Bandiera rossa Tarde he dividestheseriesinto – whichwereto or thatsong Epitaffii Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 b) quavers. Foreground andbackgroundthusevolve atdifferentspeeds.Simultaneities become of thefour-notegroupisread straightforwardlyincrotchets,thatforthemelodicline in pitch setsasbefore,usingLatin squaresofoffsetvaluestoproducecyclespermutations.That using theremainingfournotes –G,A registral dispositionoftherest of theensemble(harp,celeste,piano,strings,flutesandclarinets) development ofaneight-note set,againstabackdroppaintedwiththecolours,dynamics and Figure 3.24 a) d) 'H· 6 , .It) llJ il) llJ fl fl fl fl J .,. =ca.44 --==== Epitaffio n.1:Tarde Su Luigi Nono.Reproducedbykindpermission.) PPP Clarinet spe ~~~~--- pppp n < ded I 'f ega PP PP cymbal • tissim .__ o, suono _.;~ : derivationofopening.(ALN04.02.02/02r(detail).©Theheirs --- I. Confronting modernism:Darmstadt d 'e co -~ ppp @ -==::::: , A,B.Heconstructsdisplacement matricesforboth - c) d) b) filtered a) ppp-=:::: pp 68 I series interval permutations bars c) ~ • 'r 1-10, from .,. 4 3+ 2- 2+ 3- ~ I''· p ppp - --- pp .,. duration b) d JJ ~ --==: ) )) ::>- . . ~ d ) II*J"" - . ppp (3) (1) (2) (4) (1.5) mapping ~ppp ---.:.___ • ~ ppp Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 of thesuffering inSpain.Theeventualtitleof thewholegroup– same themesinamoredistanced context:thebrutaldestructionofIncacivilisation,anallegory to replaceitwithasettingof poembyPabloNeruda, climate ofthetime, a percussioncoda–transformed mirroringoftheopening. clearly bythetimpaniatopeningofthissection(bar66) andattheendofpieceafter the thirdsection,afterwhichsecondarymaterialisintroduced. Thefirstphraseisasserted quietness (‘quivenendosenzarumore[. . .] passoLenin’)beginsacrescendototheclimaxin surely, aconsciousreferencetoSchiller’srevolutionarysummons. Amomentofdramatic Basta!’, istheinterruptiverhetoricalgestureofBeethoven’s ‘O Freunde,nichtdieseTöne!’– introduce thepitchesdirectlyinsectionthatfollows.The entryofthereciter,‘Compagni! original phrase,suchthatavestigialmelodicstructureemerges. Timpaniandxylophone percussion, thedistributionofrhythmsamonginstrumentsis determinedbytheirpitchinthe but thethirdarebasedonlyonfirstoftwophrases.In theopeningcanonforunpitched of xylophone,harpandpiano,speakingchorusreciter, and cross-cutbeforebeingcombinedintocanons.Scoredfor largepercussionsection,agroup Figure 3.25 socialism, suchthatthetotalpitchmaterialamountstoascaleofBb( entirely fromtwophrasesadaptedinnervoicesof poetry thatNonoseemstoemulateinhischoiceanduseofmusicalsourcematerial;itderives foundations andfascistovertonesofItalianfuturism.ThereisabrazennesstoMayakovsky’s The heroicvisionofRussianconstructivismappealedtoNonomorethantheshakytheoretical revolutionary theatredirectorMeyerhold;bothwouldaffordlifelonginspirationforNono. Lenin from theclosestpossibleform,reminiscentof it echoesorpre-echoes,addingadditionalbeats.Therangeofthelineitselfexpandscontinuously between theflute’sphrasesandenteringsoundworldofbackgroundgroup;sometimes vibraphone becomestheshadowofflute,maintainingghostlypresenceline melodic linebetweenfluteandvibraphonelikewisemarksitsrelationshipwiththepoem.The between melodicinterventionandspokenpoemcontinuouslyshifts.Thedistributionofthe to maintainthefloatingatmosphereofwhole.Asin phase ofmelody,poemandbackground,disruptinganyemergentsenseover-stablepulse 10, 19and30theentirebackgroundstructureisshiftedbyasemiquaver,changingrelative opening linesofthepoem,thatlongestdurationsshapesscopeflutephrases.Atbars compromising theirinternalcoherence.Theoccurrenceofthree-notechordsframesthe rhythmic processofthebackgroundaretailoredtocomplementeachotherwithout conception ofthepoem.Thenaturalspeechrhythmspoemandautonomous selects passagesfromtheresulttocreateamelodicarchitectureandrhetoricthatembodyhis chains ofsemiquaversandlongnotesareextendedtoenhancemelodicdifferentiation.Hethen The firstisdividedintosevenunitsinthreegroups,theirpermutationsnested,alternated As NonoexplainedtoMaderna, heknewthat What wastobethecentralpiece,first-imaginedsettingofextractsfromMayakovsky’s , ismorecomplexstructurallyanddramatically.Mayakovskyhadworkedwiththe -- Epitaffio n.1 234567 69 although hewouldreturntoMayakovsky in : Lenin : extractsfrom Confronting modernism:Darmstadt Bandiera rossa 69 Tarde , totwoandahalfoctaves. Lenin La Guerra Tarde Bandiera rossa was unperformableinthepolitical Lenin , therelationshipandoverlapping , whichdevelopssomeofthe Intolleranza 1960 consists offourepisodes.All España enelcorazón Figure 3.25 , theanthemofItalian ). . 