Podcasts about Luigi Nono

El segle XX va intercomunicar els compositors i les noves tend

Hemos estado en el museo del ferrocarril en Madrid conversando con Fernando Luis Fontes Blanco, director del Museo Nacional de Ciencia y Tecnología de Alcobendas (MUNCYT) reflexionando sobre las conexiones entre diferentes expresiones del conocimiento humano, artísticos científicos, tecnológicos, etc. Nuestra conversación discurre a través de diversas músicas (Vangelis, Luigi Nono,) y paisajes sonoros que nos ayudan a explorar diversos temas, entre ellos: - El arte en el momento actual y su contribución al conocimiento - La conexión entre emociones y pensamiento en el arte y en la ciencia - El papel de un Museo como el MUNCYT y su importancia para llevar al público la ciencia a través de los artistas. - El valor y la importancia de la estética de la naturaleza Más información en:- https://muncyt.es- lacasadelsonido@rtve.esEscuchar audio

Pierre‘as Boulezas (1925-2016) buvo vienas imliausių, atkakliausių ir nuosekliausių serializmo praktikų ir ideologų, išradingai plėtojęs Schoenbergo ir Weberno idėjas. Laidoje aptariamas bene scholastiškiausias Boulezo laikotarpis, pasitelkus ir keleto jo amžininkų – amerikiečio Miltono Babbitto, vokiečio Karlheinzo Stockhauseno ir italo Luigi Nono – atvejus ir perspektyvas.Laidos autoriai Mindaugas Urbaitis ir Šarūnas Nakas

Episode 155 Chapter 16, Other European Electronic Music Studios. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Playlist: OTHER EUROPEAN ELECTRONIC MUSIC STUDIOS Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     Luciano Berio, “Mutazioni” (1955). Tape composition produced at the RAI studio (Milan). 03:36 01:38 2.     Luciano Berio and Bruno Maderna, “Ritatto di Città (poema radiofonico)” (1955). Tape composition produced at the RAI studio (Milan). 06:05 05:14 3.     Bruno Maderna, “Notturno” (1956). Magnetic tape composition, RAI studio (Milan). 03:24 11:16 4.     Dick Raajimakers, “Song of the Second Moon” (1957). Tape composition produced at the Philips Research Laboratories (Eindhoven). 03:08 14:40 5.     Luciano Berio, “Thema–Omaggio a Joyce” (1958). Early text-sound composition using magnetic tape. RAI studio (Milan). 06:24 17:48 6.     Tom Dissevelt, “Whirling” (1958). Tape composition produced at the Philips Research Laboratories (Eindhoven). 02:37 23:56 7.     Luigi Nono, “Omaggio A Vedova” (1960). Tape composition produced at the R.A.I. (Rome). 04:52 26:32 8.     Pietro Grossi, Marino Zuccheri, “Progetto II e III” (1961). Tape composition produced at the Studio Di Fonologia Musicale Di Firenze (S 2F M) (Florence). 02:56 31:24 9.     Ake Karlung, “Antihappening” (1962). Tape composition produced at the studio of ABF, Stockholm (Norway). 03:51 34:20 10.   Alfred Janson, “Canon” (1964). Tape composition produced in his private studio (Norway). 12:27 38:08 11.   Lars-Gunnar Bodin, “Den heter ingenting, den heter nog ‘Seans 2'” (1965. Tape composition produced in the studios of Swedish Radio (Stockholm). 16:00 50:46 12.   Gruppo NPS (Rampazzi, Marega, Chiggio, Meiners, Alfonsi), “Ricerca 4” (1965). Gruppo Nuove Proposte Sonore (NPS) (Padua). 05:46 01:06:46 13.   Arne Nordheim, “Response I” (1966) for 2 percussion groups and magnetic tape. Tape composition produced at NRK radio (Oslo). 18:09 01:12:32 14.   Enore Zaffiri, “Musica Per Un Anno” (1968, excerpt).  Tape composition produced at the Studio di Musica Elettronica di Torino (SMET) (Torino). 13:41 01:30:41 15.   Teresa Rampazzi, “Duodeno normale” (1972). Tape composition produced at the Gruppo Nuove Proposte Sonore (NPS) (Padua). 01:27 01:44:24   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Das renommierte SWR Experimentalstudio forscht und arbeitet seit über 50 Jahren an neuen Klängen. Pierre Boulez und Karlheinz Stockhausen gehören zu den Gründervätern, Luigi Nono prägte das Studio in den 1980er Jahren. Heute sind es viele internationale Komponisten und Komponistinnen aller Generationen, die in gemeinsam mit den Klangregisseur:innen im Freiburger Spezial-Studio Neues entwickeln. Da das sanierungsbedürftige Heimatgebäude des SWR Freiburg zum Verkauf steht, wurde intensiv ein passender neuer Standort gesucht – und nun gefunden.

Queremos desearles un FELIZ AÑO un año. En este nuevo ciclo anual y como todos los años empezaremos con buenos propósitos. En este recorrido iniciático os invitamos a experimentar una vida cotidiana llena de creatividad a través de la escucha. Los sonidos que os proponemos hoy nos invitan a explorar nuestra relación con el sonido, con el medio con la ciudad o con la naturaleza. Lo haremos escuchando obras de Luigi Nono, Stockhausen, Murray Schafer, Música Sufie, y Música tradicional de la India. Recordaremos también en nuestro programa al gran compositor de Música electroacústica Eduardo Polonio que acaba de dejarnos.Escuchar audio

