DOCSLIB.ORG

Luigi Nono Paulo De Assis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Luigi Nono Paulo De Assis LUIGI NONO (1924–1990) PAULO DE ASSIS (*1969) Como una ola de fuerza y luz 6 unfolding waves… con luigi nono for soprano, piano, orchestra and tape for orchestra and three LUIGI NONO (1971–1972) instrumental groups (2012) 33:11 1 Invocation and lamentation WDR Sinfonieorchester NONO / DE ASSIS Como una ola de fuerza y luz of Luciano 17:00 Peter Rundel, Léo Warinsky conductors .....soff erte onde serene… 2 Luciano’s presence in his absence 09:00 TT 67:01 0015022KAI 3 The Long March 11:00 PAULO DE ASSIS D D D 4 Collective explosion in the Recording venues: 1 2 3 4 6 Philharmonie Como una ola … / unfolding waves… certainty of Luciano’s absence 10:00 Cologne, 5 Funkhaus Wallrafplatz, Cologne unfolding waves… con luigi nono Recording dates: 1 2 3 4 6 10–11 Nov 2012, Claudia Barainsky soprano 5 9 Dec 2016 | Sound directors: 1 2 3 4 Jan Michiels piano André Richard, SWR Experimentalstudio, André Richard sound projection 5 Paulo de Assis, Orpheus Institute SWR Experimentalstudio electronics Sound directors assistant: 1 2 3 4 Reinhold Braig Reinhold Braig sound director assistant Sound engineers: 1 2 3 4 6 Christoph Gronarz, WDR Sinfonieorchester Peter Rundel conductor 5 Thomas Sehringer | Recording producer: Stephan Hahn | Executive producer: Harry Vogt Claudia Barainsky . Jan Michiels Publisher: Casa Ricordi, Milan | Sponsor: Orpheus 5 .....so f erte onde serene… Institute | Graphic Design: paladino media, cover SWR Experimentalstudio based on artwork by Erwin Bohatsch (1975–1977) 11:00 WDR Symphony Orchestra Cologne Jan Michiels piano Paulo de Assis sound projection Peter Rundel . Léo Warinsky & 2018 paladino media gmbh, Vienna ℗ © 0015022KAI www.kairos-music.com ISRC: ATK941751401 to 06 . Made in Germany 10488 ized copying, reproduc uthor tion, na hiri d. U ng, rve len se di re ng rk , p wo ub d lic de p or er c fo e r r m e LUIGI NONO a h n t c f e o r Como una ola de fuerza y luz a e n n d w b o ..... soff erte onde serene… ro e a h t d c f a o s t d i n PAULO DE ASSIS n a g r o e f c unfolding waves... con luigi nono t u h d i s o r r e p c e o h r t d 0015022KAI f p o r o s t D D D h h i b g i i r t e l l 10488 d A . Claudia Barainsky . Jan Michiels . SWR Experimentalstudio WDR Sinfonieorchester . Peter Rundel . Léo Warinsky ℗ & © 2018 paladino media gmbh, Vienna www.kairos-music.com © Grazia Lissi © Grazia © Grazia Lissi LUIGI NONO (1924–1990) PAULO DE ASSIS (*1969) Como una ola de fuerza y luz 6 unfolding waves… con luigi nono for soprano, piano, orchestra and tape (1971–1972) for orchestra and three instrumental groups (2012) 33:11 commissioned by WDR 1 Invocation and lamentation of Luciano 33:11 WDR Sinfonieorchester 2 Luciano’s presence in his absence 33:45 Peter Rundel, Léo Warinsky conductors 3 The Long March 33:45 TT 67:01 4 Collective explosion in the certainty of Luciano’s absence 33:45 Recording venues: 1 2 3 4 6 Philharmonie Cologne 5 Funkhaus Wallrafplatz, Cologne Recording dates: 1 2 3 4 6 10–11 Nov 2012 Claudia Barainsky soprano 5 9 Dec 2016 Jan Michiels piano Sound directors: 1 2 3 4 André Richard, SWR Experimentalstudio André Richard sound projection 5 Paulo de Assis, Orpheus Institute SWR Experimentalstudio electronics Sound directors assistant: 1 2 3 4 Reinhold Braig Reinhold Braig sound director assistant Sound engineers: 1 2 3 4 6 Christoph Gronarz WDR Sinfonieorchester 5 Thomas Sehringer Peter Rundel conductor Recording producer: Stephan Hahn Executive producer: Harry Vogt 5 .....so ferte onde serene… Publisher: Casa Ricordi, Milan for piano and tape (1975–1977) 33:45 Sponsor: Orpheus Institute Graphic Design: Alexander Kremmers (paladino media), Jan Michiels piano cover based on artwork by Erwin Bohatsch Paulo de Assis sound projection A production of the Westdeutscher Rundfunk. Licensed by the WDR mediagroup GmbH. 2 3 Waves of Grief and Sorrow piece for piano and orchestra to a monumental canta- ta for soprano, piano, large orchestra and tape. Com- pared to the contemplative waves of .....soferte onde Como una ola de fuerza y luz and .....soferte onde serene…, this older waves “of strength and light” con- serene… are Luigi Nono’s only two pieces specifcal- veys a completely diferent approach to death and ly conceived “for” piano. Though they exhibit many its consequences for the living. It is a powerful and compositional and aesthetic diferences, both pieces engaged protest against the unexpected death of a share some important features. Both were composed young revolutionary, a condemnation of social and for Nono’s friend and pianist Maurizio Pollini, who political forms of oppression, and a plea for