Luigi Nono

Luigi Nono (January 29th 1924 - May 8th 1990, Venice, Italy) was a Italian Compositeur of Modern music.

Biography

His/her parents, Mario Nono and Maria Manetti, give him the first name of the paternal grandfather, the painter Luigi Nono, representative important of the Venetian school of the 19th century.

Nono meets Gian Francesco Malipiero in 1941 and starts to follow its courses of composition to the academy of Venice. It starts in parallel studies of Droit to the university of Padoue. In 1946, its completed studies of right, Nono makes knowledge with Rome of Luigi Dallapiccola and Bruno Maderna. This last quickly becomes an admired friend and elder. Two years later, it attends with Maderna the courses of direction of orchestra given to Venice by Hermann Scherchen.

In 1952, Nono joined the Italian Communist party (NCV). Its Communist engagement , actually marked by revolutionary Communism, will be shaken only by the events of May 1968 which will lead to the toughening of certain groups of Extreme left, passing to the terrorist activity.

In March 1954, Nono meets Nuria Schönberg, the girl of Arnold Schönberg, with Hamburg where it attends the first world one, in concerting version, of the opera Moïse and Aaron of the missing German type-setter three years before. Nono marries Nuria in 1955. The couple will have two girls, Silva, in 1959, and Serena Bastiana in 1964. Nono and its family settle on the island of Giudecca (Venice) in 1956.

Musical course

Of 1950 with 1960, Nono takes part in the Internationale Ferienkurse für Neue Musik (international Summer school for the new music) in Darmstadt, which enables him to meet in particular Edgar Varèse or Karlheinz Stockhausen. Initially student, it will teach with Maderna as from 1956. Works of this first period include/understand: Polifonica-Monodica-Ritmica (1950), Epitaffio per Federico García Lorca (1952-1953), victory of Guernica (1954) and Liebeslied (1954). In 1954, Nono takes part in a symposium on the novel methods of composition to the Elektroakustische Experimentalstudio founded by Scherchen with Gravesano. It gradually rejects the analytical approach of the serialism to preserve the integrity of the musical phenomenon: Incontri (1955), It canto sospeso (1956) and Cori di Didone (1958). In Darmstadt in 1959, its conference Presenza storica nella musica of oggi (“historical Presence in the music of today”) is violently discussed and causes its rupture with Stockhausen.

Its music of avant-garde is also the expression of a revolt against the middle-class culture , concretized by its revolutionary communist engagement. Besides it avoids the majority in the traditional concerts, to which it prefers the opera and the music with the factory. It frequently has recourse to the political texts in its works, which are often openly political. Thus, It canto sospeso is worked out on the letters of victims of oppression during the Second world war and an international repute is worth to him. This political connotation also finds in the fabbrica illuminata (1964), Ricorda cosa Ti hanno fatto AD Auschwitz (1966), Non consumiamo Marx (1969), Ein Gespenst geht um in der Welt (1971), Siamo gioventù LED Vietnam (1973), and the famous Al gran plate carico of amore (1975). Nono also puts in music texts or poetry in particular of Cesare Pavese, Federico García Lorca, Pablo Neruda or Paul Éluard.

Since 1954, Nono is interested in the electronic music. Its first compositions including a work on magnetic band date from the beginnings of the year 1960, with Omaggio has Vedova , for magnetic band in 1960 and Intolleranza 1960 for soloists, chorus, chorus on magnetic band and orchestra in 1961. He will write later in particular Como una ola di fuerza there luz for Soprano, Piano, Orchestre and Magnétophone (1972), … sofferte wave serene… for piano and tape recorder (1976), or Al gran plate carico of amore .

After 1980, Nono works with the Experimentalstudio der Heinrich Strobel-Stiftung of Südwestfunks to Freiburg-in-Brisgau where it turns then resolutely to the electronic music on line or random. It is interested particularly in the properties of the its as tel. This new approach results in works such as Quando Stanno Morendeo. Diario polacco n° 2 (1982), Guai have gelidi mostri (1983), Omaggio has György Kurtág (1983) and with glare in its last opera Prometeo. Tragedia dell' ascolto (1984).