Su música trabaja el desarrollo de lo que él denomina—a partir del desempeño de Pierre Schaeffer—música concreta instrumental. Discípulo de Luigi Nono, produce un lenguaje musical que abarca el mundo sonoro en toda su amplitud, accesible a través de técnicas interpretativas no convencionales de alta complejidad técnica y artística._____Has escuchadoFassade (1973, rev. 1987). SWR Sinfonieorchester Baden-Baden und Freiburg; Michael Gielen, director. Kairos (2001)Schwankungen am Rand (1974-1975). Ensemble Modern; Péter Eötvös, director. ECM (2002)String Quartet No. 3 “Grido” (2001-2002). Jack Quartet. mode (2015)…zwei Gefühle…, Music with Leonardo. So Donn- Brüll-nernd -t nicht das (1991-1992). Ensemble Modern; Péter Eötvös, director. ECM (2002)_____Selección bibliográficaFENEYROU, Laurent, De lave et de fer. Une jeunesse allemande: Helmut Lachenmann. Éditions MF, 2017GUIGUE, Didier, “L'ars subtilior de Lachenmann. Une incursion dans l'univers sonore de Serynade”. Filigrane, n.° 7 (2008), pp. 159-188KALTENECKER, Martin, Avec Helmut Lachenmann. Van Dieren Éditeur, 2000LACHENMANN, Helmut, “Quatre aspects du matériau”. Revue Musicale Suisse, n.º 123-126 (1983), pp. 334-336—, “Open Letter to Hans Werner Henze”. Perspectives of New Music, vol. 35, n.º 2 (1997), pp. 189-200*—, Écrits et entretiens. Editado por Martin Kaltenecker. Éditions Contrechamps, 2009SZENDY, Peter, “Entrevista a Helmut Lachenmann”. DDOOSS, consultada el 31 de junio de 2023: [Web]  *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Voces y espacios se entrelazan en el mundo musical y sonoro creando diversas estéticas, percepciones y significados. Nos adentramos en el uso del espacio con sus aspectos simbólicos y físicos dentro de la música. A lo largo de los diferentes periodos y estéticas, la música explora las posibilidades sonoras de diversos espacios. Escuchamos obras de Juan Sebastian Bach, Giovanni Gabrielli, Luigi Nono y Alvin Lucier.Escuchar audio

Marcado en un principio por John Cage, de quien incorpora la aleatoriedad y los sistemas alternativos de notación musical, el compositor norteamericano evoluciona hacia obras cada vez más extensas y minimalistas que requieren—o proponen—la suspensión del tiempo._____Has escuchadoNeither (1977) / textos de Samuel Beckett. Petra Hoffmann, soprano; Symphonieorchester des Bayerischen Rundfunks; Kwamé Ryan, director. Col Legno (2000)Patterns in a Chromatic Field (1981). Arne Deforce, violonchelo; Yutaka Oya, piano. Aeon (2008)Piece for Four Pianos (1957). David Tudor, Edwin Hymovitz, Morton Feldman, Russell Sherman, pianos. Edition RZ (2007)String Quartet II (1983). Ives Ensemble. hat[now]ART (2007)The King of Denmark (1964). Max Neuhaus, percusión. Sony (2013)_____ Selección bibliográficaBEAL, Amy C., “Time Canvasses: Morton Feldman and the Painters of the New York School”. En: Music and Modern Art. Editado por James Leggio. Routledge, 2002*BLASIUS, Leslie, “Late Feldman and the Remnants of Virtuosity”. Perspectives of New Music, vol. 42, n.º 1 (2004), pp. 32-83*BOUTWELL, Brett, “Morton Feldman's Graphic Notation: Projections and Trajectories”. Journal of the Society for American Music, vol. 6, n.º 4 (2011-2012), pp. 457-482CERVERÓ, Joan Josep, Hibridaciones entre música y pintura: la relación de Morton Feldman y Mark Rothko en Rothko Chapel. Tesis doctoral, Universitat Politècnica de València, 2017CLINE, David, The Graph Music of Morton Feldman. Cambridge University Press, 2016COSTELO, Catherine, “The Sounds of the Sounds Themselves: Analyzing the Early Music of Morton Feldman”. Perspectives of New Music, vol. 34, n.º 1 (1996), pp. 6-27*DELIO, Thomas, The Music of Morton Feldman. Greenwood Press, 1995DOHONEY, Ryan, Morton Feldman: Friendship and Mourning in the New York Avant-Garde. Bloomsbury Academic, 2022FELDMAN, Morton, Écrits et paroles. Editado por Jean-Yves Bosseur. L'Harmattan, 1998—, Give my Regards to Eighth Street: Collected Writings of Morton Feldman. Exact Change, 2000*—, Morton Feldman Says. Selected Interviews and Lectures, 1964-1987. Editado por Chris Villars. Hyphen Press, 2006—, Pensamientos verticales. Caja Negra, 2012GAREAU, Philip, La musique de Morton Feldman ou le temps en liberté. L'Harmattan, 2006JIMÉNEZ CARMONA, Susana, “Suspensiones temporales: sonido y temporalidad en Luigi Nono y Morton Feldman”. En: Musicología en el siglo XXI: nuevos retos, nuevos enfoques. Coordinado por Begoña Lola y Adela Presas. Sociedad Española de Musicología, 2018*JOHNSON, Steven, “Rothko Chapel and Rothko's Chapel”. Perspectives of New Music, vol. 32, n.º 2, (1994) pp. 6-53*JOHNSON, Steven (ed.), The New York Schools of Music and Visual Arts: John Cage, Morton Feldman, Edgard Varèse, Willem de Kooning, Jasper Johns, Robert Rauschenberg. Routledge, 2002KISSANE, Séna (ed.), Vertical Thoughts: Morton Feldman and the Visual Arts. Irish Museum of Modern Art, 2010LAWS, Catherine, Headaches among the Overtones: Music in Beckett. Rodopi, 2013NOBLE, Alistair, Composing Ambiguity: The Early Music of Morton Feldman. Ashgate Pub, 2013SAFATLE, Vladimir, “Morton Feldman comme critique de l'idéologie: expression et politique dans Rothko Chapel”. En: Expression et geste musical: actes du colloque des 8 et 9 avril 2010 à l'Institut national d'histoire de l'art de Paris. Editado por Susanne Kogler y Jean-Paul Olive. L'Harmattan, 2013*SNIJDERS, John, “That is Not Freedom, that is Taking License: The Pitfalls in Performing Morton Feldman's Graph Scores”. En: The Aesthetics of Imperfection in Music and the Arts: Spontaneity, Flaws, and the Unfinished. Editado por Andy Hamilton y Lara Pearson. Bloomsbury Publishing, 2021*VOLANS, Kevin, “What is Feldman?”. Tempo, vol. 68, n.º 270 (2014), pp. 7-14ZIMMERMANN, Walter, “Entretien avec Morton Feldman”. En: Musiques en création. Editado por Philippe Albèra. Contrechamps, 1997* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Ilaria Bonacossa"Lisetta Carmi. Molto vicino, incredibilmente lontano"Mostra al Palazzo Ducale di Genovawww.palazzoducale.genova.itwww.civita.artLa mostra Lisetta Carmi. Molto vicino, incredibilmente lontano è stata annunciata per il prossimo autunno a Palazzo Ducale. Un viaggio che parte da Genova e dall'Italia per raccontare con il suo sguardo acuto e lucido realtà lontane e mondi in trasformazione, con inedite immagini a colori capaci di trasformare la lettura delle sue fotografie più famose in bianco e nero.Genova emerge nelle sue sfaccettature inaspettate, città in cui Lisetta Carmi per i vent'anni della sua carriera fotografica ha sempre stampato e sviluppato le sue immagini raccontando da questo luogo la sua visione del mondo e delle persone che sceglieva di ritrarre, come le famose fotografie del porto, a cui si affiancheranno immagini inedite dell'anagrafe e della vita politica e sociale della città.In mostra presso Palazzo Ducale anche le immagini della serie dei travestiti degli anni '60, pubblicate nel 1972 suscitando scalpore e segnando le ricerche fotografiche di molti artisti internazionali, non solo in bianco e nero ma anche a colori e la serie inedita erotismo e autoritarismo a Staglieno in cui il famoso cimitero genovese si trasforma sotto l'obbiettivo della fotografa in un ritratto della società borghese ottocentesca e dell'erotismo associato ai monumenti funebri.Genova sceglie di omaggiare questa figura dirompente di fotografa e artista centrale nella storia della fotografia del dopoguerra la cui carriera si è sviluppata per vent'anni nella sua città natale.Lisetta Carmi, molto vicino incredibilmente lontano è curata da Giovanni Battista Martini, esperto di fotografia contemporanea e curatore dell'archivio Lisetta Carmi che ha scritto e concepito numerose mostre dell'artista negli ultimi anni ed Ilaria Bonacossa, curatrice d'arte contemporanea e direttrice di Palazzo Ducale Genova, ed è promossa e organizzata da Palazzo Ducale Fondazione per la Cultura Genova e Civita Mostre e Musei.Lisetta Carmi nasce a Genova il 15 febbraio 1924, in un'agiata famiglia borghese. A causa delle leggi razziali è costretta nel 1938 ad abbandonare la scuola e a rifugiarsi con la famigliain Svizzera. Nel 1945, al termine della guerra, torna in Italia e si diploma al conservatorio di Milano. Negli anni seguenti tiene una serie di concerti in Germania, Svizzera, Italia e Israele. Nel 1960 interrompe la carriera concertistica e si avvicina in modo casuale alla fotografia trasformandola in una vera e propria professione. Per tre anni lavora come fotografa al Teatro Duse di Genova. Accetta diversi incarichi dal Comune di Genova realizzando una serie di reportage in cui descrive le diverse realtà e problematiche sociali della città come, ad esempio, gli ospedali, l'anagrafe, il centro storico e le fogne cittadine.Dopo aver realizzato nel 1964 un'ampia indagine nel porto di Genova, diventata poi una mostra itinerante, continua un reportage sulla Sardegna iniziato nel 1962 e che terminerà negli anni Settanta. Successivamente si reca a Parigi e da questo soggiorno nasce il volume Métropolitain, libro d'artista contenente una serie di scatti realizzati nella metropolitana parigina. Nel 1965 prende corpo il suo progetto più noto, che nel 1972 diventerà un libro, dedicato ai travestiti genovesi. Nel 1969 viaggia per tre mesi in America Latina e l'anno successivo in Afghanistan e Nepal. Nel 1971 compra un trullo in Puglia, a Cisternino. Il 12 marzo 1976 conosce a Jaipur, in India, Babaji Herakhan Baba, il Mahavatar dell'Himalaya, incontro che trasformerà radicalmente la sua vita. Lo stesso anno è in Sicilia per incarico della Dalmine per il volume Acque di Sicilia, dove sono raccolte immagini del paesaggio e della realtà sociale della regione, accompagnate da un testo di Leonardo Sciascia. Negli anni realizza una serie di ritratti di artisti e personalità del mondo della cultura del tempo tra cui Judith Malina, Joris Ivens, Charles Aznavour, Edoardo Sanguineti, Leonardo Sciascia, Lucio Fontana, César, Carmelo Bene, Luigi Nono, Luigi Dallapiccola, Claudio Abbado, Jacques Lacan e Ezra Pound, di cui si ricordano i celebri scatti realizzati nel 1966 presso l'abitazione del poeta sulle alture di Zoagli in Liguria.Negli anni successivi Lisetta Carmi si dedicherà completamente alla costruzione dell'ashram Bhole Baba, a Cisternino, e quindi alla diffusione degli insegnamenti del suo maestro. Nel 1995 incontra, dopo trentacinque anni, il suo ex allievo di pianoforte Paolo Ferrari e inizia con lui una collaborazione di studio filosofico-musicale.Lisetta Carmi muore, o come avrebbe detto lei, abbandona il suo corpo terreno, il 2 luglio 2022 a Cisternino.Lisetta non fotografa per raccontare, fotografa per capire, e la fotografia le serve come una chiave per aprire delle porte, per entrare dove nessuno poteva entrare.Catalogo della mostra pubblicato da Silvana Editorialewww.silvanaeditoriale.itIL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