a revolu- provided the basic sonic materials for their tapes and tionary élan (“the long march”) that, however, is con- who premiered, recorded, and often played them in demned to capitulation as the last, resigned waves concert. Both works include electronic tapes whose from the end of the tape, unmistakably communicate. acoustic materials consist of piano sounds record- ed by Pollini (in Como una ola de fuerza y luz also by Devised after a period of total immersion in Nono’s the soprano Slavka Taskova), leading to an auditory sketches and study of his compositional techniques, (con)fusion between the recorded sounds and those unfolding waves… con luigi nono was originally in- played live. The titles of both pieces allude to “waves”: tended as a transcription of .....soferte onde serene… waves of strength and light, or waves of suferance for two orchestras. However, it became an autono- and serenity. Finally, both pieces are memorial works; mous work, expanding and transcoding some main they are profoundly expressive of death, grief, and features of Nono’s piece, while totally suppressing sorrow, communicating a deep feeling of sufering both piano and tape: the original piano score is ex- and despair, of struggle and defeat, but also of hope, trapolated into a full orchestra placed on stage, serenity, and light. while the sonorities of the tape are sonically “pho- tographed” as realistically as possible, and played In 1975 a “bitter wind of death” – as Nono labelled by acoustic instruments distributed in three groups it – blew over his own and Pollini’s families, leading around the audience. Beyond grief and sorrow, to a change of title from the originally intended unfolding waves… con luigi nono is a refection on Notturni-Albe to the highly poetic .....soferte onde music and on listening through the exploration of serene…, a delicate refection on life and death. In a multiple temporalities and of indiscernible sounds, rather contemplative mode, a static temporality al- changing sonorities that were originally electronic lows for a serene gaze on death, out of which new into instrumental sounds. shapes and energies might emerge. Four years be- fore, in Como una ola de fuerza y luz, it was the un- expected death of Luciano Cruz that dramatically changed Nono’s original plan, which shifted from a 5 LUIGI NONO (1924–1990) sion). The particular way in which this program is set to music implies a certain degree of “personifcation” Como una ola de fuerza y luz (1971–1972) of the instruments: the piano can be associated with for soprano, piano, orchestra and tape, ALN 38 the fgure of Luciano; the soprano with a female fg- ure that appears in diverse roles – as the mother, the lover, and the political companion of the hero; Between April and June 1971, after the democratic the orchestra (in the sketches sometimes labeled as election of Salvador Allende’s government, Luigi “spiriti infernali”) appears as the monster of the state Nono visited Chile for three months, meeting several apparatus; and the tape as a commentator, enhanc- artists, composers and politicians, among whom was ing the character and atmos phere of every single Luciano Cruz Aguayo, one of the leaders of the Move- passage. This program divides the piece in two main ment of the Revolutionary Left (MIR, Movimiento de parts, with two sections each. The frst part symboli- Izquierda Revolucionaria). Back in Italy, Nono start- cally portrays the events of Luciano’s struggling life, ed working on his next musical composition, which his death, and the sorrow for his departure, while the was meant to be a piece for piano and orchestra, for second part addresses our response to those events, Maurizio Pollini and Claudio Abbado. In August 1971, our capacity to react, to mobilize forces and energies Nono and Pollini started making studio recordings in order to transform Luciano’s death into a trigger for for the new piece at the Studio di Fonologia della future action. RAI in Milano, exploring diverse piano sonorities and their possibilities for electronic treatment in view of Part I (They) the realization of a tape. Shortly after that, the news 1. Invocation and lamentation of Luciano [0:00–6:30] of the accidental death of Luciano Cruz Aguayo ar- 2. Luciano’s presence in the absence [6:30–15:30] rived, leading to a fundamental change of Nono’s compositional plans. Luciano’s “presence in the ab- Part II (Us) sence” became the motto of the new composition, 3. The Long March [15:30–25:37] and a memorial poem by Julio Huasi provided a text 4. Collective explosion in the certainty of to be sung, the title of the composition, and an ex- Luciano’s absence [25:37–30:04] plicit dramaturgical program.
