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

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Claudia Barainsky . Jan Michiels . SWR Experimentalstudio WDR Sinfonieorchester . Peter Rundel . Léo Warinsky

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 recorded 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 unexpected 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 fgure 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 atmosphere 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. Thus, Como una ola de fuerza y luz became a kind of secular requiem, musi- Como una ola de fuerza y luz, cally presenting the arrival of the news of Luciano’s basic formal structure death (Prelude), a sustained lament of Luciano in three parts (Invocation, Lamentation, Remembrance), Nono makes use of highly complex and elaborate a depiction of Luciano’s struggle with the state ap- post-serial compositional techniques that are em- paratus (Struggle), an appeal to activism (“The Long ployed within very tight clusters of quarters of tone.

6 7 sage is contained within an interval of triton or oc- Como una ola de fuerza y luz Wie eine Woge von Kraft und Licht Like a wave of strength and light tave, an aspect that strongly contributes to the overall feeling of extreme musical tension. The soprano Luciano! Luciano! Luciano! sings sequences of intervals that remotely relate to Luciano! Luciano! Luciano! Luciano! Luciano! Luciano! certain pentatonic scales used in Bulgarian folk music from the Rhodope Mountains. Both piano and En los in den In the orchestra are in a very tight register and play com- vientos gewagten hazardous plex arrangements of rhythms that are derived from azarosos stürmen winds twelve “basic-rhythms”, which are used in sequence, de esta tierra dieser erde of this country permutation, mirroring, counter-movement, super- seguiras wirst du you will keep on position, etc. The “wave” from the title can be sym- fameando weiter licht strahlen glowing bolically associated with several musical features of joven como la revolución jung wie die revolution young as the revolution en cada carga de tu pueblo in jedem kampf deines volkes in every one of your people’s struggles the score, such as the micro-fuctuations of pitches, siempre vivo stets lebendig forever alive rhythms, and timbres in the Prelude, the antiphonic y cercano und nah and as close by play between piano and orchestra in the second sec- como el dolor de tu partida wie der schmerz deines todes as the grief for your death tion (Luciano’s presence in the absence), the expanded wave of the Long March from the low to the high Como una wie eine Like register in a slow, ten minute long progression, or the Luciano! Luciano! Luciano! opening and concluding sonic melismas of the tape. ola woge a wave Como una ola de fuerza y luz is the last instrumental joven como la revolución jung wie die revolution young as the revolution de fuerza von kraft of strength work of Nono’s second creative phase, a period that siempre vivo stets lebendig forever alive stretches from Omaggio a Vedova (1960) to the scenic y und and action Al gran sole carico d’amore (1972–1974). Until seguiras fameando wirst du weiter licht strahlen you will keep on glowing then, it is his longest orchestral piece, and the one re- luz licht light quiring the biggest number of musicians, anticipating para vivir fürs leben for living some of the qualities and some of the problems of Al gran sole carico d’amore. voces de niños kinderstimmen voices of children doblen begleiten accompany campanas dulces sanfte glocken gentle bells por für for tu juventud deine jugend your youth

Text by Luigi Nono after Julio Huasi’s poem Luciano (1971)

8 9 0’ 1’ 2’ 3’ 4’ 5’ 6’ 7’ 8’ 9’ 10’ 11’ 12’ 13’ 14’ 15’ 16’ 17’ 18’ 19’ 20’ 21’ 22’ 23’ 24’ 25’ 26’ 27’ 28’ 29’ 30’ Figure 1. C8 Luigi Nono, Como una ola de fuerza y luz, form and overall shape. (© Paulo de Assis) va