100 Jahre Luigi Nono wird 2024 gefeiert. In Freiburg wird ein kleines Festival zu Nono organisiert. Mit dabei eine Filmvorführung von „Luigi Nono. Der Klang der Utopie“ von Regisseur und Autor Thomas von Steinaecker. Der Film zeichnet die verschiedenen Phasen des Lebens von Nono nach. Thomas von Steinaecker erklärt im Musikgespräch, warum die Musik Nonos nicht als Hintergrundmusik zu hören ist und warum mehr über Nono erzählt als gezeigt wird.

durée : 00:59:51 - En pistes, contemporains ! du dimanche 08 septembre 2024 - par : Emilie Munera - Au programme l'altiste Antoine Tamestit, le pianiste Maurizio Pollini, la violoncelliste Hadewych van Gent - réalisé par : Céline Parfenoff

durée : 00:59:51 - En pistes, contemporains ! du dimanche 08 septembre 2024 - par : Emilie Munera - Au programme l'altiste Antoine Tamestit, le pianiste Maurizio Pollini, la violoncelliste Hadewych van Gent - réalisé par : Céline Parfenoff

Es wird politisch: Musik von Luigi Nono und Luigi Dallapiccola singt der BR-Chor am 25. Juli bei der Ouverture spirituelle der Salzburger Festspiele. Viel Probenarbeit steckt den Sängerinnen und Sängern schon in den Knochen.