Load more

Recommended publications
  • Programmheft 13.11.2015
    Wider das Vergessen Freitag, 13. November 2015, 20 Uhr Spätgotische Stadtkirche Stuttgart-Bad Cannstatt 418. Konzert der MUSIK AM 13. 2 Am Ausgang erbitten wir Ihre Spende (empfohlener Betrag 10,- ¤). Herzlichen Dank dafür! Die MUSIK AM 13. wird wohlwollend unterstützt durch die Stadt- und Luthergemeinde, die Gesamtkirchengemeinde Bad Cannstatt, den Evangelischen Oberkirchenrat, die Jörg-Wolff-Stiftung, die Martin Schmälzle-Stiftung, die Stadt Stuttgart und das Land Baden-Württemberg. Allen Förderern gilt unser herzlicher Dank. 3 Programm Wider das Vergessen Anton Bruckner 1824-1896 Locus iste WAB 23 Os justi WAB 30 Christus factus est WAB 11 Motetten für vierstimmigen Chor a capella Luigi Nono 1924-1990 Ricorda cosa ti hanno fatto in Auschwitz (1966) (Erinnere dich, was sie dir in Auschwitz angetan haben) für Magnettonband Anton Bruckner Libera me für fünfstimmigen Chor und Orgel WAB 22 Totenlied »O ihr, die ihr heut mit mir zum Grabe geht« WAB 47,1 Iam lucis orto sidere für vierstimmigen Männerchor WAB 18 Tantum ergo für vierstimmigen Chor und Orgel WAB 42 Choral »Dir Herr, dir will ich mich ergeben« für vierstimmigen Chor WAB 12 Karlheinz Stockhausen 1928-2007 Gesang der Jünglinge im Feuerofen (1955) für Vierkanal-Elektronik Anton Bruckner Virga jesse für vierstimmigen Chor a cappella WAB 52 Tota pulchra es für vierstimmigen Chor und Orgel WAB 46 Ave Maria für siebenstimmigen Chor a cappella WAB 6 Ioanna Solomonidou Orgel Otto Kränzler Elektronik Cantus Stuttgart Jörg-Hannes Hahn Leitung 19.15 Uhr Einführung Prof. Dr. Rudolf Frisius 4 Zum Programm Größer könnten die Gegensätze kaum sein. Auf der einen Seite die Motetten Anton Bruckners, reduziert auf die menschliche Stimme und die physische Präsenz der Sänger im Raum.