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remem- prelude invocation lament struggle brance piano 4. collective explosion in the tape (beginning) 1. lamentation of Luciano 2. Luciano’s presence in the absence 3. the long march certainty of Luciano’s absence

orchestra part I:“they” part II: “us” soprano © Paulo de Assis

10 11 .....soferte onde serene… (1975–1977) categories, and I restarted composing again sometimes from the tape, and that thereby generate Tapes 71, 72, 73A, 73B, and 153), which contain the for piano and tape, ALN 42 with .....soferte onde serene…, a piece that de- a perceptual (con)fusion for the listener. This (con) complete original materials of the fnal tape. The re- manded a lot of work. fusion is enhanced by the relative freedom in the constructed stereo tape coincides precisely with what Immediately after the premiere of Al gran sole car- time-relations between the tape and the live piano, we can hear in the Deutsche Grammophon recording, ico d’amore, in June 1975, Luigi Nono started a pro- This aesthetic and ideological shift does not mean allowing the two performers (one on the piano, the bringing back to life the carefully composed interplay found refection and self-criticism of his musical lan- that Nono became apolitical or somehow indiferent other controlling the sound-projection) to create a between monophonic and stereophonic sections. guage and compositional techniques, a process that to political issues of the day. On the contrary, in 1975 great variety of sonic afnities. Structurally, the piece A striking example of Nono’s work on the stereophon- would lead him to a renewed way of composing. he became a member of the Central Committee of the comprises fve sections; each has its own specifc ic dimension of the tape can be heard in the pas- Nono’s so-called “late style” doesn’t start – as usual- Italian Communist Party. What Nono more and more sound material, and all use diferent compositional sage [9:46–9:55], where the pitch g#6 quickly moves ly deemed – with the string quartet Fragmente–Stille, realized was that his previous works, with all their ex- techniques. These sections and their basic shapes back and forth, from left to right; this passage can be an Diotima (1979), but with .....soferte onde serene…, plicit political engagement, had been easily misun- are schematically represented in Figure 2, which also heard, with the same efect, in the Deutsche Gram- the work that in more than one respect marks the be- derstood as bare ‘pamphlet art’, their political con- serves as an auditory guide (see page 14–15). mophon recording, proving that the original tape ginning of his late creative period. Contrary to most tents shadowing their intrinsic musical features, so was stereophonic. of Nono’s previous works .....soferte onde serene… that the latter were not properly perceived by the lis- has no direct political message or contents. Its main tener. Starting with .....soferte onde serene… Nono’s The reconstructed stereo tape foci are the study of Maurizio Pollini’s piano sonori- late works bring the inner musical structures and ty and playing modes, as well as the study of di- features to the foreground, focusing on small instru- An important feature of the recording presented in verse compositional techniques and strategies. To a mental forces (for solo instrument or chamber music this CD is that it uses a newly produced reconstruc- certain extent the piece is a renewed exploration of formations), on subtle harmonic felds with clearly tion of the original stereo tape. The original tape was some constructive principles that Nono had learned diferentiable vertical sound-aggregates, on extrem- stereophonic, as can be heard in the working tapes in the late 1940s and early 1950s from his teachers ly soft dynamics and fne articulation markings, on preserved at the Archivio Luigi Nono and in several Hermann Scherchen and Bruno Maderna, exploring fragmented successions of sections, and on a highly passages of the frst recording of the piece, made by variation and “canon procedures”, simple formations elaborated dialogue with old historical forms. The act Deutsche Grammophon in 1977. Unfortunately, the of vertical sound aggregates, and formal plans of of listening to these works is a highly demanding pro- original stereophonic tape is lost and all performanc- transparent simplicity. A simple aural comparison of cess, confronting the listener with his or her capacity es and recordings of this work made in the last forty .....soferte onde serene… with the works that imme- or difculty of listening to the music, to him/herself, years used a monophonic tape. In 2000, I coordinated diately precede it, such as Como una ola de fuerza to the other. the professional digitization of the complete work- y luz or Al gran sole carico d’amore, makes the shift ing tapes related to this piece, a work done at the from his “second style” (1960–75) to his “late style” all The content of .....soferte onde serene… was con- SWR Experimental Studio Freiburg with the support the more obvious. Nono himself stated that: ceived experimentally, especially the tape compo- of Andre Richard and technical assistance of Michael nent, and its concert rendering involves various de- Acker. In 2013, at the Orpheus Institute (Ghent, BE), Immediately after Al gran sole carico d’amore grees of uncertainty and unpredictability in the sonic I prepared the reconstruction of the original stereo- there was silence, an unutterable silence […] results and their combinations. Nono achieves this, phonic tape with technical assistance of João Rafael I felt an urgent need to study – not only regard- in the frst instance, by using “shadow” sounds: simi- (Freiburg). This reconstruction was made on the basis ing my musical language but also my mental lar sonorities that come sometimes from the piano, of the digitized working tapes (Archivio Luigi Nono