Binaural production - listen with headphones! Generative soundscape based on a two-dimensional random walk between four binaural soundscapes recorded at the University of Music and Performing Arts Vienna (mdw) on 24 May 2024 before and during a concert of Luigi Nono's last compositions: 1) setup in the library 2) sound check 3) excerpts from "Lontananza" for violin and tape feat. Youngseo Kim and Karlheinz Essl 4) excerpts from "Hay que caminar soñando" for two violins feat. Youngseo Kim and Reina Yoshioka

Der Komponist Luigi Nono, die große politische Stimme in der Neuen Musik, war ein großer Bücherfreund. Wenn er das Haus verließ, kam er immer mit neuen Büchern unter dem Arm zurück, erinnert sich seine Witwe Nuria Schoenberg-Nono heute. Noemi Schneider ist nach Venedig gereist und bringt die Bücher zum Sprechen.// Noemi Schneider/ BR 2023/ www.radiofeature.wdr.de Von Noemi Schneider.

Der Komponist Luigi Nono, die große politische Stimme in der Neuen Musik, war ein großer Bücherfreund. Wenn er das Haus verließ, kam er immer mit neuen Büchern unter dem Arm zurück, erinnert sich seine Witwe Nuria Schoenberg-Nono heute. Noemi Schneider ist nach Venedig gereist und bringt die Bücher zum Sprechen.// Noemi Schneider/ BR 2023/ www.radiofeature.wdr.de Von Noemi Schneider.

La directora María Velasco y la actriz María Cerezuela presentan la obra "Primera sangre", en la que vivos y muertos conversan sobre el miedo y nuestros miedos. En los 100 años del compositor Luigi Nono el Festival RESIS de A Coruña dedica un monográfico que cuenta con Niño de Elche o el Cuarteto Arditti y una exposición con artistas como Marta Azparren, con la que hablamos de su creación inspirada por Nono y Pasolini para estos encuentros. Abraham Boba nos trae a su "Verso suelto" al escritor y activista James Baldwin con "La próxima vez el fuego" (Capitán Swing). Remate llega con Thom Yorke a "Más allá de John Williams" y se despide con Charlie Brown, pasando por varias selvas sonoras.Escuchar audio

A cura di Carlo Centemeri. La musica che parla dei lavoratori, tanto per fare caricature dei colleghi quanto per raccontare le grandi lotte degli anni sessanta e settanta. Ma altrettanto i lavoratori della musica, soprattutto quelli invisibili, il cui ruolo è fondamentale per uno spettacolo o un disco ma che spesso non si notano. Con Lisa Capaccioli (librettista e regista), Fabio Framba (producer e sound engineer), Gioia Bertuccini (violoncellista, musicologa e social media manager); oltre a loro, Camilla Di Pilato, fagottista italiana da tempo in forza all'orchestra dell'opera di Tallin per parlare di condizioni di lavoro tra Italia ed estero e cervelli in fuga. Il tutto, ascoltando Frederic Rzewski, Franz Joseph Haydn, Wolfgang Amadeus Mozart, Domenico Cimarosa, Luigi Nono, Georg Philipp Telemann, Billy Joel.

En nuestro mundo occidental el conocimiento privilegia el sentido de la vista sobre todos los demás sentidos lol que proporciona una aproximación muy sesgada a la realidad. Las exploraciones sonoras y la música se han ido entrelazando desde el comienzo del siglo pasado y han tenido un rol importantísimo en el proceso de incorporar los sentidos y la estética a los procesos cognitivos. La música, el arte sonoro, han contribuido fundamentalmente a explorar y a imaginar otras formas de estar en el mundo. Escucharemos obras sonoras de Walter Rutman, Nam june Paik, Claude Scheryer, Luigi Nono y Bruno Mantovani.Escuchar audio

Penktoji ir baigiamoji italų avangardo klasiko Luigi Nono (1924-1990) šimtmečiui skirto ciklo laida. Paskutiniojo laikotarpio Nono kūryba vis tykesnė, fragmentiškesnė ir paslaptingesnė: tyla sudaro reikšmingą kompozicijų dalį, daugybė mikroskopinių detalių vos juntamos ir girdimos. Nono neslepia rezignacijos ir net desperacijos, jis tarsi nutolsta nuo ankstesnių energingų politinių gestų. Muzika ekstremaliai intuityvi, asketiška ir net skurdi, be jokio išorinio tviskesio ir tariamo meistrystės demonstravimo. Ši estetika nepaprastai žavi jaunąją kartą, todėl Nono įtaką ligšiol galima aptikti įvairių kraštų kompozitorių muzikoje.Laidos autoriai Šarūnas Nakas ir Mindaugas Urbaitis

Modus. Ketvirtoji italų avangardo klasiko Luigi Nono (1924-1990) šimtmečiui skirto ciklo laida.Nono visada atidus teatrinei raiškai: ceremoniškumo ir ryškios retorikos gestų netrūksta net ir instrumentinėje ir elektroninėje jo muzikoje. Tačiau su ypatinga jėga tai pasireiškia trijuose jo teatriniuose veikaluose. Operą „Nepakantumas 1960“ galima laikyti ekspresionistine socialine drama, sceninę akciją „Po karšta meilės saule“ (1975) – politikuojančių deklaracijų teatru, o monumentalų devynių scenų kūrinį „Prometėjas. Klausymosi tragedija“ – filosofiniu pasaulio istorijos apibendrinimu.Laidos autoriai Šarūnas Nakas ir Mindaugas Urbaitis

Trečioji italų avangardo klasiko Luigi Nono (1924-1990) šimtmečiui skirto ciklo laida. Nono stilius palengva kinta, jo muzikoje vis daugiau ramybės, skaidrumo ir sukauptumo. Jis rašo nepaprasto erdvumo vokalinę muziką, kontempliatyvumu artimą Renesanso meistrų kūrybai, tuo labai skirdamasis nuo daugumos amžininkų. Nono atspirties tašku dažniausiai tampa poetinio teksto fonetinės ir semantinės savybės, jis tarsi atsiduoda literatūrinės minties tėkmei. Tokia mąstysena išlaikoma ir jo instrumentinėje kūryboje, kur viešpatauja vos girdimi garsai, šnaresiai, virptelėjimai ir paslaptingi nutolimai.Laidos autoriai Šarūnas Nakas ir Mindaugas Urbaitis

Antroji italų avangardo klasiko Luigi Nono (1924-1990) šimtmečiui skirto ciklo laida. 1960 m. išbandęs elektroninę kompoziciją, Nono šios sferos niekuomet neišsižada: absoliuti dauguma jo vėlesnių kūrinių vienaip ar kitaip yra su elektronika, įrašais ir įvairiais garso transformavimo efektais. Tačiau pagrindinis kompozitoriaus dėmesys nukreiptas į politines aktualijas: jį jaudina pasaulio įvykiai ir, jo nuomone, visur vyraujanti neteisybė. Nono demonstruoja palankumą Rytų Europos ir Kinijos autoritariniams režimams, nors tų kraštų valdžią laiko buržuaziškai reakcinga ir apie tai kalba visiškai atvirai.Laidos autoriai Šarūnas Nakas ir Mindaugas Urbaitis