70 He chose – isthat Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 matter ofpublicdebateduringthecomposition to expelhim,fearinghemightbecomeafocusofpoliticalactivity.Hispresencewasthus since 1950,inmuch-publicisedexilefromhisnativeChile.Theauthoritieshadmadeattempts to allowmoreexplicitreferenceemergeinthecourseofpiece(Figure3.26). contour of To theseareaddedavoiceconstitutedoffoursuspendedcymbalsoutliningthemelodic ‘aguijoneado enagonia’–heraldsthe added forthethirdstanza,whichisentirelywithoutpitchedinstruments.Itsfinaloutburst– sharing therhythmandpitchmaterialofotherinstruments.Asecondgroupdrumsis four drumsrelatesperceptuallytothespeechrhythmsofchorusandbaritonereciterwhile provide anadditionalpolyphonicunitwithwhichtoexplorethisexpandedpalette.Agroupof discontinuities inthechromaticcontinuum,isbecomingincreasinglyimportant.Thestrings pitches constantlyexpandtochromaticcompletion,theuseofnegativepitchbands, intensifying rhythmicfigurationandcomplexity.Givenanemergingdynamicwherebysingle with itsinversionexpandsthepitchsetnearlytoafullchromatic(noEorB)aswell Guerra low stringsareaddedtothehard-edgedinstrumentationof the thirdandacodaforpercussion,mirroringthatof support thecandidatureofAllendeon26July,fivedaysafterNono’spremiereinDarmstadt. Neruda’s arrestwarrantinChilewasdroppedJune1952,andNerudareturnedhometo civil war. of Neruda’scollectionbegunfollowingLorca’sdeathandprintedinthemidstSpanish harp (usingallsixpitches)andflute(omittingB opening, hederivesthreevoicesbyreadingindifferentdirections:forclarinet(omittingF), voices, therateatwhichrhythmsarereadanddegreeofsubstitutionbyrests.For generates threepolyphonictextures;sectionsaredifferentiatedbyorchestration,densityof first This providesthepitchmaterialforfirstsectionofpiece,which,likeeverypiece which aresustained now alsousedininversionasemitonelower,togivecombinedsetofB melodic rootsarelessblatant,subjectedtomoresophisticateddevelopment.Thefirstphraseis line, inthelowregister, ment ofanother.Thefluteandclarinetreturntothelimited pitchrangeoftheopeningflute discourses canexistsimultaneously;thetimeofoneissuspended whileweexaminethedevelop- borrowed fromthescherzoofBeethoven’sSeventhSymphony bymeansofwhichtwomusical of thefirstsection pitches ofthedrums,eachstatement ismoreassertiveuntiltherenothingtosay. coda theinitialfour-barphrase isannouncedinfullthreetimes.Mappedacrosstherelative metrical simplicity,suchthatrecognisablefiguresemerge.In the fourteenbarsofpercussion percussionists. Permutationsofthesourcematerialaredistributed amongthemsparselyandwith reach ‘ysereunanlosfrutosdividosenlatierra’,areaccompanied byfourgroupsof notes. Inthelaststanzaunisonspeechrhythmsofchorus, unitedanddefiantasthey hitherto. Hehas developedatechniquebest describedbyBoulez’slater term miniature. Atthesametime, Nono’s useofmaterialislessepisodic,moreeconomicalthan changing moodsandsoundsof Neruda’spoembecometheframeworkofacomplexdramatic In thesecondstanza(frombar34),introductionofphrasefrom The fivestanzasofNeruda’spoemaresetassevenepisodes;Nonoaddsaninterludeafter For allitsrawemotion, Epitaffio is likewisetakenfrom 71 Bandiera rossa Neruda –communist,internationalistandclosefriendofLorcahadlivedinItaly , beginsfromnothingwith pp Composizione in harmonicsbythestrings.Thisstatichaloofsound–areminiscence , therepeatednotedottedfigureofsecondandthirdnotesomitted pp , andwiththerhythmicunitsdistributedequallybetweenrests and La Guerra Bandiera rossa Confronting modernism:Darmstadt – illustratesthehushedtensionoftext.Itisatechnique Violento ppp is apolishedcentrepiecetothe group.Theswiftly , but,aswiththepoliticalthemesoftext,these woodwind andsuspendedcymbals.ALatinsquare 70 instrumental interlude,thelastfourpitchesof @ ), thelatterinarhythmicdiminutionof3:2. España enelcorazón Lenin Lenin . Flute,clarinet,bassclarinetand . Themusicalmaterialfor . 72 By joyfulcoincidence, @ , C,C Bandiera rossa polyphony of  , D,E @ , F. La Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 idea areinseparable. relationship betweensubjectand groupisnowafundamentaldrivingforce;composition and intensity ofindividualexpression.Thiswillbeclearlyevident inthedramaticworks,but sources. Nonohasfoundawaytomouldtherhythmsof crowddynamics,balancingthe of coherent,butever-changingtexturesinwhichpitchand rhythmderivefromthesame polyphonies Figure 3.26 21 July1952were Maderna’s portrait. developed inpreviousworks; fromatechnicalpointsofviewitconstitutesanelegant self- sospesi sospesi Piatti flo.uto Pfo.tti Clar CloT Flauto Arpa Arpa ~ Solo Among theotherpremieresat the . . 4 4 ; 1 3 . 6 ::.,,. :,_,II I" ~., '\,fJ " .... I} II ,_ II A ---- Epitaffio n.1:LaGuerra grande , thatallowhimtomanagethedensity,rateofdevelopment andperceptualclarity . pT'ccolo ~ I' ~ .PPP .I P.P.P p -- ca . Ph 40 3 ~ La Guerra I I P.PP I' ~ Confronting modernism:Darmstadt also bringstogethermuchofthe repertoireofrhetoricaldevices Musica suduedimensioni : opening.(ReproducedbykindpermissionofSchottMusic.) .PP pp ...... - Music oftheYoungGeneration p __ ~ I I k P.P r~ .r"" ~ 71 p .I · I' ~ ~ ~ - and -- I I ~I' Kreuzspiel (\ ~ ...... mp p 3 r ~ ~ concert atDarmstadton ...... pp - by Stockhausen, with ,.J" - !-,.... I I ~~ .,Pj, ...... _..._ .~ pp Es- ~ ...... _ 3 ~ pa I' I' ~ ~ ..