12 13 Piano Tape Figure 2. Luigi Nono, .....soferte onde œ œ œ œ œ serene…, form and overall shape. #œ #œ #œ #œ ...... b#œ & œ œ œ œ bœ...... œ & œ (© Paulo de Assis) œ # œ <œ #œ œ> Section 1 nbœœ ? ? bœ œ œ œœ bœ # œ # œ #œ <œ bœ > bb bœœ bbb œœ bbb œœ œ £Pedal beats œ œ œ 0'00" 1'55" 1'57" 2'35" 1-5 6-10 11-15 16-20 21-22 23-25

Tone-Stations (Selection) nbœœ bn“œ”œ ~~~~~~~~~~~~~~~~~~~~~~~~~~ œ ##œœ œœ œÛ œœ & #œœ œÛ # & 2- Section 2 #œ bœ ~~~~~~~~~~~~~~~~~~~ ? œ Û œÛ ? # œ œ œÛ œ bœœ nb œœ #œ b œ ## œ œ 26 27 30 32 33-35 36 39 40 41 43 48 49 2'45" “‘5'00"

54" 50" ...... nœ nœ b œ nœ “”bœ...... n œ œ ...... p ff ff bœ nœ nœœ bbœœ #b œœ #œœ ...... “” #œœ bœœ nœœ b #œœ b#œœ œ œ ...... œ . . . .. #œ nœ nœ œ n œ # n œœ bœ b#œœ #bœœ œœ œ ...... œ ...... & œ n# œœ œ n#œœ #œ œ #œ ...... ppp bn#œœ œ œ nbœœ #œ . . œ œ & b #œ bœ bœ b be e Section 3 ? Û œ nœ b œ e #œ ? #œ ...... nœ bœ #œœ Sound aggregates (Reservoir) #œœ œ œ ...... œ œ nœ œœ ~~~~~~~~~~~~~~~~~~~~~~~~~~ ffffœ . bœ nœ œ œ bœ...... b œ b œ f - fff fff ffff pp - ppp œ œ œ p £Pedal“‘ beats ff 50-59 60-73 74-85 86-88 89-101 5'00" 5'40" 5'56" 6'15" 6'25" 6'50" 7'40" 9'17"

œ œ œ bœ œ #œ n#œœ #œ #œ #œ #œ & œ œœ œ œ œ #œ & œ œ # Section 4 æ #œ e e e ? æ œ ? be e be æ œ œ æ bœ œœ œ œ 9'18" 11'49" 102-112 112-120 121-125 125-129 130-137

œ . . . bœ œ . . . . . n#œœ #œ #œœ # œ j & #œ n#œœ œ #œ œ & œﬁ nn#b#n# eee ppp - mf f - ff ppp ppp be ee Section 5 ? ? œ œ # œ bœ œ . . .. . b 5 Pedal beats œœ #œ ...... 3 138-144 145-148 149-151 152-155 11'50" 13'15" 13'17" 13'40"