Que reste-t-il de tout ce que nous entendons ? En apparence sans importance, les fragments sonores de la vie quotidienne qui s'impriment dans notre mémoire, constituent des archives de notre monde comme de celui des autres. Pour Nuria Schoenberg-Nono, les souvenirs sonores ont un rythme et une forte résonance avec sa philosophie de la vie. Nuria Schoenberg-Nono est la présidente de la Fondation Archivio Luigi Nono à Venise. Fondée en1993 à son initiative, cette institution se donne pour mission de recueillir, conserver et promouvoir les œuvres et les écrits du compositeur Luigi Nono.Tous les épisodes de la série "Le son qui reste"Le son qui reste – Drapeaux au vent - Écouter le monde (rfi.fr)Le son qui reste – Calle Paradiso - Écouter le monde (rfi.fr)Le son qui reste – Mosaïques des langues - Écouter le monde (rfi.fr)  Tout à la fois émission de radio diffusée chaque dimanche dans plusieurs journaux d'information de RFI et plateforme participative, Écouter le monde donne à entendre les cultures, les langues et les imaginaires du monde à travers des sons d'Afrique, d'Amérique, d'Asie, d'Europe ou d'Océanie. Des centaines d'émissions sont à écouter en podcast sur cette page, tandis que la plateforme participative et évolutive www.ecouterlemonde.net propose des cartes postales sonores et des enregistrements. À ce jour, 245 captations sonores sont disponibles en libre accès.

Oggi a Cult: Marcello Lorrai e Claudio Ricordi su "Prometeo" di Luigi Nono, riproposto a Venezia per il centenario della nascita del compositore; Aldo Grasso presenta la mostra "Non ha l'età" alle Gallerie d'Italia di Torino, dedicata alle immagini del Festival di Sanremo; Monica Nappo sulla sua regia di "Top Girls" di Caryl Churchill; Saul Beretta sui due appuntamenti, alla Reggia di Monza e alla Cascina Cuccagna di Milano, del pianista jazz Ethan Iverson...

Helmut Lachenmann und seine Erinnerungen an Luigi Nono. Im Jahr 1957 beginnt eine der intensivsten Künstlerfreundschaften des 20. Jahrhunderts: Der 22jährige Musikstudent Lachenmann bittet den «verehrten Herrn Doktor Nono», ihn als Schüler anzunehmen – ein Jahr später beginnt er bei dem 11 Jahre älteren Nono in Venedig zu studieren. Radikal treibt der ihm jede musiksprachliche Wendung, die auch nur von weitem an die regressive bürgerliche Musik erinnert, aus. Lachenmann wird Nonos Ghostwriter in den hitzigen musikästhetischen Debatten der Zeit, dann aber entfernen sie sich voneinander. Lachenmanns ästhetische Reflexionen sind dem politischen Nono zunehmend fremd. 1970 kommt es zum Bruch, erst viele Jahre später treffen sich die beiden wieder. Zu Nonos 100. Geburtstag wiederholen wir diese Sendung aus dem Jahr 2014.

Hace cien años, el 29 de enero de 1924 nacía en Venecia el compositor Luigi Nono, uno de los compositores italianos con mayor importancia en la música contemporánea. La semana pasada recordábamos su fuerte compromiso con la sociedad del siglo XX a través de su música. Hoy seguimos recorriendo su historia, su pensamiento y su música a través de sus últimas obras. Las últimas obras de Nono son una invitación a la escucha, al despertar de nuestros oídos, abriéndonos a las múltiples posibilidades que ofrece esta ventana sonora al mundo. Se trata de obras que recogen múltiples ecos, resonancias, pulsaciones, silencios, sonidos que flotan y se mueven sin rumbo en el espacio, entre el silencio y el ruido desgarrador. Escucharemos sus obras “Hay que caminar soñando" (1989) “Prometeo tragedia de la escucha “(1984) y su cuarteto de cuerda Fragmente-Stille, an Diotima (1979-80)Escuchar audio

Man hat Luigi Nono damals, 1980, vorgeworfen, er ziehe sich mit diesem Werk vom Politischen zurück, schon nur der klassischen Besetzung wegen. Aber auch, weil das Streichquartett nicht zur Revolution, sondern zur Reflexion auffordert.  Es verlässt den Bereich des Leisen selten, besteht aus einem Netz von Klanginseln, die aus der Stille auftauchen. Eine Hörschule - der Komponist selbst meinte dazu: «Das Ohr aufwecken, die Augen, das menschliche Denken, die Intelligenz, die Exteriorisierung eines Maximums von Interiorisierung. Das ist heute das Entscheidende.».  Gäste von Annelis Berger sind der Musikjournalist Thomas Meyer und der Komponist Clemens Gadenstätter. Vor 100 Jahren, am 29. Januar 1924, wurde Luigi Nono, einer der wichtigsten Komponisten des 20. Jahrhunderts, in Venedig geboren. Aus diesem Anlass wird diese Sendung noch einmal ausgestrahlt. Erstausstrahlung: 06.05.2019

Am 29. Januar 2024 hätte der Komponist Luigi Nono seinen 100. Geburtstag gefeiert. Doch wer war er und wie tickte der Italiener? Das kann er natürlich am besten selbst beantworten. Am 3. Oktober 1986 gab er der Frankfurter Allgemeinen Zeitung ein Fragebogeninterview. Eine Vertonung zum Geburtstag.