----::: p - > no - I I Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 more Hindemith,noofanyonebuttheyoungDarmstadtteamreadyforconquest.’ the leap’,recalledflutesoloistSeverinoGazzellonidramatically.‘NomoreStravinsky,no rhythme by GoléaatDarmstadtin1951whichhehadplayedarecordingofthe been hisstudentsinParis,andStockhausenhadjoinedMessiaen’sclasstherefollowingalecture serialism, hadcoincidentallybeenwrittenatDarmstadtin1949. Messiaen’s articulate andgivelifetobroadercanvasesofpitch,rhythm and colour. Nono’s inventionarerathertheseedsofbehaviours,dynamics andemergentstructurethat Nono’s owncompositionalthoughtas‘material’isperhapsmisleading. Theelementalunitsof musical spacewasemergingasanimportantpreoccupation. However, toconsiderthestuffof Assimilatingtheclear,recognisablefigureofsignificantmaterialwithinamoremobile Guinea. rhythmic energy,permutationpatternsandexplicitreference tothesoundsofPapuaNew the two Indeed, while and paidparticularattentiontoMessiaen’sobservationsonthepropertiesofpopularsong. metaphysical passages–replacing‘humanimagination’with‘myimagination’,forexample painstakingly workedthroughthemusicalexamples.Heannotatedtext,especiallymore composer, NonoandMadernawouldallplaypercussionin To Stockhausen’schagrin,Steineckehadproposedamoney-savingschemewherebythe evening asthe‘Wunderkonzert’,anditloomslargeinvariousreports. before. Thiscomprehensivepictureofthestatenewmusicledtomythologizing whom NonohaddevelopedawarmcorrespondencesincetheirmeetingatDarmstadttheyear A newlyconfidentgraspofformisclearinNono’sworkon thesecond Maderna’s as translatorforGazzelloniwhen hetaughtatDarmstadtinJuly,andheardhisperformance of Baden tobeconductedbyHans RosbaudwithflautistSeverinoGazzelloni.Nonohadacted from South-WestGermanRadio forHeinrichStrobel’sprestigious suoni fissi ya vienecantando work fortherecently revivedfestivalinDonaueschingen. Thiswouldnot happenuntilthe connotations fortheinventorofneologism,Stockhausen. Webern style,‘punktuelleMusik’hadgainedcurrencydespiteitsveryspecifictechnical of Messiaen’stechniqueassetoutpubliclyinhis1944bookclearlyattractedNono. Stockhausen acknowledgeditsinfluenceon live performerandelectronicsounds.Onthisevening,Nono’s instances ofanewgenrethatwouldbecomecentraltoNono’slaterwork:thecombination coherent, butlessbrittle,moreplastic.Maderna’s absolutist architecture.Hisrelationshipwithhismaterialismoreintimate–bynomeansless irrepressible Madernatookpart.Nono’sworkiscertainlyvastlydifferentfromStockhausen’s technical differences. tended toconflatethestylesofallthreeas‘punktuelleMusik’,despiteclearstylisticand incomprehensible thanthoseofStockhausenandMaderna,although,asIddondescribes,they concert andwasapplaudeduntilitencored.Criticsalsopraisedhiswork,findingless During theSummerSchool,NonoattendedseminarsonrhythmledbyOlivierMessiaen. . Indeed,Boulez’s Iles defeu (celesta, xylophone,vibraphone andharp).Heworkedrapidlyonthis,acommission Musica suduedimensioni Modes devaleursetd’intensité Modes devaleursetd’intensité forsoloflutewithlargestring orchestra,suspendedcymbalsandthegroupof , movements mayhavebeenofmoresignificanceforNono,withtheir ‘Epitaffio n.2:Ysusangreyavienecantando’ 75 As atermtodescribewhatwasperceivedasdiscontinuous,post- Structures Confronting modernism:Darmstadt . 79 Strobel hadheardatapeof uses thematerialfromMessiaen’searlierpiece,and , oftenseenasthefirstattemptatmulti-parameter is iconicforitsstructuralinnovation,itmaybethat Kreuzspiel 72 Musica suduedimensioni . Theexplicitcoherenceandindividuality 76 Kreuzspiel España enelcorazón 77 Composizione Boulez andGoeyvaertshad Ars Viva 73 . Attheend,only ‘In thiswaywemade Epitaffio is oneoftheearliest Quatre etudesde series inBaden and proposeda – Y susangre ended the 78 He 74 Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 poem of theculturepeople.NonouseslinetoreferbloodLorcahimself.The description andlamentonthedeathofhisfriend,famousbullfighter,writerchampion prepare thenewpieceforastudioconcertinBadenon17December1952. obsessive melos of backwards andforwardsofhis directionalstructures,positiveandnegativecoexist. he characterisestheversionsfor eachofthethreesectionsbytheir course of1948,whichwillbecome centralresourcefortheworksofNono’slastdecade.Here, interval patternanticipateshissegmentationofthescalaenigmatica, introducedinScherchen’s second withtheadditionofawholetone,thirdtwosemitones andaminorthird.This Nono returnstotheuseofa12-noteseries:threegroups four notes,thefirstchromatic, flute continuesitsroleestablished in separately inthiscase;theoriginsofbothremainfartherbelow thesurfacethanin capacity togeneratecontinuousenergyratherthanasreference. Pitchandrhythmarederived dances –oneforeachimageshouldprovidetherhythm. Thedancesareusedfortheir the bullringasacelebratoryfinaletoseries.Heintended from theoutsetthatthreeSpanish Y susangre Figure 3.27 3.27). to matchthoseofthepoem–I–II,III,IV–Vbutitsformalcomplementaritypersists(Figure – pre-echoesthesilentroleoflinesfromHölderlinin poem in following yearwith The title The soundworldof Initial ideasincludedtheuseofbrassanddrums,perhapsto conjureuptheatmosphereof His boldgraphicalplanforafive-partarchitecturewasrapidlyresolvedintothreesections Images ofnaturesuchastheseresonatethroughNono’ssubsequentwork.Hisusethe When Idie! When Idie,buryme,ifyouwould,insideaweathervane. When Idieamongtheorangetreesandmintplants. When Idie,burymewithmyguitarbeneaththesand. Memento Y susangre by kindpermission.) Y susangre is apoignantbutmoreacceptingviewofdeath: Tarde – printingonestanzaunderthesoloflutepartineachofthreesections : formalplan.