Works

  • Variazioni canoniche sulla series LED' COp 41 di Arnold Schönberg , for orchestra, 1949

1950 - 1959

  • Polifonica - Monodia - Ritmica , for 6 instruments and percussions, 1950

  • Composizione per orchestrated (n° 1) , for orchestra, 1951
  • Epitaffio per Federico García Lorca n° 1 : España in el corazón , for soprano, baritone, chorus reciting and instruments, 1951
  • Epitaffio per Federico García Lorca n° 2 : Y known sangre ya comes cantando , for flute and small orchestra, 1952
  • Epitaffio per Federico García Lorca n° 3 : Memorandum. Lovesong of civil Guardia española for voice reciting, spoken chorus and orchestrates, 1953
  • Due espressioni , for orchestra, 1953
  • the victory of Guernica , songs according to Paul Éluard for chorus and orchestra, 1954
  • DER rote Mantel , ballet, 1954
  • DER rote Mantel continuation n° 1 , for soprano, baritone, chorus and orchestra, 1955
  • DER rote Mantel continuation n° 2 , for orchestra, 1955
  • Incidental music for As it you will like of William Shakespeare, for baritone and 5 instruments, 1954
  • Liebeslied , for mixed chorus and instruments, dedicated with his wife Nuria, 1954
  • Canti per 13 , for 13 instruments, 1955
  • Incontri , for 24 instruments, 1955
  • It canto sospeso for soprano, viola, tenor, mixed chorus and orchestra, 1956
  • Varianti , for solo violin, wood and cords, 1957
  • will terra It E the compagna , songs according to Cesare Pavese for soprano, tenor, chorus and instruments, 1957
  • Piccola official reception notturna veneziana in onore dei 60 ass di Heinrich Strobel , for 14 instruments, 1958
  • Cori di Didone , for chorus and percussions, 1958
  • Composizione per orchestrated (n° 2): Diario polacco `58 , for orchestra, 1959

1960 - 1969

  • Sarà dolce tacere , song for 8 soloists, according to “will terra E the dead” of Cesare Pavese, 1960

  • “ha venido”. Canciones para Silvia , as a soprano and chorus of 6 sopranos, 1960
  • Omaggio has Vedova , for magnetic band, 1960
  • Intolleranza 1960 , action in two tables according to an idea of Angelo Maria Ripellino, for soloists, chorus, chorus on magnetic band and orchestra, 1961
  • Canti di vita E of amore: Sul Bridges di Hiroshima , for soprano, tenor and orchestra, 1962
  • Canciones has Guiomar , for soprano, chorus of women with 6 votes and instruments, 1963
  • Da a diario italiano , for 2 choruses, 1964
  • the fabbrica illuminata , for voice and magnetic band on texts of Giuliano Scabia and Cesare Pavese, 1964
  • Incidental music for Die Ermittlung of Peter Weiss, for magnetic band, 1965
  • Ricorda cosa Ti hanno fatto in Auschwitz , as a magnetic band, 1966
  • has floresta E jovem E cheja of emptied , for soprano, 3 votes reciting, clarinet, metal sheet and magnetic band, on a text of Giovanni Pirelli, 1966
  • Per Bastiana - Tai-Yang Cheng , for magnetic band and orchestra in 3 groups, 1967
  • Contrappunto dialettico went lies , for magnetic band, 1968
  • Musica - Manifesto n° 1: A volto, LED pond for soprano, voice reciting and magnetic band, on a text of Cesare Pavese 1969
  • Musica-manifesto n° 2: Not consumiamo Marx , for magnetic band, 1969
  • Musiche per Manzù (film music), magnetic band, 1969
  • Continuation in concert of the Intolleranza 1960 , for soprano, chorus and orchestra, 1969