Compositor y director de orquesta veneciano. Personaje clave en la escuela de Darmstadt, donde conoce a Varèse y Stockhausen. Su praxis compositiva se centra en la ópera y la música electrónica, génerosa los que impregna con su personalidad política y poética._____Has escuchadoContrappunto dialettico alla mente: for magnetic tape (1968). Coro de camera della RAI, Roma; Nino Antonellini, director. Deutsche Grammophon (1988)No hay caminos, hay que caminar… Andrei Tarkovskij: pour sept groupes instrumentaux (1987). Sinfonieorchester des Südwestfunks; Michael Gielen, director. Montaigne (2000)Prometeo. Tragedia dell'ascolto (1985). Solistenchor Freiburg; Ensembles of the Freiburg Philharmonic; Ensemble Recherche; Experimentalstudio des SWR; SWR Sinfonieorchester Baden-Baden und Freiburg; Peter Hirsch y Kwamé Ryan, directores. Col Legno (2007)Quando stanno morendo. Diario polacco n. 2 (1982). Neue Vocalsolisten Stuttgart. Col Legno (2004)… sofferte onde serene… (1976): para piano y cinta. Marino Formenti, piano. Grabación sonora realizada en directo en la sala de conciertos de la Fundación Juan March, el 6 de abril de 2019_____ Selección bibliográficaBORIO, Gianmario, Nono, Luigi. Oxford University Press, 2001CACCIARI, Massimo (ed.), Verso Prometeo. Ricordi, 1984CARRIZO, Victor Paulo, “Luigi Nono, El caminante dialéctico”. Neuma, año 5, n.º 2 (2012), pp. 32-50DRIESEN, Pauline, “Destare l'infranto, rinnovare silenzi. Open Form in Luigi Nono's Prometeo” (1984-85)”. Revue Belge de Musicologie / Belgisch Tijdschrift Voor Muziekwetenschap, vol. 65 (2011), pp. 203-222EDWARDS, Peter Ivan, “Object, Space, and Fragility in Luigi Nono's Das Atmende Klarsein”. Perspectives of New Music, vol. 46, n.º 1 (2008), pp. 225-243*FENEYROU, Laurent, “Il canto sospeso” de Luigi Nono. Michel de Maule, 2002GUERRERO, Jeannie Ma., “Non-Conventional Planar Designs in the Works of Nono and Tintoretto”. Music Theory Spectrum, vol. 32, n.º 1 (2010), pp. 26-43*IGES, José, Luigi Nono. Círculo de Bellas Artes, 1988JIMÉNEZ CARMONA, Susana, Luigi Nono. Ediciones Akal, 2023*LEBLANC, Jimmie, Luigi Nono et les chemins de l'écoute: entre espace qui sonne et espace du son. Une analyse de “No hay caminos, hay que caminar… Tarkovskij (1987)”. L'Harmattan, 2010NIELINGER-VAKIL, Carola, “Fragmente-Stille, an Diotima: World of Greater Compositional Secrets”. Acta Musicológica, vol. 82, n.º 1 (2010), pp. 105-147*—, Luigi Nono: A Composer in Context. Cambridge University Press, 2015NONO, Luigi, Écrits. Editado por Laurent Feneyrou. Contrechamps, 2007*SOTELO, Mauricio, “Luigi Nono o el dominio de los infiniti possibili”. Quodlibet: Revista de Especialización Musical, n.º 7 (1997), pp. 22-31*TAGLIAFERRI, Francesco, “Musica-Manifesto n. 1 di Luigi Nono: Origini e sviluppi di un dittico”. Rivista Italiana di Musicologia, n.º 52 (2017), pp. 233-264VILA, Cirilo y Andreas Bodenhofer, “Entrevista a Luigi Nono”. Revista Musical Chilena, año 25, n.º 115-116 (1971), pp. 3-9* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

La musica contemporanea è destinata a un pubblico di nicchia? La responsabilità di questa poca affezione è dovuta alla programmazione delle varie istituzioni concertistiche oppure c'è un problema di diffidenza? Sono tutte questioni che ci porremo nel corso di Moby Dick, al termine di una settimana nella quale Rete Due ha dedicato ascolti e documenti eccezionali per ricordare Luigi Nono, di cui il 29 gennaio ricorrono i 100 anni dalla nascita.Ci confronteremo con Zeno Gabaglio, musicista, compositore e violoncellista, Francesco Giomi, compositore di musica elettronica e regista del suono e con Francesco Bossaglia, cornista e direttore d'orchestra, responsabile dell'Ensemble 900 del Conservatorio della Svizzera italiana di Lugano.Nell'ultima mezz'ora esploreremo le influenze di Luigi Nono nella musica sperimentale e pop dei giorni nostri. Sarà nostro ospite Rossano Lo Mele, direttore del mensile Rumore e musicista della band Perturbazione.

Pirmoji italų avangardo klasiko Luigi Nono (1924-1990) šimtmečiui skirto ciklo laida. Jaunasis Nono žavisi ne tik didžiaisiais Venecijos kompozitoriais, bet ir pokaryje itin vertinamais Vienos dodekafonistais – visų pirma, Schoenbergu ir Webernu. Patekęs į ką tik atsiradusius kompozitorių kursus Darmštate, Vokietijoje, Nono greitai tampa vienu labiausiai vertinamų avangardo autorių – kartu su Boulezu ir Stockhausenu. Vis dėlto, ši trijulė greitai išira: Nono, kaip ir kiti, pasuka sava kryptimi, aršiai kritikuodamas kitokias pažiūras.Laidos autoriai Šarūnas Nakas ir Mindaugas Urbaitis

Luigi Nono wäre am 29. Januar 100 Jahre alt geworden. „Man bräuchte heute ganz viele Nonos“, sagt Lydia Jeschke, SWR2-Redakteurin für Neue Musik. Denn Nono beschäftigte sich aktiv mit den Konflikten der damaligen Zeit. Er wollte mit seiner Musik zum intensiven Zuhören aufrufen und mit ihr „etwas bewirken“.

Hace cien años, a finales de enero de 1924 nacía en Venecia el compositor Luigi Nano uno de los compositores italianos con mayor importancia en la música contemporánea. Es uno de los pioneros de la música contemporánea. Compositor que vive intensamente su tiempo, muy interesado en proyectos que conectan la música con otras disciplinas como la literatura , la arquitectura, la filosofía o la política como un espacio de encuentro en la búsqueda de utopías. La Casa del Sonido se une a la celebración de este centenario dedicándole dos programas en los que recorreremos su vida y su obra Escuchar audio

Das Jahr 2024 ist vollgepackt mit musikalischen Jubiläen: runde Geburtstage von Anton Bruckner, Luigi Nono und Bedřich Smetana und Todestage von Giacomo Puccini, Gabriel Fauré und Ferruccio Busoni – und das ist nur die Spitze des Eisberges. Gerade Konzertveranstalter und Rundfunksendungen müssen in solchen Fällen einen neuen Blick auf das vermeintlich Alte und Bekannte wagen, findet Albrecht Selge.