(ALN05.02/02v(detail).©TheheirsofLuigiNono. Reproduced Due espressioni is takenfromLorca’s Y susangre . Itsquasi-poetic patternofphrases,accents and restsisproducedby Confronting modernism:Darmstadt ; inthemeantime,Nonoworkedthroughsummerto emerges seamlesslyfromthatof thefirst Casida delarosa Llanto porIgnacioSanchezMejias 73 Fragmente , butbeginsagainfromtheminimal, twenty-eight yearslater. absent intervals. Likethe Epitaffio , animpassioned La Guerra . Thesolo . Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 ~ crescendi anddiminuendimarkchangesofdensityacrossthewholeorchestra. timbral space.Thewholefirstsectionisunitedinagreatsweepofaccelerando;continuous or conflatethem;strings piece. Instrumentalcoloursbouncebetweenthethreeinstrumentalsurfaces,usedtodistinguish complexity andcorrelationofmaterial–istheparameterbymeanswhichNonoshapes Figure 3.28 ( diminution –a derive fromaugmentations,reorderingsandretrogradesofthesimplestfiguresitsaltered space throughwhichthesustainedflutelinewithitsharpshadowcanmovefreely.Rhythms three sequencesofrests,notes,bi-andtrichordsprojectedintoathree-dimensionalinstrumental of thefirst (here celesta,xylophone,vibraphoneandharp)strings–islikeamagnificationofthedetail between fluteandharp.Theaccompaniment–threegroupsofsuspendedcymbal, dividing thecontinuouslinegeneratedbyNono’sestablishedpolyphony-reducingprocess strength andjoy.’ here (RAIandthefestivalsare tabooforusandalwaysfighting);butweworkwith opportunities; inJune1952he wrotetoHübner:‘forBrunoandmeitgetsworse competition forthemostexcitingprojects.Certainly,Nono’s owncountryaffordedfewer structure ofWestGermansupportfornewmusicmay also haveengenderedaspiritof new commission.HisenthusiasmforNono’smusicwasclearly genuine,buttheregionalised As soonascontinuedfundingwasassuredforthe Figure 3.29 The localnewspaper wroteof‘absurd,disconnected processes[. . .] squalid,formless laments, Both audienceandpress,there tohearHaydnandBeethoven,respondeduncomprehendingly. Fenice inVenice.Itwasnot the momentofrecognitionthatNonomusthavehoped for. initial cell,issubjectedtothesameprocesses( that makesexplicituseofafoundSpanishrhythm.Thefandango,almostaselementalthe The latentenergybuiltupintheprocessburstsintofinalsection,eventonlypart the backgroundforamorefree,rapidlydevelopingfluteline– concentrate themintoasinglesound-space.Thissuspendedharmonyofthespheresprovides which the become atrope:highviolinharmonicsandsuspendedcymbalsustainedthroughout,against Figure 3.28 J The briefcentralsection,labelled The manipulationofpolyphonicspace–notjustthenumbervoicesbutperceived J 3 3 3 J ‘Epitaffio n.3:Memento–RomancedelaGuardia CivilEspañola’ Y susangre Y susangre suoni fissi Epitaffio ). Sarabanda 80 . Permutationsoftheseriesandreadingsandisplacementmatrixproduce bring togetherthestrandsofaccompanyingmaterialfirstsectionand In November,Scherchenconducted : SarabandarhythmsAandB : fandango 1 arco, pizz,arcobattuto , asNonobeginstolookSpainalsoformusicalsourcematerial J 3 3 3 Confronting modernism:Darmstadt armonico J J 74 and Figure 3.29 as Nonobeganwork,againdevelopswhathas II col legnobattuto Neue Werk ). Polifonica –MonodiaRitmica series, HübnerofferedNonoa canto sospeso provide continuityacrossthe , asuspendedsong. suoni fissi at La Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 to Maderna: groups ofprotagonists (Figure3.30). dramatic structureintermsof theserhythms,sometimesdividingmaterialbetweenthe two different typesanddensitiesof polyphonyistheprincipalarchitecturaldevice.Heplots the rhythm orpitchmaterialisderived differentlyfromtheothervoices.Suchcontrastbetween voices maybeunpitched,orone maytaketheforegroundasamonody,inwhichcaseeither work. contrast andasymmetry.FromthesesimplematerialsNono willspinandweavetheentire juxtapositions, relationshipsandsubdivisions,selectingthose thataffordpropertiesofinterest: rhythmic patternsofsomefifteendancesbyregionand metre.Heexperimentswith poems. as early1949. Sprechstimme of aprogrammededicatedtosettingsLorca.Madernawasengagedconductandthe testing anewrelationship.ThepremierewastotakeplaceinHamburgon16February,aspart is beautiful.’Healsowritestothemaboutthepoliticalsituation,tentativelybutfirmly,asif floor, quitenice,smallandquiet;theseacomesrightundermywindow,againstrocks,it gitanos a receptacleofallthemostcorrupt,extremeconsequencesdodecaphony.’ of Spanishpopularsonganddance: music drama. and complexitiesofLorca’spoemalsohavetobesomewhat simplifiedforthesakeofclear Nono’s Gramscianunderstandingofanidealstatepopular culture, butperhapstheparadoxes whom thevictimsgatherforprotection,disappear.Religion andsuperstitionplaynopartin tellingly byeliminatingpassageswithreligiousreferences. Saints MaryandJoseph,around separated byaninterlude,andaFinale.Hereducesthetextabouthalf,principally Nono envisagesafour-partstructure:Prelude,two work, ofcourse.’ melodic studies(usingfivenotesatmost)–allneverdonebeforetogetherwithmyown interesting newplanofstudy–analysisandhistoricalmodernItaliansongs,special full ofenthusiasmfortheplaceandmentorshipScherchen:‘wehavemadean coast –avillaownedbyrelativeofNono’smother,ittranspired.Nonowrotetohisparents 1952 andJanuary1953attheseasidevillarentedbyScherchenRapallo,onLigurian days beforethepremièreof able tosetouthisneedsforthenewpiecewhentheymetatDonaueschingeninDecember, be toolatetotheopeningworkofnewseason,asHübnerhadhoped,butNonowas Nono startedworkonthefinal For thefinal Following Messiaen’sexample,Nonofindssourcematerial in anencyclopaediccollection placed relativetotheothers(Henze,Stock.,Boulezetc.),closerclarification. life inItaly,orratherwearedistractedfromconsideringreality.Andyetwell Germany ismonopolisingourmusicallife.Dangerous,becauseittakesusawayfrom certain errors,orratherthedangersofsomeoursituations;forexamplethat serious andintelligentreactionswouldcomefromourcircle.[. . .] Ihaveunderstood Polifonica , massacredintheircitybythefascistparamilitarypolice. Memento Romance deleGuardiaCivilEspañola part wastobeperformedbyChristaLudwig,whohadparticipatedatDarmstadt opened awasps’nest!Ofcoursefromtheoutsetweknewthatonly is constitutedalmostentirely of three-orfour-partpolyphony.Someall Epitaffio 83 His physicalenvironmentisimportanttohim:‘I’minaroomonthefirst – Y susangre Memento Confronting modernism:Darmstadt Epitaffio La musiqueetladansepopulaireenEspagne , NonochoseoneofLorca’slongerandmostdramatic . MostofthenewworkwaswrittenbetweenNovember tells thestoryofanocturnalgatheringAndalusian as soonitspredecessorwascomplete.Itwould 75 tempi ( festa gitana 84 Having analysedthepoem, and . 85 81 sacco dellacittà He groupsthe Nono wrote 82 ) Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 Gitani Tempo Sara Charrade: Jota Malaguefia: Fandango Preludio Bolero: rhyme inthepolyphonic ebbandflow.Tension betweenrhythmbasesofquaver andcrotchet used asequivalenttotheoriginal, asinglenon-retrogradablerhythminbar3functions as a deletion meansthatquaverssounded inbar1becomerests2.Whiletheretrograde is of thefourbarsrhythmis subjecttocontinuouspermutation.Aprocessofcomplementary voices shapecolourandaccent. Thereisnoprecisepitch,onlyspeechanddrums.Theordering adapted speechrhythms.Clarity oftextisnevercompromised;changesintypeornumber of from theRuedarhythm,againstwhichchorusspeak openingscene-settinglinesto Figure 3.30 Guardia Tempo Zortzico: Finale Bailie: Rueda The firstsection–theoriginalPreludeisafour-partcanonical texturederivedentirely banda Castellana 1JnJ1JJnu ! g ~ ~ ~ - (Zortzi J J .J"nn J J (Malaguafia, 1 - Civil- 2- : : Memento ~ J J Festa j ) Saco J 3 c J ~ : o, j Rueda ..n J Ezpata J I : formanddances .r:J.'""'j n Bolero J : ) I , I Aurresku, J J I 1 1 J - J. J J not j Confronting modernism:Darmstadt J J used) j j Sardana, ..n J j ~ J J 1! I Al I II ) I ..fm Agudo J_) ~ 76 3 ~ - .rJ not I J u s I ed) .J""TI ) J .J""TI II II Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 a) heterophony. WordsbegintoemergeasthemonodyleavesitsinitialE subsequent works.Windmonodyandtextformatightlyconstructedsonginrhythmic ( Figure 3.31 distributed amongagroupofthree into aunisonpunctuatedby generates forwardmomentumuntilaprocessoferasureandalignmentdissolvesthepolyphony fabric herequirestoassemblehisdesignforthenextsection.Nowpitchesconstitutean repetitions, Nonoisfreetoexperimentwithdifferentstartpointsandtime-basescutthe monody ( the Höhepunkt‘ciudaddedolor’,formingaCmajortriadwithMonteverdianlamenting ( about G of limitedtransposition’Messiaen’s first ninenotesofthemainseries,outliningamodalregionthatrelatesdirectlyto‘modes The textisnowspokenbythealto,whileunisonwindmelodyloopsitswaythrough to constructanoscillating,expandingquasi-Andalusiancantilenarecallingtheearlier In acharacteristicallygraphicalprocess,NonointerleavesSarabandaandFandangorhythms twenty-six barmelodywasfirstintendedtobesungbysoloalto,accompaniedtwoharps. patchwork ofGabrieli’smotets;theydevelopfromamonodytopurerhythmicpolyphony.A distinct partsillustratewellhisuseofdifferentpolyphonictextures,reminiscenttheVenetian Figure 3.31a Figure 3.31b The secondsection–bars102–62correspondstothe By generatingpagesofsequencedpitchmaterialcontainingdyads,restsandlocalloops ' -.. ~ f'_/1_ / _A 0 _A tJ t.J tJ t.! tJ l'l l'l 2 :  J> !, /A Memento Figure 3.31c Wind H H ...... a a @ 3 rp rp ). Nonowilldevelopthisprincipletoclarifypolyphonieswithinin ). Thestartpointsofthe at ‘ciudaddelosgitanos’,lowharpC _ , , ~ p p p L__ e e p r rcu c p 3 : bars102–7,110–12, 118–21 u ----- __J ss ss i i o o ). L__ n n ~~ 2 I 3 --~ =~ __J 3 ~ ff Confronting modernism:Darmstadt rolls. b. - suoni fissi r-- )l suoni fissi ----- ~:;t ~ Technique ~ in aformofcompressedisorhythmicheterophony :;t 77 r-- voices areorganisedsuchthattheycoincideat ~--- :;t._Y 3 ~ . Theaccompanyingharplinesareeach ~ . -., ...