    [Show full text]
  • Kolloquium 6 Sprachkomposition in Der Neuen Musik Seit 1945 Was
    1 --=----~-- - - -- - 1 Kolloquium 6 Sprachkomposition in der Neuen Musik seit 1945 Rudolf Stephan Was bedeutet der Verzicht auf fixierte Tonhöhen? Überlegungen zur Situation der Sprachkomposition Der Titel dieses Kolloquiums, «Sprachkomposition in der Neuen Musik seit 1945», könnte den Eindruck erwecken, als markiere das genannte Jahr eine Zäsur in der Musikgeschichte, oder doch wenigstens in der Ent- wicklung des angesprochenen Problems. Dies ist jedoch nicht der Fall. Die serielle Musik, die doch die erste wirklich neue in der Zeit nach dem Kriege war, entstand erst um (vornehmlich nach) 1950, die Vokalwerke, deren Sprachbehandlung Veranlassung gegeben hat (und noch immer gibt) sie als neuartig zu betrachten, wurden erst in den Fünfzigerjahren geschaffen. Karlheinz Stockhausen begann denn auch seine vergleichende Betrachtung dreier einschlägiger Werke, die er unter dem Titel «Sprache und Musik» (zuerst) in den Darmstädter Beiträgen zur neuen Musik (1, 1958, S. 57-81) erscheinen ließ mit einem Hinweis auf die Urauffilhrungsdaten der drei besprochenen Werke: 1955/56. Gegenstand der Betrachtung waren die Werke Le marteau sans maitre von Pierre Boulez, II canto sospeso von Luigi Nono und der eigene Gesang der Jünglinge. Diese Werke sind, ebenso wie der genannte, vielfach nachgedruckte Aufsatz Stockhausens (z.B. in: Die Reihe 6, 1960, S. 36-58, abweichend in Karlheinz Stockhausen: Texte, 2, 1964), als Dokumente einer bestimmten Phase der Musikentwicklung (und der zugehörigen Überlegungen) allbekannt. Das mit ihnen beginnende Neue wird gewiß
    [Show full text]
  • Developing Sound Spatialization Tools for Musical Applications with Emphasis on Sweet Spot and Off-Center Perception
    Sweet [re]production: Developing sound spatialization tools for musical applications with emphasis on sweet spot and off-center perception Nils Peters Music Technology Area Department of Music Research Schulich School of Music McGill University Montreal, QC, Canada October 2010 A thesis submitted to McGill University in partial fulfillment of the requirements for the degree of Doctor of Philosophy. c 2010 Nils Peters 2010/10/26 i Abstract This dissertation investigates spatial sound production and reproduction technology as a mediator between music creator and listener. Listening experiments investigate the per- ception of spatialized music as a function of the listening position in surround-sound loud- speaker setups. Over the last 50 years, many spatial sound rendering applications have been developed and proposed to artists. Unfortunately, the literature suggests that artists hardly exploit the possibilities offered by novel spatial sound technologies. Another typical drawback of many sound rendering techniques in the context of larger audiences is that most listeners perceive a degraded sound image: spatial sound reproduction is best at a particular listening position, also known as the sweet spot. Structured in three parts, this dissertation systematically investigates both problems with the objective of making spatial audio technology more applicable for artistic purposes and proposing technical solutions for spatial sound reproductions for larger audiences. The first part investigates the relationship between composers and spatial audio tech- nology through a survey on the compositional use of spatialization, seeking to understand how composers use spatialization, what spatial aspects are essential and what functionali- ties spatial audio systems should strive to include. The second part describes the development process of spatializaton tools for musical applications and presents a technical concept.
    [Show full text]
  • Thesis Submission
    Rebuilding a Culture: Studies in Italian Music after Fascism, 1943-1953 Peter Roderick PhD Music Department of Music, University of York March 2010 Abstract The devastation enacted on the Italian nation by Mussolini’s ventennio and the Second World War had cultural as well as political effects. Combined with the fading careers of the leading generazione dell’ottanta composers (Alfredo Casella, Gian Francesco Malipiero and Ildebrando Pizzetti), it led to a historical moment of perceived crisis and artistic vulnerability within Italian contemporary music. Yet by 1953, dodecaphony had swept the artistic establishment, musical theatre was beginning a renaissance, Italian composers featured prominently at the Darmstadt Ferienkurse , Milan was a pioneering frontier for electronic composition, and contemporary music journals and concerts had become major cultural loci. What happened to effect these monumental stylistic and historical transitions? In addressing this question, this thesis provides a series of studies on music and the politics of musical culture in this ten-year period. It charts Italy’s musical journey from the cultural destruction of the post-war period to its role in the early fifties within the meteoric international rise of the avant-garde artist as institutionally and governmentally-endorsed superman. Integrating stylistic and aesthetic analysis within a historicist framework, its chapters deal with topics such as the collective memory of fascism, internationalism, anti- fascist reaction, the appropriation of serialist aesthetics, the nature of Italian modernism in the ‘aftermath’, the Italian realist/formalist debates, the contradictory politics of musical ‘commitment’, and the growth of a ‘new-music’ culture. In demonstrating how the conflict of the Second World War and its diverse aftermath precipitated a pluralistic and increasingly avant-garde musical society in Italy, this study offers new insights into the transition between pre- and post-war modernist aesthetics and brings musicological focus onto an important but little-studied era.