In Klagenfurt suchte Ingeborg Bachmann Abstand. Und hielt es doch nie lange aus. Kehrte sie in ihr dortiges Elternhaus zurück, wich sie sofort wieder in den Wald oder an den Wörthersee aus. Vor 50 Jahren, am 17. Oktober 1973 ist die Schriftstellerin gestorben, noch nicht einmal 50 Jahre alt. Ihr Nachthemd war versengt worden, vermutlich ausgelöst durch eine Zigarette, Wegen ihrer Tablettensucht spürte sie das nicht mehr, sie kam ins Spital, aber die Ärzte wussten nicht über ihre Tablettensucht Bescheid. So starb sie drei Wochen nach dem Unfall an Brandverletzungen und Entzugserscheinungen. Zu ihrem 50. Todestag wiederholen wir eine Archivperle vom 26.6.1996: eine musikalische Hommage an die rätselhafte Dichterin – mit ihrer Stimme, Interviewausschnitten und mit Musik von Hans Werner Henze, Luigi Nono und Adriana Hölszky.

Episode 100 Crosscurrents in Early Electronic Music: Italy—Part 1 Playlist Berio, Maderna, Nono, Zuccheri, RAI Studio di Fonologia Musicale (RAI), Milan Luciano Berio, “Mutazioni” (1955) from Prospettive Nella Musica (1956 RAI Radiotelevisione Italiana). The first complete tape work by Berio at the newly founded RAI studio, which he was running with composer Bruno Maderna. Sound engineering by Marino Zuccheri. Berio and Maderna kept an open mind about the music that would be produced under its roof. They did not align themselves aesthetically with either the musique concrète approach taken in Paris or the serialist, rules-based composing style of Cologne. “Bruno and I immediately agreed,” explained Berio, “that our work should not be directed in a systematic way, either toward recording acoustic sounds or toward a systematic serialism based on discrete pitches.”[1] As a consequence, Alfredo Lietti Marino Zuccheri, engineers for the studio, filled it with equipment that appealed to a wide spectrum of compositional needs. In 1956, studio no. 3 at RAI had a custom-built cabinet with six vertical racks consisting of audio generators (9 sine wave oscillators, 1 white noise generator, 1 pulse generator), sound modifiers (plate reverb, octave filter, high pass filter, low-pass filter, variable band-pass filter, third-octave filter, ring and amplitude modulators), and a mixing panel. Several tape recorders were available mix and match sounds. You can almost sense the excitement of the creation of these foundational works as each composer brought their own individualism to the sound a translated that into electronic music. 3:36 Berio & Maderna, “Ritatto di Città (poema radiofonico)” (1955) (1955 RAI). File from the RAI Archives. This is an excerpt from a radiophonic production that was 26' long. 6:05 Bruno Maderna, “Notturno” (1956) from Prospettive Nella Musica (1956 RAI Radiotelevisione Italiana). Maderna's first official solo tape work produced at the RAI studio. From an original disc released by the RAI in 1956. 3:24 Luciano Berio, “Perspectives” from Prospettive Nella Musica (1956 RAI Radiotelevisione Italiana). An eight-part work of experiments in transforming musical sounds and rhythms with electronic manipulation. 6:36 Bruno Maderna, “Música su Due Dimensioni” from História da Música Eletroacústica (1958). 7:10 Luciano Berio, “Momenti”(1960) from Images Fantastiques (Electronic Experimental Music) (1968 Limelight). This release was an American collection of European electronic music released on the Limelight label, a subsidiary of Philips. Although released a few years after “Momenti” was available elsewhere, this was an album that captivated my imagination at the time. You hear Berio's innate sense for fashioning unique sounds and rhythms with this sound material, adding some reverb to give it depth, producing audio that is reminiscent of natural sounds, but transformed to give it an other-worldly quality. 7:02 Bruno Maderna, “Dimensioni II (Inventione su Una Voce)” from Musica Elettronica / Electronic Music (1994 Stradivarius). Anyone familiar with Italian new music will know the name of Cathy Berberian. She was an American operatic mezzo-soprano and for a time (1950-64) was married to Luciano Berio. She was a kind of muse for the modern composers at the Milan studio, lending her incredible vocal capabilities to tracks that could then be transformed into electronic music. One such famous piece, not included here because it is so familiar, is “Thema (Omaggio a Joyce)” by Berio. Instead, I wanted to feature another tape piece, this one by Maderna, because he not only transforms Berberian's voice using electronic techniques but allows her to express herself as well in some unmodified sections. This marks a period where Maderna was longer magnetic tape pieces, ten minutes or more each. Unlike his shorter, more frenetic works, these longer pieces gave him time to develop themes, apply long silences, and structure his works around variations on his audio materials. 10:52 Luigi Nono, “Omaggio a Vedova” (1960) (1976 Wergo). A magnetic tape work by another outstanding contributor to electronic music in Italy, Luigi Nono. Like Berio, Nono went on to be better known for his instrumental and vocal compositions. This work is an homage to artist Emelie Vedova. Note that we feature another homage to Vedova from 1967 later in the podcast, “Parete 1967 _1” by Marino Zuccheri. 4:52 Niccolò Castiglioni, “Divertimento” (1960) from Elektron 3 (1967 Sugar Music). Produced at the Studio di Fonologia Musicale di Milano. Castiglioni was an Italian composer, born in Milan who later came to the United States to teach composition at the University of Michigan. This work sounds a bit like chirping insects and is the only tape piece he produced at the RAI. 2:38 Bruno Maderna, “Le Rire” (1962)” from Musica Elettronica / Electronic Music (1994 Stradivarius). Another long-form tape piece by Maderna. The voices heard and processed are those of Maderna, Cathy Berberian, and the sound designer Marino Zuccheri. The sounds in the beginning are modulated by sine waves and filters, plus some occasional ambient sounds like footsteps and rain. The second part of the work, beginning around the 11-minute mark, switches to more traditional musique concrete sounds reminiscent of drums, flutes, as well as white noise. 15:53 Luigi Nono, “La Fabbrica Illuminata” for voice and magnetic tape (1964) from Luigi Nono La Fabbrica Illuminata (1968 Wergo). Nono was also expanding his use of electronic sounds and wrapping them in vocal music. This work combines sounds created at the RAI with vocals written for a choir ( Chor Der RAI Mailand) and sopranos (Carla Henius). Marino Zuccheri helped Nono with the tape music. 16:28 Jon Hassell, “Music for Two Vibraphones” (1965) (1965 RAI). Yes, this is the Jon Hassell, the American composer and trumpeter. I know he is American, but I couldn't resist including this brief track that he recorded while in Milan in 1965. To my ears, this has an especially digital sound, especially when you consider how time consuming it must have been to assemble the opening sequence using tape editing. It is also a work of contrasts, with the explosive opening section giving way to about a minute of extremely quiet, almost ambient sound to close the work. 2:43 Marino Zuccheri, “Parete 1967 _1” (1967) from Parete '67 Per Emilio Vedova (2018 Die Schachtel). The sound mixer and designer at the RAI studio, Zuccheri often appears as a credit on works created in the studio. Working as a sound technician after World War II, Zuccheri was transferred to the RAI headquarters in Milan where he met Luciano Berio. He was instrumental in developing the system and layout of the Studio di Fonologia Musicale, where he worked until 1983. His close collaboration with the composers working at the Studio, above all Berio, Maderna and Nono, gave rise most of their notable tape pieces. Visitors, such as John Cage, were quick to acknowledge his steady hand as chief orchestrator of sound and engineering at the studio. He was often asked to provide electronic music for broadcast and film productions, of which this is one, a collaboration with Emilio Vedova for the preparation of the Italian pavilion of the Montreal Expo. 15:03 Luigi Nono, “Contrappunto Dialettico Alla Mente” (For Magnetic Tape)(1968) from Roland Kayn / Luigi Nono – Cybernetics III / Contrappunto Dialettico Alla Mente (1970 DGG). Another one of Nono's exquisite works combining vocals and electronic music on magnetic tape, recorded at RAI. In this work you can see how Nono complements the sound palette of the usual RAI sounds with sounds that are uniquely presented by human voices. Chorus, Coro Da Camera Della RAI; Conductor, Nino Antonellini; Soprano Vocals, Liliana Poli; Other Voices, Cadigia Bove, Elena Vicini, Marisa Mazzoni, Umberto Troni. 19:48 Opening background music: Bruno Maderna, “Serenata III” (1962)” from Musica Elettronica / Electronic Music (1994 Stradivarius). 11:20 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.   [1] Joel Chadabe, Electric Sound: The Past and Promise of Electronic Music (Upper Saddle River, NJ: Prentice Hall, 1997), 48

