C1810. BRUNO MADERNA Cond. BBC S.O.: Music for Orchestra (Elisabeth Lutyens) [World Premiere]; Compositione per Orchestra #1 (Nono); w YVONNE LORIOD (Pf.): Oiseaux exotiques (Messiaen); w.Alexander Young (T) & Allegri Sring Quartet: In Memoriam Dylan Thomas (Stravinsky). (Canada) St Laurent Studio 33-1045, Live Performance, 1 June, 1961, from BBC Transcription Service with rather comical BBC announcements. [Among Maderna's most fascinating programs!] Transfers by Yves St Laurent.
“Although Yvonne Loriod played Mozart often, including a cycle of 22 of his piano concertos in Paris within five weeks in 1964 with the Lamoureux Orchestra, conducted by Pierre Boulez, Bruno Maderna, and Louis Martin, her reputation was made in contemporary music, much of which was almost or entirely unplayed by others - one suspects as much for technical as for aesthetic reasons. Her American debut was the world-premiere performance of Messiaen's Turangalila Symphonie with Leonard Bernstein and the Boston Symphony Orchestra in 1949. Her phenomenal memory enabled her to learn Bartok's Second Piano Concerto in eight days ready for the first performance at Théatre des Champs-Élyées in Paris on 15th November 1945 with Orchestre National conducted by Manuel Rosenthal."
- Malcolm Ball
“Bruno Maderna, like his close friend and fellow avant garde composer Pierre Boulez, had in recent years become a conductor of international reputation. Since his debut here in 1970 conducting Mercadante's opera II GIURAMENTO at the Juilliard School, Mr. Maderna had led the New York Philharmonic, the Chicago Symphony, the Philadelphia Orchestra, the Boston Symphony and the Detroit Symphony. In Europe he had conducted widely, including the London Symphony, the B.B.C. Symphony and the Concertgebouw in Amsterdam. For the last two years of his life he was music director of the Italian Radio in Milan.”
- THE NEW YORK TIMES, 14 Nov., 1973
“Italian composer and conductor Bruno Maderna was one of the preeminent figures in contemporary European music in the mid-twentieth century. By the age of 20 Bruno Maderna had already earned his degree in composition from the Conservatory of Rome and returned to Venice to continue under composer Gian Francesco Malipiero.
In 1948 Maderna took a conducting class with legendary maestro Hermann Scherchen and probably through him got to know Wolfgang Steinecke, the founder of the Darmstadt Festival. Maderna had already met composer Luigi Nono at Ricordi, and would meet Luciano Berio in Milan after leaving the Venice Conservatory in 1952. Steinecke engaged Maderna as a conductor at the Darmstadt Festival, a post that made Maderna a celebrity in postwar European avant-garde and one that he would hold until the end of his days.
As the 1950s gave way to the 1960s, Bruno Maderna's work as a composer began to take a back seat to his activity as a conductor. He was named principal guest conductor with the Chicago Symphony Orchestra, appeared frequently with the Juilliard Ensemble, and was musical director for two years at the Berkshire Music Center in Tanglewood. He also spent a great deal of time in the recording studio and produced many fine albums of contemporary music, although in concert Maderna was equally well known for conducting the symphonies of Mahler and other well-worn repertoire of the Viennese classics. Perhaps this had some effect on Maderna's personality as a composer, as well, for by the end of his life he'd turned his back on the serial aesthetic espoused by the Darmstadt Festival and his colleague Pierre Boulez.
When the end came for Maderna at age 53, it did so swiftly - he was diagnosed with lung cancer during the rehearsals for his SATYRICON, which premiered in March 1973, and was dead by that November. His celebrity in America was so short-lived that by 2004 Maderna's name was largely forgotten there, but not so in Europe, where he is yet regarded as one of the giants of postwar modernism.”
- Uncle Dave Lewis, allmusic.com