    [Show full text]
  • It Worked Yesterday: on (Re-) Performing Electroacoustic Music
    University of Huddersfield Repository Berweck, Sebastian It worked yesterday: On (re-)performing electroacoustic music Original Citation Berweck, Sebastian (2012) It worked yesterday: On (re-)performing electroacoustic music. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/17540/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ It worked yesterday On (re-)performing electroacoustic music A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy Sebastian Berweck, August 2012 Abstract Playing electroacoustic music raises a number of challenges for performers such as dealing with obsolete or malfunctioning technology and incomplete technical documentation. Together with the generally higher workload due to the additional technical requirements the time available for musical work is significantly reduced.
    [Show full text]
  • The Negation of a Negation Fixed in a Form
    Cultural Studies Review volume 11 number 2 September 2005 http://epress.lib.uts.edu.au/journals/index.php/csrj/index pp. 95–109 Timothy S Murphy 2005 The Negation of a Negation Fixed in a Form Luigi Nono and the Italian Counter-culture 1964–1979 TIMOTHY S MURPHY UNIVERSITY OF OKLAHOMA At the outset of this discussion I would like to propose a definition or two that will hold throughout it. First, I would like to define the term ‘counter-culture’, which appears in my title, as the organised and self-conscious articulation of an alternative to hegemonic capitalist culture—alternative in terms of values, institutions and sign systems. Second, I would like to define the date ‘1968’ as the historical moment at which various nationally specific counter- cultures actually coalesced, despite the fact that these counter-cultures were often composed of individual elements that predate 1968. Thus I am defining the two terms reciprocally: a counter- culture is that alternative framework that emerges when a confluence of quantitative changes (in labour conditions, educational access or values, tolerance of ethnic/gender/cultural differences, and so on) crosses a threshold and produces a qualitative shift in consciousness, critique and creativity, and 1968 marks the various ways that threshold was crossed in the USA, Europe and elsewhere. From this viewpoint, for example, the American ’68 marked the emergence of a counter-culture defined by a relatively fleeting politicisation of students and a temporary cultural alliance between students and people of colour, while the French ’68 gave rise to a counter-culture characterised by a similarly fleeting political alliance of students and factory workers.
    [Show full text]
  • Luigi Nonos »Prometeo, Tragedia Dell'ascolto«
    Aus: Martha Brech Der komponierte Raum: Luigi Nonos »Prometeo, tragedia dell'ascolto« August 2020, 270 S., kart., 94 SW-Abb. 40,00 € (DE), 978-3-8376-5293-2 E-Book: PDF: 39,99 € (DE), ISBN 978-3-8394-5293-6 Raum kann integraler Bestandteil einer Komposition sein – davon handelt der drit- te Teil der Trilogie zum hörbaren Raum und seiner Technologie. Im Mittelpunkt der Studie steht mit Nonos Prometeo eine der bekanntesten und komplexesten Raum- kompositionen des 20. Jahrhunderts. Ausgangspunkt der Untersuchung ist die Re- konstruktion des hörbaren Klangs der im speziellen Holzbau von Renzo Piano ver- teilt aufgestellten Musiker, Sänger und Lautsprecher bei der Uraufführung 1985. Die Analyse der Raum-Klang-Verhältnisse zeigt, dass die elf Teile des Prometeo aus sich ständig wandelnden Raumklangskulpturen bestehen, die mit den Texten aus Massimo Cacciaris Libretto interagieren. Martha Brech (PD Dr.) ist Musikwissenschaftlerin und Tontechnikerin. Sie forscht und lehrt zum Thema elektroakustischer Musik an der Technischen Universität Berlin im Fachgebiet Audiokommunikation. Weitere Informationen und Bestellung unter: www.transcript-verlag.de/978-3-8376-5293-2 © 2020 transcript Verlag, Bielefeld INHALT Vorwort / Danksagung | 7 Einleitung I Prometeo – Prometheus | 9 II Raum in der Musik / Raum im Prometeo | 11 III Musikalische Mittel in Raumkompositionen | 13 IV Zur Analyse der hörbaren klangräumlichen Beziehungen im Prometeo | 26 Analysen Vorbemerkungen | 55 Analyse Prologo | 57 Analyse 1° Isola | 91 Analyse 2° Isola / 2° Isola a (Io – Prometeo)