14 15 PAULO DE ASSIS (*1969) nono is an attempt to transcode these possibilities into a large orchestra, divided into four instrumen- unfolding waves… con luigi nono (2012) tal groups spread around the audience. Originally in- for orchestra and three instrumental groups tended as a transcription of .....soferte onde serene… for two orchestras, it became an autonomous work, expanding its features and suggesting yet another Starting with .....soferte onde serene… Luigi Nono’s “style” of composition. The piano score is extrapolated renewed style of composition can probably be bet- and expanded into a full orchestra placed on stage, ter understood as a pluralism of styles. Pieces like Con while the sonorities of the tape are sonically “pho- Luigi Dallapiccola (1979), Fragmente–Stille, an Diotima tographed”, being played by acoustic instruments (1980), Das atmende Klarsein (1981), or Quando stanno distributed in three groups around the audience. morendo – Diario polacco nr. 2 (1982) reveal substan- This hyper spatialization of the instrumental groups tially diverse approaches to music, making use of resonates with Nono’s later works such as No hay diferent compositional tools and techniques. They caminos, hay que caminar… Andrej Tarkowskij (1987) can all be seen as individual attempts within a wi- and Caminantes… Ayacucho (1987), but two other ref- der research for new modes of expression. Crucially, erences have been important to this work: Karlheinz as a result of Nono’s conscious decision of avoiding Stockhausen’s Gruppen (1955–1957) and Helmut any form of schematic thought or any kind of strati- Lachenmann’s Mouvement (– vor der Erstarrung) fed compositional formulae, these pieces achieved (1982/84). unfolding waves… con luigi nono is dedicat- some specifc results that are not to be found again in ed to Giovanni Morelli. any of his subsequent works. Nono was not interest- ed anymore in repeating gestures, attitudes, or com- Paulo de Assis positional strategies. Every new piece should have its own renewed musical features. In the par ticu lar case of .....soferte onde serene… there are several unique and highly interesting possibilities for music composition that can be further investigated and creatively explored: simultaneous multiple temporalities, sus- pensions of time, meta-rhythms (where the written rhythm doesn’t coincide with the sounding rhythm), variation techniques referring to virtual (non-sounding) constellations of pitches, dense canonical techniques generating sonic textures of kaleidoscopic nature, and use of electronic sounds as if produced

16 17 ATTACCA 3" ca. DOPPO Rif. 1 3 Riferimento 1 Paulo de Assis, unfolding waves… Riferimento 6 Paulo de Assis, unfolding waves…