1970 - 1979

  • Y entonces comprendió , for magnetic band, 3 soprani, 3 votes reciting and chorus, on a text of Carlos Franqui, 1970

  • Ein Gespenst geht um in der Welt , for soprano, chorus and orchestra, on texts of Karl Marx, Celia Sánchez and Haydée Santamaria, 1971
  • Como una ola di fuerza there luz , for soprano, piano, orchestra and magnetic band, 1972
  • Siamo gioventù LED Vietnam , for chorus at a voice, 1973
  • Per Paul Dessau , for magnetic band, 1974
  • Al gran plate carico of amore (“With the large sun of love charged”), action in two tables, for soloists, great chorus and small chorus, orchestrates and magnetic band, 1975
  • … sofferte wave serene… , for piano and magnetic band, 1976
  • Fragments of Al gran plate carico of amore for soloists, chorus, orchestra and magnetic band, 1976
  • Idiot Luigi Dallapiccola , for 6 percusionnists, four record players, three modulators out of ring and amplification, 1979

1980 - 1989

  • Splits up - Stille, year Diotima , for string quartet, 1980

  • Das atmende Klarsein, Fragmente , for low flute, magnetic band, and electronics AD libitum , 1981
  • Io, frammento dal Prometeo , for 3 soprani, small chorus, low flute, clarinet double bass and electronics, on a text of Massimo Cacciari, 1981
  • Quando stanno morendo. Diario polacco n° 2 , for 4 votes of women, flute, violoncello and electronics, on texts of Czesław Miłosz, Boris Pasternak, Velemir Chlebnikov, Endre Ady, Alexandre Blok, adaptation of Massimo Cacciari, 1982
  • ¿ Donde estàs, hermano? , for 2 soprani, a mezzo-soprano and a contralto, 1982
  • Omaggio has György Kurtág , as a contralto, flute, clarinet, tuba and electronics, 1983
  • Guai have gelidi mostri , for 2 contralti, flûto, clarinet, tuba, viola, violoncello, double bass and electronics, on a text of Massimo Cacciari, 1983
  • Prometeo. Tragedia dell' ascolto , for 2 soprani, 2 contralti, tenor, 2 votes reciting, low flute, clarinet double bass, trombone, viola, violoncello, double bass, 2 players of glasses, chorus of soloists, 4 orchestral groups and electronics, 1984
  • has Carlo Scarpa, architetto, have suoi infiniti possibili , as an orchestra with microintervalles, 1984
  • has Pierre. Dell' azzurro silenzio, inquietum , low flute, clarinet double bass and electronics, 1985
  • Risonanze erranti. Liederzyklus has Massimo Cacciari , for mezzosoprano, flute low, tuba, percussions, and electronics, 1986
  • No Hay caminos, Hay that caminar… Andrei Tarkovski , for 7 instrumental and vocal groups, 1987
  • Caminantes… Ayacucho , for contralto, flute low, organ, 2 choruses, orchestrates (in three groups) and electronics, on a text of Giordano Bruno, 1987
  • Découvrir subversion. Homage to Edmond Jabès (incomplete composition), for contralto, low, voice reciting, flute, horn, tuba and electroacoustic device, 1987
  • Post-prae-ludium n° 1 “per Donau” , for tuba in F and electronics, 1987
  • the lontananza nostalgica utopica will futura. Madrigale per più caminantes idiot Gidon Kremer , for solo violin and eight magnetic bands, 1988
  • Post-prae- ludium n° 3 “BAAB-ARR” (incomplete composition), for flute piccolo and electronics, 1988
  • “Hay that caminar”, soñando , for 2 violins, 1989

External bonds

  • Nono on the site of the IRCAM

  • Interview of Nuria Schönberg Nono for the Newspaper of the Academy (December 1997)
  • Archivio Luigi Nono
  • Nono' S Prometeo: revolutionary' S swansong
has

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