    [Show full text]
  • On Luigi Nono's Political Thought
    On Luigi Nono’s Political Thought: Emancipation Struggles, Socialist Hegemony and the Ethic Behind the Composition of Für Paul Dessau LUIS VELASCO-PUFLEAU Abstract The musical activism of the Italian composer Luigi Nono (1924–1990) is one of the most fascinating examples of the relationship between music and politics in the second half of the twentieth century. A member of the Italian Communist Party (PCI) from 1952, he considered music as a tool for the establishment of socialist hegemony. In this article, I first examine how concepts from Antonio Gramsci underlie Nono’s political thought, the relationship between his conception of social justice struggles and violence, and the ethic behind his compositional practice. Secondly, I analyze how Nono addressed his political and ethical commitment in his last work for magnetic tape, Für Paul Dessau (1974). This article aims to contribute to the discussion on Nono’s appropriation of Gramsci’s ideas, shedding light on how Nono addressed the memory of antifascism, Cold War politics, and Third World international liberation struggles in works from the 1950s to the early 1970s. Introduction In 1971 the Italian composer Luigi Nono (1924–1990) described himself as an “activist-musician not above but within the class struggle as it exists.”1 This idea refers to one of Nono’s biggest concerns: how to reconcile in a coherent manner his artistic activity as a composer with his political commitment and the role he granted himself in the transformation of society. As Nono asserted in 1969, for him there
    [Show full text]
  • Luigi Nono Prometeo, Tragedia Dell'ascolto LUIGI NONO (1924–1990)
    contemporary Luigi Nono Prometeo, Tragedia dell'ascolto LUIGI NONO (1924–1990) PROMETEO, TRAGEDIA DELL’ascOLTO (1981/1985) for singers, speakers, chorus, solo strings, solo winds, glasses, orchestral groups, and live electronics Arrangement of texts by Massimo Cacciari SACD 1 1 I. PROLOGO 20:07 2 II. ISOLA 1° 23:06 3 III. ISOLA 2° a) IO–PROMETEO 18:03 4 b) HÖLDERLIN 08:10 total time 69:38 SACD 2 1 c) STASIMO 1° 07:48 2 IV. INTERLUDIO 1° 06:41 3 V. TRE VOCI a 12:05 4 VI. ISOLA 3°– 4°– 5° 17:10 5 VII. TRE VOCI b 06:48 6 VIII. INTERLUDIO 2° 05:01 7 IX. STASIMO 2° 08:56 Peter Hirsch, Luigi Nono (May 1986, Köln) total time 64:54 3 Petra Hoffmann, Monika Bair-Ivenz, soprano Solistenensemble des Philharmonischen Orchesters Freiburg Susanne Otto, Noa Frenkel, alto Hubert Mayer, tenor Sigrun Schell, Gregor Dalal, speakers Solistenensemble des SWR Sinfonieorchesters Baden-Baden und Freiburg Solistenchor Freiburg electronic realization: EXPERIMENTALSTUDIO für akustische Kunst e. V., Monika Wiech, Elisabeth Rave, Svea Schildknecht, soprano former EXPERIMENTALSTUDIO der Heinrich-Strobel-Stiftung Birgitta Schork, Evelyn Lang, Judith Ritter, alto des Südwestrundfunks e. V. Thomas Gremmelspacher, Klaus Michael von Bibra, Martin Ohm, tenor Uli Rausch, Matthias Schadock, Philipp Heizmann, bass André Richard, director, chorus master, artistic coordination, spatial sound conception, sound director ensemble recherche Reinhold Braig, Joachim Haas, Michael Acker, sound directors Bernd Noll, sound technician Martin Fahlenbock, flutes Shizuyo Oka, clarinets Barbara Maurer, viola Peter Hirsch, 1st conductor Lucas Fels, violoncello Kwamé Ryan, 2nd conductor Mike Svoboda, alto trombone, euphonium, tuba Ulrich Schneider, contrabass Christian Dierstein, Klaus Motzet, Jochen Schorer, glasses 4 5 PRÄAMBEL ANSPRUCH (UND) BESCHEIDENHEIT Luigi Nonos »Prometeo« im Aufbruch zu neuen Verhältnissen D Luigi Nono hat fast sein gesamtes Spätwerk in Zusammenarbeit mit dem EXPERI- MENTALSTUDio des SWR realisiert.