q = 72 ca. rall. q = 54 ca. 16 9'18" 9'20" 9'25" 9'30" 9'35" q = 54 ca.rall. q = 44 ca. f mf f p f p con luigi nono, Orchestra A, con luigi nono, Orchestra B, 3 Tenuto 5 3 3 5 ATTENTO . al RIFERIMENTO 1 > con aria, . > ^ - > ORCH. 5 5 5 dolcissimo j r 2 5 suono velato nœ 5 4 112b 113 5 8 œœ bœœ œœ bœ nœ nœ œ nœ . œ nœ nœ bœ bars 8–11 5 3 nœ œ œ nœ œ nœ .n˙ ˙ bars 112b–116 B. Cl. 4 4 nœ œ Flt. ÆJ U 4 U 4 #œ #œ œ #œ œ #œ ° > L ? n . 1. 2. J R. ≈ Ó ∑ Œ ∑ ‰. R J Œ ∑ ≈- - j r ‰ ≈ r Œ ≈ & 3 3 5 5 3 bœ ˙. ˙ œ pp bœ pp pp ppp ppp mf p f mf p p ppp mp p 3 Sanft und träumerisch seufzend … … 5 nœ j … … al limite dell'udibilitá … 3 Flt. nœœ bœœ œœ œœ U U 5 3 ÆJ nœ œ 3. 4. & J ‰ Ó ∑ Œ ∑ ∑ Hn. L ° b˙ œ nœ œ > 3 ? ≈ #œ œ nœ w Œ Œ J Ó Œ ≈ ∑ mp mf f 1. 3 ppp J pp ppp ppp 1. 5 Ob. U j #œ 1. 2. & Œ ‰ ‰ Ó Ó ‰ . Ó Œ ‰ bpœ œ npp-œ œ uw p 3 Tbn. L ? 3. 5 ∑ ∑ ∑ ∑ ∑ Ob. U j U ¢ 3. 4. & Œ ‰ ‰ Ó Ó ‰ . ‰ ∑ ∑ bpœ œ b-œp œ p pp Cymbals 3 p Clt. U Ó Œ j ‰ j ‰ Œ 5 5 1. 2. & Œ ‰ ‰ Ó ∑ ∑ #œ œ #œ œ œ Œ Ó œ . ‰ ∑ ∑ ∑ / ‰ œ ≈ & 3 pp ∑ Perc. 1 Œ Besen ppp mfJ mf Jppp . . > 3 3 5 3 L • C. Bsn. U r . U Bass Drum 3 5 1. 2. ? Œ ‰ ‰ #œ ≈ j Œ Œ ‰ ‰ ‰ j j ‰ ‰ ∑ ∑ j r j j r n œ bœ bœ nbœœ œœ ‰ bœ œ bœ bbœœ . ≈ nbœœ . œœ w œ ‰ Œ Œ ≈ œ ‰ œ Œ Œ œ ˙ Ó. ‰ œ Œ Œ ‰ ‰ œ Œ J 3 ppJ J / ∑ 3 3 mp mp u p pp ppp f f ppp ppp pp pp p mf p pp 3 pp . 3 3 pp mp pp LEFT > > C. Bsn. U r j U nœ nœ œ . œ ˙ nœ nœ ˙ ˙ nœ n˙. ? ≈ Œ ‰ fi j 5 5 3. 4. Œ ‰ ‰ #œ #œ œ œ #œ œ #œ . bœ . Œ ∑ ∑ GROUP ¢ Ó bœ œ b œ . bœ œ . j j ÔR ‰ mpJ ppJ ≈ Œ & ≈ Œ ≈nœ ‰ Œ Œ ≈ nœ œ ˙ œ œ . ® mp mf mf f D# pp E§ mp mp pp pp D§ p mp mf 3 - 5 3 Hp. L MNLOLLMM - - laissez vibrer j j 5 nœ nœ . bœ œ bœ .bœ œ . nœ œ 3 3 3 5 5 5 Hn. U # œ #œ #œ œ ‰ # œ œ U > °? J nœ J ? - 1. 3. Œ ‰ ‰ J nœ Œ Œ ÆJ œ nœ . nœ œ ‰ ∑ & ‰ ‰ ‰ j Ó ∑ Œ ‰ ‰ ≈ nœ nœ nœ œ nœ ˙ Œ Œ ® 3 ‰ 3 b œ b œ j r R 5 n pœ n pœ bœ ˙ R p mf p pp mp p pp #œ ˙ ppp #pœ f ≈#œ œ ˙ pp p mf 5 mf #nœœ ˙˙ ppp #nœœ œœ .#nœœ #nœœ 3 3 ppp p - - 3 3 Hn. U j - ‰ U arco ® CRINI + LEGNO arco ord. arco mobile 2. 4. ? Œ ‰ ‰ nœ nœ œ œ nœ œ . nœ œ Œ ∑ ‰ ‰ j ‰ Ó Battuto col legno 5 ‰ ‰ nœ œ ≈ n œ Œ nœ œ nœ . & #nœœ #nœœ 3 3 5 uR ‰ #œ mf mf Vla. L ° n¿ ¿ 5 bœ œ . > B Œ ‰ ≈ ≈ ‰. ‰ ‰ j r ‰. Ó j ‰ ≈ mp p mf> J J ‰ ‰ R R nœfi 3 mp 3 pp mp> pp ppp ppp nœ ˙. n˙ œ œ œ nœ ˙ ˙ ˙. fi pp ppp ppp bœ Trp. œ #œ^ œ nœ #œ. U U 1. 