- ~~~  reinforcing itsnewC li' 3 ~ .. ~ ·~ festa JJ rn_ : of Nono’sfirstplan.Itsthree ,-- ~ ~ 3 ~ .!, ---, I .. . @ modality, pivoting ~  • J> ,...... i!._, minor modality ..r:: ~ i '---' r- f= = _ - - Epitaffii , Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 Ionian modeonAwithanadditionalC Figure 3.31 popular songfromPolesine,anareaoftheVeneto.Rhythmsaremappedontoasetsix Nono givestostrings only,thethirdtowind and harps.Byerasingelements ofhisfundamental description ofthedance.These twointerruptionsdividethesectionintothreeparts;second movement in6/8ispunctuated byreturnsofthepreviouspercussioncodaunderLorca’s free topaygreatattentionorchestration, articulationanddynamics.Theessentiallyorchestral in itsconceptionasmuch permutation oftheseries,orderedaccordingtodisplacement matrices. rests whichexpandeverytimevoicescomeintoalignment. Pitchescomefromacontinuous of erasure,theninterwovenintocontrarysequencesthatare foldedtogetheranddividedby square forwardsandbackwards(thepermutationsnumbered in thefigure),subjecttoaprocess ( of thistexturedemonstratestheweavingandfolding,inner polyphonyofanindividualline painstakingly preparedpotentialmaterial.Anexaminationof theprovenanceofasinglestrand permutation. Thefinaltextureiscreatedbyselectingand overlaying passagesfrompagesof into separatecomponentswhichwiththeirretrogrades are reorderedbynon-repeating polyphonic voices,thendistributedacrosstheentireorchestra. Thebasicrhythmsaredivided new dances:Zortzico,Ezpata,JotaCastillanaandBaille,arranged byNonoastwopairsof dances remainaloneasthe own rhythmicoriginsbecomeclearer–Malagueña,CharradeandBolerothethree sound likefolkinstrumentsafterthemasseddrumsofopening.Aslinesdevelop,their (‘when nightfell’).Againstthis,threesmallpercussion–nackers,triangleandtambourine luna’ (‘lookatthemoon’)relatestolinesofLorcainthissection,‘cuandollegabalanoche’ reducing durationsinversionsbasedonbothquaversandsemiquavers.Itsowntext‘Guardala b) Figure 3.32 This sectionisthedramaticcentrepiece ofthework;asurreal,swirling,impossibledance, Pitch andfigurere-enterdramaticallyattheheightofcrescendo,withaswitchtofour 110 t) ~wind fl 4 :I ! ,..,....., continued ). TheBaillerhythmisdividedintoninesegments,ordered byreadingaLatin c) llJ. P.J oh perc. c - i u l tt - . La Valse II:Jt i wind f festa ciu da~ Confronting modernism:Darmstadt p •· .J j ..__ emerges. as Darmstadt.Therobustnessof Nono’smaterialleaveshim r • !f-61-  dad mf r . Modeandrhythmicproportionsarederivedfroma t )> ...__ , de - - 78 J lnr· d· -=:::: los :> J tt -=::::: de ..J ~ W ~ ~ i ,__.. ---.... ,__.. gi )> do w . - 12} tan J - -== - mf os! J . -=:::: _l Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 Permutation through thesketchessuggestthat thetwodiscussedprogressofwork. for liberty’.Thescorewasfinished atScherchen’shomeRapallo,andcommentsinGerman ‘Hermann Scherchen,Maestro –FatherFriend.’Anotherisdedicated‘tothegloriousfighters of Scherchen’slessonsonGregorian chant.Indeed,thefinaldraftof between ahymnandspiritual,thecarefulmelodicbalance of thisfinallamentbearsthetraces had inmindKatunda’schosenpath,orthedevotionalmodality ofMessiaen.Something time thechorusactuallysing,theirvoicesfreed.Insimplicity ofthiscodaNonomayhave virtual guitarresonancespringsapentatonic,unison,unaccompanied choralmelody–thefirst material thathasgeneratedtheentirework. open stringsoftheguitar,instrumentpeopleand naturalvehiclefortherhythmic chord it resolvesintoatwo-notefigureoffourthsorfifths,thestrings begintoaccumulateasustained rhythm, thisfigureusesdiatonicsequencesfromtheseriesstretched acrosswideintervals.As resistance toinhumanity.Likeaseriesofshoutedexchanges usingonebaroftheRueda drum rhythmsasthegypsiescongregatetofacetheirattackers,athree-notefiguresignals sequences ofnotesfromthesameseriesasbefore.Afteracentralpassageunisonstringand double basses–almostthesoundofdrumsandthensustainedlowclarinets:rhythmicised inexorable searching.Pitchbeginstoplayagreaterparthere,however,introducedfirstinlow and accentenhancedbychangesinvoicenumber.Againstthemthedrumscontinuetheir Prelude, thechorusnarratesterribleeventsinunisonspeech-derivedrhythms,intonation fabric ofsequencedpermutationsaspreviously,spreadovermultipletime-bases.Asinthe totalitarian conduitfortheviolenceofscene.Therhythmicstructurederivesfromsame 5/8 material.Instead,hisconcentrationonthatoftheRuedaproducesastraitjacketed, intended