    [Show full text]
  • LUIGI NONO La Lontananza Nostalgica Utopica Futura
    LUIGI NONO La lontananza nostalgica utopica futura Marco Fusi Pierluigi Billone © Grazia Lissi Luigi Nono (1924 – 1990) La lontananza nostalgica utopica futura (1988/89) Madrigale per più “caminantes” con Gidon Kremer, violino solo, 8 nastri magnetici, da 8 a 10 leggii 1 Leggio I 09:26 2 Leggio II 12:23 3 Leggio III 10:11 4 Leggio IV 07:36 5 Leggio V 11:19 6 Leggio VI 10:13 TT 61:12 Marco Fusi, violin Pierluigi Billone, sound direction 3 Proximity, Distance our interpretative approach to Luigi Nono’s La Lontananza Nostalgica Utopica Futura The violin my eyes, Nono acknowledged these Playing La lontananza nostalgica sounds, giving them a right to exist, to utopica futura has been a goal of mine be perceived and celebrated in their for several years. Deeply fascinated fragile beauty. Through our training, vi- by the openness of this work and the olin players learn how important these astonishing range of possibilities con- small sounds are, accentuating, hid- tained within the performing materials, ing or playing with them, crafting and the violin manuscript feels charged developing our personal instrumental with an incredibly physical and tactile colour, through a combination of au- description of sonic states. Nono per- ral and tactile connections with the sistently demands an almost inaudible instrument. Every performance on a sound creation, echoing an unstable violin implies an active and highly re- inner voice, clearly indicating an in- fined motoric control of the instrument, strumental approach focused towards where the fingertips of both hands are the “interior identity” of the instru- in dialogue with the materiality of the ment, towards a personal exploration strings and bow.
    [Show full text]
  • Routledge Handbook to Luigi Nono and Musical Thought Confronting
    This article was downloaded by: 10.3.98.104 On: 27 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK 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 How to cite :- Jonathan Impett. 19 Oct 2018, Confronting Modernism from: Routledge Handbook to Luigi Nono and Musical Thought Routledge Accessed on: 27 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9780429485732-4 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 CONFRONTING MODERNISM Darmstadt The emergence of a language Tall, long, infinitely slim, he carried on his straight narrow shoulders a head likewise all length, which irresistibly made one think of that of some painting, still primitive, of the pre-renaissance, perhaps one of the familiar saints.
    [Show full text]
  • Live-Elektronik Repertoire
    IRCAM http://en.wikipedia.org/wiki/IRCAM#Notable_works_composed_at_IRCAM Clarence Barlow: Çogluotobüsisletmesi, version for piano with tape (1980) Luciano Berio: Chemins ex V, for clarinet and 4C computer (1980) Gérard Grisey: Les Chants de l'Amour, for twelve mixed voices and magnétic tape (1982–84) Georg Friedrich Haas: Les temps tiraillés, for 2 violins, bassoon, and electronics (2008) Jonathan Harvey: Advaya, for cello and electronics (1994) Jonathan Harvey: String Quartet No. 4 with live electronics (2003) York Höller: Antiphon, for string quartet and tape (1977) Philippe Manoury: Jupiter for flute and live electronics Philippe Manoury: Pluton for piano and live electronics Philippe Manoury: En Echo for soprano voice and live electronics Emmanuel Nunes: Lichtung I (1988/1991), pour ensemble et électronique Emmanuel Nunes: Lichtung II, for chamber ensemble and electronics (1996) Michael Obst: Kristallwelt, for Ensemble and Electronics (1983) Horaţiu Rădulescu: Incandescent Serene, for contrabass and tape (1982) Jean-Claude Risset: Inharmonique, for soprano and tape (1977) Jean-Claude Risset: Mirages, for six musicians and tape (1978) Manuel Rocha Iturbide: Transiciones de Fase, for brass quartet and electronics (1994) ---------------------------------------------------------------------- Pierre Boulez: Répons for two pianos, harp, vibraphone, xylophone, cimbalom, ensemble and live electronics (1980; revised and expanded 1982; revised and expanded 1984) Dialogue de l'ombre double (for clarinet and electronics, 1982–85) "…explosante-fixe…"
    [Show full text]