2. ‰ R ≈ Ó ∑ Œ ∑ ∑ CRINI + LEGNO & arco Mano destra batuta sulla cassa; arco ¢ mf p Mano sinistra sempre sul Mi b 5 nœ ˙ Xylophone D. B. L ? b˙ ˙ Œ Œ b¿ b ¿ bœ ˙ œ bœ Œ ‰. bœ b˙. 5 5 3 Y R R > ¢ ppp ff mp p p p nœ. n>œ œ nœ^. œ nœ- n>œ bœ lasciar vibrare! Perc. 1. ° U U & Œ ‰ ‰ Ó ∑ Œ ∑ ‰. nœ #œ œ Œ Tubular f f p f p Bells mf U U Perc. 2. Œ ‰ ‰ Ó ∑ Œ ∑ ‰ #œ- ‰ #œ- Ó & J J mp mp FRONT GROUP Perc. 3. Œ U / ‰ ‰ Ó ∑ Œ U∑ ∑ TACET until bar 160 ¢ f p f 5 5 3 3 3 bœ o >o. nœ nœ œ nœ . œ nœ nœ œ bœ œ bœ U U #œ #œ œ #œ œ #œ Œ J R ≈ Ó ∑ Œ ∑ ‰. R 2 5 & #œ œ #œ 3 5 5 5 5 5 J ‰ 4 4 mf Ab p A§ G# 3 Hrp. f mf p p pp- E§ Cbsn. R ? bœ œ bœ œ œ bœ ˙. ˙ œ bœ ˙ œ bœ ˙. ˙. œ ‰ j 3 J R J r nbœfiœ >. 3 3 5 3 pppp pppp pp mp ppp ppp npœ œ . #œ nœ ? #œ U? ‰ ‰ U∑ Œ & ‰ R ≈ #œ ≈ j Œ Œ ‰ r ‰. ‰ j j ∑ … p # œ #œ #œ ##œœ œœ seufzend … . . . bœ bœ … 3 5 ‘ > pp mf ##œœ . œœ w “pp pp p mf mp . u b˙ œ nœ œ Hn. R °? nœ œ ATTACCA 3" ca. DOPPO Rif. 1 ∑ ∑ Œ J Ó Œ ≈ ∑ Riferimento 1 ppp pp ppp ppp q = 72 ca. q = 54 ca.rall. q = 44 ca. pizz. Tenuto rall. q = 54 ca. 3 3 al RIFERIMENTO 1 > Tbn. R ? ∑ ∑ ∑ ∑ ∑ œ bœ œ bœ. 5 4 ¢ Vln. 1. U 4 U 4 Solo ° J R ≈ Ó ∑ Œ ∑ ∑ & Glockenspiel mf p f p f 5 5 3 3 3 SUL PONTE >. > ^ - > & nœ nœ œ . œ ˙ ≈. nœ nœ œ Œ ∑ ∑ Ó n˙. n>œ mp mf œ œ œ gli altri, div. nœ nœ œ nœ . œ nœ nœ bœ Perc. 2 > mf f> ‰. R Timpani Vlns. ÆJ U U #œ #œ œ #œ œ #œ J 5 gli altri & ≈ ≈ Ó ∑ Œ ∑ R J Œ mf 5 5 3 ? nœ œ SUL PONTE f mf p p & ∑ ∑ ∑ Ó ≈ Œ & ∑ 3 RIGHT mp Vla. 1. œ bœ œ œ U U Sola & J ‰ Ó ∑ Œ ∑ ∑ B GROUP f 5 5 5 3 SUL PONTE nœ n>œ œ . œ ˙ nœ n>œ ˙ ˙ nœ œ .. nœ n˙. > 5 3 Cel. R ≈. Œ ≈ Œ ≈ Œ Œ Vlas. nœ nœ nœ œ œ U U #œ œ œ & r le altre ÆJ J ‰ Ó ∑ Œ ∑ ‰. J j Œ B mp mf mf f nœ œ nœ œ nœ n˙ & #œ p mp ppp mp mf f mf p Poch.mo arco ppp velocissimo 3 ^ sul tasto: tranquilo o Vc. 1. O nO O U U I ˙. Solo ? œ # œ œ ‰ ‰ Ó ∑ Œ ∑ ∑ n O≥ O ‚.n ‚≤ n ‚≥ O O Vln. R ° n˙ ˙ œ . nœ nœ ˙ ˙ f pizz. & Ó. ∑ Ó > ppp mp ppp ppp Vcs. #œ. U U ? gli altri ? Œ ‰ & R ≈ Ó ∑ Œ ∑ ∑ p arco 3 Mano destra batuta sulla cassa; pizz. arco Mano sinistra sempre sul Mi b arco pizz. arco Tutti 3 3 3 n˙ œ œ 5 5 5 U r fij j U D. B. R ? bœ Œ Œ b¿ bY ¿ bœ ˙ œ bœ ˙. ˙. œ D.B. ? Œ ‰ ‰ #œ ≈ Œ ‰#œ œ œ #œ œ #œ . . Œ ∑ ∑ J R r . bœ œ bœ ¢ ppp p ff lasciar vibrare! mp ppp ppp #œ œ . nœ #œ ¢ pp p pp pp mp pp mp mp v

