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Holland Festival Luigi Nono: Trilogie Van Het Sublieme

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Holland Festival Luigi Nono: Trilogie Van Het Sublieme LUIGI NONO: TRILOGIE VAN HET SUBLIEME VAN TRILOGIE LUIGI NONO: HOLLAND FESTIVAL PROGRAMMA / PROGRAMME do 19.6 / thu 19.6 vr 20.6 / fri 20.6 za 21.6 / sat 21.6 zo 22.6 / sun 22.6 lunchconcerten symposium / conference symposium / conference tentoonstelling / exhibition Rijksmuseum, Passage Universiteitstheater Transformatorhuis Westergasfabriek Luigi Nono 1924–1990 Nono Interventions “... Hay que caminar ...” “... Hay que caminar ...” Maestro di suoni e silenzi Luigi Nono’s musical paths between politics Luigi Nono’s musical paths between politics and art and art tentoonstelling / exhibition concert Westergasfabriek Gashouder Westergasfabriek Gashouder tentoonstelling / exhibition Luigi Nono 1924–1990 Westergasfabriek Gashouder Caminantes … Ayacucho Maestro di suoni e silenzi Kyrie uit from Sacrae Symphoniae Luigi Nono 1924–1990 No hay caminos, hay que caminar … Andrej Maestro di suoni e silenzi Tarkowski concert Gloria uit from Sacrae Symphoniae Westergasfabriek Gashouder concert Prometeo. Tragedia dell’ascolto Westergasfabriek Gashouder Il canto sospeso Non consumiamo Marx Como una ola de fuerza y luz concert Westergasfabriek Gashouder La lontananza nostalgica utopica futura 2 3 INHOUD CONTENT programma context programme context Prometeo Tentoonstelling Prometeo Exhibition Info, credits, programma 6 Luigi Nono 1924–1990 Info, credits, programme 6 Luigi Nono 1924–1990 Toelichting 8 Maestro di suoni e silenzi Programme notes 10 Maestro di suoni e silenzi Info en credits 76 Info and credits 76 Il canto sospeso Il canto sospeso Info, credits, programma 12 Luigi Nono: symposium Info, credits, programme 12 Luigi Nono: symposium Toelichting 14 “... Hay que caminar ...” Programme notes 17 “... Hay que caminar ...” Info, programma 77 Info, programme 77 La lontonanza nostalgica Samenvattingen 78 La lontonanza nostalgica Abstracts 82 utopica futura utopica futura Info, credits, programma 20 Info, credits, programme 20 Toelichting 22 Programme notes 23 Caminantes ... Ayacucho Caminantes ... Ayacucho Info, credits, programma 24 Info, credits, programme 24 Toelichting 26 Programme notes 28 artikelen articles Luigi Nono Luigi Nono Erwin Roebroeks 31 Erwin Roebroeks 55 Interview met André Richard Interview with André Richard Frederike Berntsen 33 Frederike Berntsen 57 Luigi Nono Luigi Nono Ingo Metzmacher 37 Ingo Metzmacher 60 Interview met Nuria Schoenberg Nono Interview with Nuria Schoenberg Nono Thea Derks 43 Thea Derks 66 Biografieën 46 Biographies 68 4 5 PROMETEO. solisten / soloists trompet trumpet – Johannes Sondermann experimentalstudio des swr TRAGEDIA DELL’ASCOLTO Susanna Andersson, sopraan soprano trombone – Frederic Belli live elektronica, geluidsregie live electronic/ Christina Daletska, mezzosopraan mezzo *orkestgroep 2 orchestra group 2 realisation, sound direction – Michael Acker, INFO soprano 1e viool 1st violin – Vivica Percy, Felix Borel, Joachim Haas, Sven Kestel, Els Janssens-Vanmunster, mezzosopraan Johannes Blumenröther, Eva-Maria Bonk° sprekers / speakers datum / date mezzo soprano altviool viola – Raphael Sachs Caroline Chaniolleau, Mathias Jung do 19 juni 2014 Noa Frenkel, alt alto cello – Rahel Krämer productie / production Thu 19 June 2014 Markus Francke,tenor tenore bas bass – France Beaudry-Wichmann swr Sinfonieorchester Baden-Baden und locatie / venue schola heidelberg fluit + piccoloflute + piccolo – Anne Romeis Freiburg, experimentalstudio des swr Westergasfabriek, Gashouder sopraan soprano– Claudia Ehmann, klarinet clarinet – Jürgen Demmler coproductie / coproduction aanvang / starting time Christiane Rittner, Heike Heilmann fagot bassoon – Angela Bergmann Holland Festival, Festival d’Automne, 20.30 uur alt alto – Sophia Maeno, Dorothea Winkel, hoorn horn – Benno Trautmann Tonhalle Zürich 8.30 pm Esther Weigold trompet trumpet – Falko Schob met dank aan / thanks to duur / running time tenor tenore – Jörg Deutschewitz, Johannes trombone – Klaus Schießer Fondazione Archivio Luigi Nono onlus 2 uur 15 minuten, zonder pauze Mayer, Manuel König *orkestgroep 3 orchestra group 3 wereldpremière / world premiere 2 hour 15 minutes, no interval bas bass – Ekkehard Abele, Georg Gädker, 2e viool 2nd violin – Gunnar Persicke, Milaan, 25.9.1985 inleiding / introduction Martin Backhaus Catherina Lendle, Matthias Fischer, Bioscoop Het Ketelhuis instudering chorus master – Walter Susanne Kaldor PROGRAMMA / PROGRAMME door by Eric Verbugt Nußbaum, Eva Fodor, assistent assistant altviool viola – Bohye Lee 19.45 uur ensemble recherche cello – Markus Tillier Luigi Nono 7.45 pm Martin Fahlenbock, fluitflute bas bass – Lars Olaf Schaper Prometeo. Tragedia dell’ascolto (1985) websites Shizuyo Oka, klarinet clarinet fluit + piccoloflute + piccolo – Ekaterina voor vocale en instrumentale solisten, www.ingometzmacher.com József Baszinka, tuba/euphonium Kakaulina* gemengd koor, vier orkestrale groepen en www.swr-sinfonieorchester.de Andreas Roth, trombone klarinet clarinet – Anton Hollich live elekronica www.swr.de/experimentalstudio Barbara Maurer, altviool viola fagot bassoon – Paul-Gerhard Leihenseder for vocal and instrumental soloists, choir, four www.klanghd.de Åsa Åkerberg, cello hoorn horn – Marc Noetzel orchestra groupings and live electronics www.ensemble-recherche.de Ulrich Schneider, contrabas double bass trompet trumpet – Holger Schäfer Christian Dierstein, Anna Tuena, Jens trombone – Stefanie Scheuer CREDITS Ruland, percussie percussion (musical glass) *orkestgroep 4 orchestra group 4 swr sinfonieorchester baden-baden 2e viool 2nd violin – Harald Paul, Jing Wen, muziek / music und freiburg Margaret MacDuffie, Tomomi Ganchiku* Luigi Nono *orkestgroep 1 orchestra group 1 altviool viola – Dorothea Funk dirigenten / conductors viool violin – Jermolaj Albiker, Alexander cello – Dita Lammerse Ingo Metzmacher, Matilda Hofman Knaak, Wolfgang Schwarzmüller, Taru bas bass – Peter Hecking ruimtelijk klankontwerp, creatieve Erlich fluit + piccoloflute + piccolo – Ursula Lippke° coördinatie, hoofd geluidsregie / altviool viola – Jean-Eric Soucy klarinet clarinet – Anna Dietz* spatial sound concept, creative cello – Frank-Michael Guthmann fagot bassoon – Denise Sun* coordination, head of sound bas bass – Veit-Peter Schüßler° hoorn horn – Pascal Arets direction fluitflute – Dagmar Becker trompet trumpet – Lajos Rezmüves* André Richard klarinet clarinet – Patrick Hollich° trombone – Mateusz Scendzina° With the friendly support of licht / light fagot bassoon – Stephan Rüdiger * orkestacademie orchestra academy Tiedo Wilschut hoorn horn – Thierry Lentz ° invaller substitute 6 7 TOELICHTING één zijn, streefde Nono naar een muzikale Aischylos’ tragedie Prometheus geketend perceptie waarin elk moment onderworpen af. Dat is een treffende vraag. Voor een Het luisteren radicaal veranderen. Dat was is aan een eenheid van tijd en ruimte. antwoord wordt vaak naar Nono verwezen. wat Nono wilde. Omdat we daardoor een Prometeo was bedoeld voor de San Marco, Alsof hij het allemaal zou weten. Omdat hij betere (verbinding met de) wereld zouden maar de première (in 1984, definitieve versie er bewust mee bezig was, en het bewustzijn krijgen. En in deze ‘tragedie’, zijn magnum 1985) werd om technische redenen verplaatst van de luisteraar wilde veranderen. De para- opus, voltrekt het complete drama zich in het naar de San Lorenzo. De partituur schrijft dox is dat een monumentaal werk als dit het luisteren (ascoltare) zelf. De dramaturgie be- gemengd koor, vocale en instrumentale solis- bewustzijn van zowel componist als luiste- staat enkel uit geluid. Er worden wel teksten ten, instrumentale ensembles en live elektro- raar overstijgt. We mogen ervan uitgaan dat voorgedragen, maar de vreemde talen waarin nica voor. De elektronica dient vooral om het de inhoud van de teksten getranscendeerd, ze geschreven zijn – Oudgrieks, Engels en geluid in de ruimte te verdelen. En dat is een gesublimeerd, of anderszins in de muziek Duits in een werk dat is gemaakt voor de ruimte in een ruimte; bij de wereldpremière terugkomt. Hoe, dat weet niemand. We Biënnale van Venetië – en hun (toon)zetting een door de architect Renzo Piano ontwor- kunnen het enkel ontdekken door vrij te impliceren dat ze meer klank- dan taalfunctie pen constructie die lijkt op een open romp luisteren, en juist daarin bereikt Nono zijn vervullen. De ruimte is louter luisterruimte. van een schip. De luisteraars bevinden zich doel. Wie wil, hoort bijvoorbeeld verschil- Hoe diep Nono’s verlangen naar een te midden van de musici, die op verschillende lende historische manieren van omgaan met fundamenteel nieuw luisteren ook was, de hoogtes voor de wanden van het ‘schip’ zit- het noodlot, waarvan de meest toepasselijke weg erheen was geen deconstructie van het ten en staan, met luidsprekers onder, boven de moderne wijze is: het bewustzijn van onze luisteren, maar een uitbreiding ervan. Met en rondom hen. De stoelen voor het publiek sterfelijkheid. Zowel ons leven als de muziek als doel: een nieuw bewustzijn. Daartoe zette zijn decentraal opgesteld. Nono wilde hiërar- voltrekt zich in de tijd. In het besef van de Nono drie middelen in: manipulatie van de chische grenzen tussen componisten, musici, eindigheid schuilt zowel het tragische als het akoestiek, elektronica en stilte. technici en luisteraars slechten – met de hoogste geluk, de menselijke ervaring bij De manier waarop Nono de fysieke techniek als emancipatoir middel. De mense- uitstek. Wat rest is de stilte. ruimte in zijn composities gebruikt en de lijke ervaring stond altijd centraal. muzikale ruimte componeert, stamt direct Ondanks dat Prometeo
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