Luigi Nono

Luigi Nono achieved prominence after Globe War II mainly because an uncompromising modernist wanting to revolutionize music in European countries. Along with fellow Italians Luciano Berio and Bruno Maderna, Nono went to the important Darmstadt Summer Programs and became connected with additional young modernists such as for example Pierre Boulez and Karlheinz Stockhausen. In lots of ways, Nono was the most radical of these all, choosing to mix a keen politics engagement having a musical orientation that mixes austere beauty with brutal intensity. Nono was raised in Venice within a fairly well-to-do family members. He studied structure with Gian Francesco Malipiero as an auditor but he graduated having a legislation level. While he by no means practiced, his politics interests were most likely sharpened throughout that period. In 1946, simply out of university or college, Nono fulfilled two important numbers: Luigi Dallapiccolo, the 1st Italian to compose 12-firmness music, and Maderna, the innovative composer and conductor who became his friend and coach. In 1948, both young musicians went to a conducting program with Hermann Scherchen, whose self-discipline and questing soul were energizing. For this period, Nono was launched to the composing of Federico García Lorca, whose poetry he’d set on several events, and whose politics engagement would ignite his curiosity. He became a member of the Italian Communist Party in 1952. In 1950, Nono went to the summer training course in Darmstadt, where his initial orchestral structure, Variazioni canoniche sulla serie dell’op. 41 di Arnold Schoenberg, was premiered. He came back each year until 1960, reaching several important personalities, offering lectures, and having many functions premiered. His curiosity about electronic music created in 1952, through lectures and presentations distributed by Werner Meyer-Eppler in Bonn. His most significant composition during this time period is most likely Il Canto Sospeso (1956), for soloists, choir, and orchestra. One invention was his fracturing of the written text to deliver the syllables over the subdivided voices. Throughout a trip in 1954 to wait the premiere of Arnold Schoenberg’s unfinished opera, Moses und Aron, Nono fulfilled the composer’s little girl, Nuria. They wedded the following season. The initial professional association Nono created was using the Studio room di Fonologia in Milan. Directed by Berio and Maderna, Nono continued working there following the others acquired left, creating a whole group of items, both prerecorded and combined (devices/voices and tape), in to the 1970s. Nono’s 1st stage function, Intolleranza 1960, was offered in the 1961 Venice Biennale. Collage-like, with a big collection of politics text messages, this “azione scenica” provoked significant amounts of controversy. But Nono was unrelenting in his dedication to merging radical text messages with groundbreaking music. In 1964, he place his beliefs towards the check by beginning some lecture-concerts in factories and various other locales around Italy. Definitely, nearly all Nono’s compositions make use of tone of voice, the “message” getting of vital importance. Another stage-work, once again with a variety of radical text messages, Al Gran Exclusive Carico d’Amore, was provided in Milan in 1975, though it started as a cooperation on the Taganka Movie theater in Moscow. His last large-scale operatic function, Prometeo, was premiered in 1984, in Venice. In the 1980s, Nono started a fruitful cooperation using the Experimentalstudio der Heinrich Strobel-Stiftung in Freiburg, developing complex schemes for changing the noises of live equipment. Outstanding parts consist of Omaggio a György Kurtág (1983) and A Pierre: Dell’azzurro silenzio, inquietum (1985). At exactly the same time, his style begun to transformation, a change attributed partly to the impact of Giacinto Scelsi, a mystic Italian composer. Several Nono’s late parts explore variants on a person pitch, such as for example No Hay Caminos, Hay Que Caminar…Andrej Tarkowskij (1987), for seven spatially separated orchestral organizations.