18 19 SWR Experimentalstudio ed there by well-known composers such as Pierre Boulez, Karlheinz Stockhausen, Cristobal Halfter, The SWR Experimentalstudio in Freiburg (Germany) Vinko Globokar, Emmanuel Nunes and Luigi Nono, searches for syntheses in terms of acoustic arts whereas Nono produced almost all works of his late and advanced technology through the medium of period in close relationship with the studio and its live-electronic sound-extension. This supplements team there. Since its frst performance, his “tragedia the tones generated by musicians through diferent dell’ascolto” Prometeo has been realized through the efect-devices to their modulation, which are put SWR Experi mentalstudio and his former artistic di- into motion in space by specifc steering systems and rector André Richard more than 50 times, and can be loudspeakers. The SWR Experimentalstudio consid- called as a milestone in music history of the 20th cen- ers itself as gateway between compositional idea and tury that points the way forward. technical realisation. Therefore, several composers and musicians are invited every year for a work-schol- The younger generation of composers is represented arship for being able to realise their works in a cre- by such names as Mark Andre, Chaya Czernowin, José ative discourse with the specialized equipment as María Sánchez-Verdú and Georg Friedrich Haas. They well as the team of the SWR Experimentalstudio, can be considered as the ones who have written very e.g. music information scientists, sound designers, successfully forward-looking pieces in co-production sound-engineers and sound-directors. with the SWR Experimentalstudio.

Apart from creating new works together with the Outstanding music fgures who can look back on a composers, the SWR Experimentalstudio also per- long term relationship with the SWR Experimental- forms as an ensemble and is regularly invited world- studio are Maurizio Pollini, Claudio Abbado, Gidon wide. After 40 years of presence in the international Kremer, Jörg Widmann, Irvine Arditti and Roberto

© SWR, Anja Limbrunner © SWR, Anja new music business it has established itself as lead- Fabbriciani. ing ensemble for performing ambitious compositions with live-electronics and gives concerts regularly at The SWR Experimentalstudio was awarded several almost all important festivals (like Berliner Festwo- international prices for his exemplarily work, recent- chen, Wiener Festwochen, Salzburger Festspiele, Fes- ly with the Jahrespreis der Deutschen Schallplatten- tival d’Automne à Paris, Biennale di Venezia) as well as kritik for the CD-production of works by Luigi Nono. many well-known music theatres (like Teatro alla Scala Milan, Carnegie Hall New York, Théâtre de la Monnaie Since October 1st, 2006, Detlef Heusinger is appoint- Brussels, Teatro Real Madrid) to name but a few. ed the new artistic director of the SWR Experimental- studio. Outstanding compositions in music history that were created at the SWR Experimentalstudio were creat-

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