tousetheEzpataandZortzicorhythmshere,experimentingwithlayersofmultiple interruption thearrivalofGuardiaCivilisannounced. polyphony duringasustaineddiminuendo,heincreasesthetensionuntilwithfortissimo Figure 3.32 culturally, politically awaremusictheatre.To referto 5 10 tJ= ~ The menaceoftheopeningisnowrealisedandsackcitybegins.Nonohad Azione scenica Melody triumphs,therefore,andwithitthespiritvoice oftheoppressed.Fromthis 1 '( Vln zn ppp • r iJ Memento ; theresonanthaloanotherevolvingNonotrope.Here pitchesarethoseofthe 1 L-3_l f f ------., ~ f m 3 2 is thetermNonowillshortly usetoreferhisownconceptofsocially, n S ''t£ : bars163–75,firstfoursequencesof R --- I 2 3 C£ Tbn J J!J r3 E --, Confronting modernism:Darmstadt - I ln t· - I Hn ~ n ~~~ C j it ~ ~1-11i,j :::t ~ 4------~th 79 t=l l ilnJ --- ? Baille = I Hn Memento n J J Jl Cello ~ PJ --- s::r::l t · as an 11---- I££-. I Vln azione scenica r3--, JUJ Memento 1 n t· 2~} is dedicatedto Hn is, ofcourse, II I Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 Schönberg –andtoNono’smindavoidedbyhisowncontemporaries. understanding ofhismentors–Dallapiccola,Scherchen,Varèse,Messiaenand,vicariously, role. Aboveall,hehasconfrontedthecentralquestionofmeaning,tomusical the actoflisteningarewrittenintomusicalsurface;theygivenspaceandastructural musical timehavefoundplaceatthecentreofhisthought.Theresonancesperformanceand graphical andphysical.Theuseofresonance,space,silencethesuspendingorfolding the restofhiswork.Hehasestablishedapractice,repertoirestrategies–intellectual, Maderna, hehasdevelopedasynthesisofpolyphonicandserialtechniquesthatwillunderpin provide himselfwithdecisionsandchoicesappropriatetohispoeticvision.Together completely coherent,consonantprocess.Intechnicalterms,heisconfidentinbeingableto the chorus,people,fromwhoseownmusicalmaterialNonogenerateshisfabricina and modalitiesemergeinkeepingwithhispoeticvision.Theactioniscarriedessentiallyby figure areusedconfidentlyinanarchitecturallymouldedflowofpolyphony.Localperiodicities and matured,withitakeensenseofhowtosupportsuchstructures.Melodicrhythmic year, Nono’sinternationalreputationwasconfirmed. with theBerlinPhilharmonicin1957.Followingsuccessof aspirations from imagination inthedirectionofanewmusic–text–dramarelationship,integratingideasand a stretchoftheimagination.However,itrepresentsanimportantstretchingNono’sown Legrenzi’s opera 5 Letter fromSteinecke,26June1950.ALN. 4 Iddon, 2013,pp.1–32,providesaconcisepictureoftheorigins ofDarmstadtandtherole 3 The coursesinitiallytookplaceatSchlossKranichstein,onthe edgeofthecity.From1949to1957 2 Goléa, 1962,vol.I,pp.191–2. 1 Maderna, quoted inFearn,1990,p.26. 6 Scherchen conductedsubsequentperformances,includingthefirstfullsequenceof Nono’s owntextforthateventmakeshispurposeclear: Steinecke. the courseswereheldatSeminar Marienhöhe (BorioandDanuser,1997,vol.1,p.61). Nono’s placeatthehighestlevelofcontemporarymusic. tension thatcharacterizesthegeniusofGarciaLorca.[. . .] Aworkthatconfirms find, transfiguredtotheplaneofsound,lyrical,sometimestender,cruel this workliesnotonlyinhowitismade.Itadeeplymovingwhichwe For manylistenersitwasamomentofrareandintenseemotion.Butthebeauty within us[. . .] our music;thatis,ofownheart.[. . .] ThesongoffreeSpain isaroundusand have expressedsomethingvalid.Butwetalkandwritetoo littleoftheheart table, asifitwereanobjectofcuriosity,andattheendproudly announcethatwe ordering ofmaterial,asifthiswasouronlygoal.Orweput musicontheoperating not cleartoallofus.Todaythereistoomuchtalktechnical problemsandofthe exist forusandonlyinthissensecanwebemusicianstoday. Unfortunatelythisis fundamental truthexiststherealityofourwork.Thisisonlypossiblewayto The musicofusyoungpeopleisthecoreourhumanityinhumansociety.Inthis Fucˇík Totile 87 , Lenin , forexample. and Confronting modernism:Darmstadt La Guerra . TheveryscopeofNono’sthoughthasbroadened Notes 80 Le Monde 86 wrote: Il cantosospeso the previous Epitaffi Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 Letter from Maderna,13May1952.ALN. 50 Letter toStockhausen,13March 1952,inStockhausen,2001,pp.39–40. 49 Letter toMaderna,February 1952,inBaroniandDalmonte,1989,p.60. 48 Letter toMaderna,June1952. SacherStiftung,Basel. 47 Letter toMaderna,February 1952,inBaroniandDalmonte,1989,p.60. 46 Letter toMarioandMariaNono, 19February1952.ALN. 45 Letter toHübner,14March 52.ALN. 44 43 Letter toMarioandMariaNono,14February1952.ALN. 42 The Dessauperformancesbeganon30January1952.Nono’s premiereinHamburgtookplaceon18 41 ‘Lo sviluppodellatecnicaseriale’,1957.LNI,p.34. 40 Rizzardi givesadetailedaccountoftheevolutionthistechnique inMaderna’s 39 Rizzardi, 2004,49.Nonousestheterminhissketchesfor laterworks. 38 Guerrero, 2009. 37 Letter toMaderna,August1951,ALN.ThenumbersquaresdevelopedbyNonoandMadernaare 36 Letter toScherchen,22July1951[ 35 Letter fromHermannScherchen,22July1951,ALN. 34 Scherchen, quotedinStenzl,1998,p.20. 