Bruno Maderna, Vol. XXII  (Luigi Nono);  Christa Ludwig, Lidia Marimpietri, Mario Borriello   (St Laurent Studio YSL T-477)
Item# C1555
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Bruno Maderna, Vol. XXII  (Luigi Nono);  Christa Ludwig, Lidia Marimpietri, Mario Borriello   (St Laurent Studio YSL T-477)
C1555. BRUNO MADERNA Cond. NDR S.O.: Composizione per orchestra; w.Christa Ludwig: Memento; BRUNO MADERNA Cond. RAI S.O., Roma, w.Lidia Marimpietri & Mario Borriello: Espana en la corazon; BRUNO MADERNA Cond. RAI S.O., Venezia: Composizione per orchestra; BRUNO MADERNA Cond. Bayerischen Rundfunks-Sinfonieorch.: Per Bastiana – Tai-Yang Cheng (all Luigi Nono). (Canada) St Laurent Studio YSL T-477, Live Performances, 1953-70. Transfers by Yves St Laurent.


“Luigi Nono, the most prominent of Italy's postwar avant-garde composers, [followed the style of] Arnold Schoenberg, whose daughter Nuria married Mr. Nono in 1955. But Mr. Nono also considered his music a vehicle through which social and political issues could be addressed, and his adherence to Serialism lessened as he searched for more specific ways to convey his beliefs.

Mr. Nono had some persuasive adherents among musicians, most notably the pianist Maurizio Pollini and the conductor Claudio Abbado. Carnegie Hall commissioned him to write a work for piano and orchestra as part of the Hall's centennial season.

Mr. Nono…began his musical studies in 1941 at the Venice Conservatory and studied with the composer and musicologist Gian Francesco Malipiero from 1943 to 1945 while also studying law at the University of Padua. In 1946 he began studying with the Italian composer and conductor Bruno Maderna and with the West German conductor Hermann Scherchen, both of whom became early champions of his work. Scherchen brought Mr. Nono's music to the attention of the European avant-garde by conducting the 'Variazioni Canoniche' at the prestigious new music festival in Darmstadt, West Germany, in 1950. Early on, the composer developed a detailed approach to scoring that included such techniques as splitting the syllables of single words among several singers, and applying dynamic markings to virtually every note. He also tended, throughout his career, to write music that made singers and instrumentalists use the extremes of their range.

In the mid-1950s, Mr. Nono's scores began to attract international attention, often as much for their ideological elements as for their musical innovations. A member of the Italian Communist Party, he frequently based his vocal works on Marxist texts and revolutionary writings….Mr. Nono's first opera, INTOLLERANZA 1960 (later revised as INTOLLERANZA 1970) attacks segregation, the atomic bomb and Nazism, and ends with a plea to listeners to prevent civilization from destroying itself. His second opera, AL GRAN SOLE CARICO D'AMORE (1975) is about the Paris Commune of 1871.”

- Allan Kozinn, THE NEW YORK TIMES, 11 May, 1990

“Maderna was a musician who couldn't write or conduct a note without wanting to communicate something essential, and essentially human. He is arguably the most underrated figure of the avant-garde; Maderna's music breathes an expressive freedom that makes it, I think, immediately compelling. His commitment to the modernist cause is unassailable. As well as Maderna's own music, there are a handful of recordings you need to hear. There's a white-hot Mahler 9th with the BBC Symphony Orchestra from 1971 - one of the most incandescent interpretations I've ever heard, and a thrilling LE MARTEAU SAN MAÎTRE on YouTube; on CD and download, you can find Maderna's Schönberg, Webern, Malipiero, Stravinsky, and even Mozart as well. The most eloquent revelation of how much Maderna meant to the whole generation of post-war composers is the music they wrote in his memory: Boulez's RITUEL IN MEMORIAM BRUNO MADERNA and Berio's CALMO. But the best tribute to Bruno you can give him is to listen to his own music. Enjoy.”

- Tom Service, THE GUARDIAN, 13 Nov., 2013