33 Herbert FleischerinanunnamedItalianpressagencycutting.Theotherworksontheprogramme 32 Hans Mayer,inIddon,2013,pp.47–8. 31 30 29 Scherchen’s cut,presumablyagreedwithNono,occursatthispoint. 28 34 barsarecutatbar10intheearlieredition.Thecentralsection(‘naturejoinsin’)comprises 27 Guerrero, 2009,pp.489–91. 26 Next tothediagramsthereisareferencePietroCerone’s 25 ALN 02.04/17–18. 24 It appearsinthesketchesforMaderna’s 23 Interview withEnzoRestagno,1987.LNII,p.501. 22 André Richard,interviewedinEhrhardt,2001. 21 Stenzl, 1998,p.23. 20 Fuc 19 Letter toHermannScherchen,2June1951.ALN. 18 Interview withMassimoCacciari,1980.LNII,p.253. 17 Interview withEnzoRestango,1987.LNII,p.495. 16 Ungeheuer, 1992,pp.104–5. 15 Meyer-Eppler, 1949. 14 Stenzl, 1998,p.19. 13 12 11 Hans HeinzStuckenschmidt,‘Speilerei,PathosundVerinnerlichung.’ 10 Interview withEnzoRestango,1987.LNII,p.495. 9 Guerrero, 2009. 8 Interview withHansjörgPauli,1969.LNII,pp.23–4. 7 orchestra Die Welt February. of thesameyearanditsusein constant alongbothdiagonals. SATOR –ROTASwordsquareisananalogousexample.Amagic squarealsoproducesthesame usually referredtoasLatinsquares.Eachsideproducesthesameconstant whensummed.Webern’s un poètecaptive were: MichelCiry Die ZeitschriftfürMusik Das Musikleben 20–43 ofthecompleteversion. the natureofintervals. compendium ofmusictheoryrenownedforitsextensiveandobsessivetreatmentsubjectsincluding Göttinger Tageblatt Darmstädter Echo Quoted inIddon,2013,p.37. ˇík, 1948. and Petrassi , 21February1952.OtherworksontheprogrammewereMaderna ; ArminSchibler , September1951,vol.4,no.9. , 29August1950.Uncreditedpresscutting.ALN. , 30August1950.Uncreditedpresscutting.ALN. Troisiéme symphonie Coro dimorti , September1951,vol.112,no.9. Confronting modernism:Darmstadt Composizione Sinfonische Variationen . sic ]. ALN. ; PeterRacineFricker Studi perIlProcessodiKafka (Rizzardi, 2004). 81 . El melopeoymaestro Concerto No.1forViolin (Rizzardi, 2004,p.19). Neue Zeitung Improvvisazione N.1per of 1613,a22-volume Improvvisazione n.1 , 30August1950. ; SergeNigg Pour Downloaded By: 10.3.98.104 At: 23:57 27 Sep 2021; For: 9780429485732, chapter3, 10.4324/9780429485732-4 Messiaen’s 77 Stockhausen, 1989,p.35. 76 Iddon, 2013,pp.85–8. 75 Gazzelloni andGranzotto,1984,p.86. 74 Also ontheprogrammewereCamilloTogni 73 In fact,NerudavisitedVeniceon5June1952,butthereisnoindicationthatheandNonomet. 72 Lines quotedinFeinstein,2004,p.125,arecharacteristicofNeruda’sopinionLorca:‘we,thepoets 71 Following histheatricalsuicidein1930,MayakovskyhadbeenpraisedbyStalinasanationalhero, 70 Undated letter.ALN. 69 Interview withEnzoRestagno,1987.LNII,p.502. 68 Interview withEnzoRestagno,1987.LNII,p.556. 67 Pestalozza, 1989,describesthesignificanceofLorca’spoetryandstruggleinSpainforItalian 66 Letter toPiscator,14March1952.ALN. 65 Interview withEnzoRestagno,1987.LNII,p.518. 64 The socialistmartyrKarlLiebknecht,whofiguresinNono’soriginalthoughtsonFuçik,appears 63 Piscator (1893–1966),theatredirectorandtheorist,hadpursuedaradicalrethinkingofGerman 62 Letter toMaderna,June1952.SacherStiftung,Basel. 61 Letter fromMaderna,1April1952.ALN. 60 Gramsci, 1947,p.124. 59 Gramsci, 1977,vol.3,p.2192. 58 Gramsci, 1977,vol.2,p.969. 57 Pavone, 2013,Chapter2. 56 Mila, 1945. 55 Letter fromMila,16July1952,inBenedictis,IdaandRizzardi,2010,p.3. 54 Benedictis, IdaandRizzardi,2010. 53 Letter toMaderna,June1952.SacherStifting,Basel. 52 Mario Labroca(1896–1973),pupilofMalipiero,managertheTeatroCommunale,Florence 51 86 Lavignac, Albert1920. 85 A shortextractwasusedforthepopularcivilwarsong 84 Letter toMarioandMariaNono,25November1952.ALN. 83 Letter toMaderna,November1952,inBaroniandDalmonte, 1989,p.60. 82 81 Letter toHübner,1June1952.ALN. 80 Letter fromSteinecke,22April1952. 79 Messiaen, 1944. 78 Programme noteforBerlin performance, 1957.LNI,p.421. 87 we knowtobethegreatestamongus,guidingspiritofthismomentinourlanguage.’ of SpanishAmericaandthepoetsSpain,cannotforgetoreverforgivemurderonewho his workdisseminatedasstatepropaganda. composers. Piscator’s with Nono. obliged toleavein1951.DeBenedictisandSchomerus,1999/2000,provideasurveyofhisrelationship through the1920s,workedinUSSRfrom1931–6andsubsequentlyUSAuntilhewas Casella, ArtisticDirectoroftheAccademiaFilarmonica,Rome,1950–4. subsequently involvedintheVeniceBiennaleandfestivals.MarioPeragallo(1910–96),pupilof 1936–44, artisticdirectorofLaScala1947–9,musicforItalianRadio1949–58,and Tanglewood in1949,and Le Monde ALN. Delagrave. PremièrePartie.Nono’stranscriptionsaretobefound inthePaulSacherStiftungand Il Gazzetino , quotedin Trotz alledem Quatre etudesderhythme , 16November1952. Il giorno of 1925. Encyclopèdie delamusiqueetDictionnaireduConservatoire Ile defeuI , 15October1959. Confronting modernism:Darmstadt and for solopianoalsoinclude II , writtenayearlater(Deliège,2003,p.101). Omaggio aBach 82 Noche Nochero and JacquesWildberger Neumes rythmiques . . Paris,Librairie composedat , Quartett .