Un día como hoy, 8 de mayo: Nace: 1906: Roberto Rossellini, cineasta italiano (f. 1977). 1937: Thomas Pynchon, novelista estadounidense. 1945: Keith Jarrett, pianista estadounidense de jazz. 1963: Michel Gondry, cineasta y guionista francés. Fallece: 1785: Pietro Longhi, pintor italiano (n. 1701). 1794: Antoine Lavoisier, químico francés (n. 1743). 1880: Gustave Flaubert, novelista francés (n. 1821). 1891: Madame Blavatsky (Helena Petrovna Blavatsky), ocultista y escritora estadounidense de origen ruso (n. 1831). 1990: Luigi Nono, compositor italiano de música contemporánea (n. 1924). Conducido por Joel Almaguer Una producción de Sala Prisma Podcast. 2023

Synopsis The contemporary Hungarian composer György Kurtág is famous for writing very short, very sparse and VERY concentrated musical works. He has, however on occasional written more expansive pieces, including one big orchestral piece for the Berlin Philharmonic and some works for large chorus. Obsessively self-critical, Kurtág disavowed most of the music he wrote before his mid-thirties, which included some for chorus, but a suggestion from the Italian avant-garde composer Luigi Nono that he write for chorus again resulted in a work that the BBC Singers premiered in London on today's date in 1981. It has an Italian title, Omaggio a Luigi Nono, or Tribute to Luigi Nono, ¬– a tip of the hat to his Italian colleague, but the work itself is a setting of bits of Russian poems. Now at the time of its premiere, 25 years after the Russian-led invasion of Hungary in 1956 and 10 years before the collapse of the Soviet Union, Hungarian eyebrows were raised when Kurtág chose to set Russian texts. Disparaging or just plain “diss-ing” ANYTHING Russian was the normal M.O. for Hungarian intellectuals in those days. Kurtág, for his part, stood his ground: as an ardent Dostoevsky's fan, he simply said Russian was a sacred language to him. Music Played in Today's Program György Kurtág (b. 1926) Omaggio a Luigi Nono SWR Vokalensemble Stuttgart; Marcus Creed, director. SWR Music 93.174

Synopsis Today marks the birthday of the American pianist and composer Donald Shirley, who was born in Pensacola, Florida, in 1927, to Jamaican immigrant parents: a mother who was a teacher and a father an Episcopalian priest. Young Donald was a musical prodigy who made his debut with the Boston Pops at age 18, performing Tchaikovsky's First Piano Concerto. If Shirley had been born 20 years later, he might have had the career enjoyed by Andre Watts, who born in 1946. But in the late 1940s, when Shirley was in his 20s, impresario Sol Hurok advised him that America was not ready for a black classical pianist, so instead Shirley toured performing his own arrangements of pop tunes accompanied by cello and double-bass. His Trio recorded successful albums marketed as “jazz” during the 1950s and 60s, but Shirley also released a solo LP of his piano improvisations that sounds more like Debussy or Scriabin, and he composed organ symphonies, string quartets, concertos, chamber works, and a symphonic tone poem based on the novel Finnegans Wake by James Joyce. The 2018 Oscar-winning film “Green Book” sparked renewed interest in Shirley's career as a performer, but those of us curious to hear his organ symphonies and concert works hope they get a second look as well. Music Played in Today's Program On This Day Births 1715 - Austrian composer Georg Christoph Wagenseil, in Vienna; 1782 - French composer Daniel-François-Esprit Auber, in Caen; 1852 - British composer Frederic Hymen Cowen, in Kingston, Jamaica; 1862 - English composer Fritz (Frederick) Delius, in Bradford, Yorkshire; 1876 - English composer Havergal Brian, in Dresden, Staffordshire; 1924 - Italian composer Luigi Nono, in Venice; Deaths 1946 - British composer Sydney Jones, age 84, in London, age 84; 1962 - Austrian composer and violinist Fritz Kreisler, age 86, in New York City; Premieres 1728 - Gay & Pepusch: ballad-opera, “The Beggar's Opera,” at Lincoln's Inn Fields, London; This work, mounted by the London impresario John Rich, proved so popular that it was staged 62 times that season; As contemporary wags put it, the wildly successful work “made Gay Rich and Rich Gay&rdquo(Gregorian date: Feb. 9); 1781 - Mozart: opera, "Idomeneo" in Munich at the Hoftheater; 1826 - Schubert: String Quartet in D minor, "Death and the Maiden," as a unrehearsed reading at the Vienna home of Karl and Franz Hacker, two amateur musicians; Schubert, who usually played viola on such occasions, could not perform since he was busy copying out the parts and making last-minute corrections; 1882 - Rimsky-Korsakov: opera "The Snow Maiden," in St. Petersburg (Gregorian date: Feb. 10); 1892 - Chadwick: “A Pastoral Prelude,” by the Boston Symphony. Arthur Nikisch conducting; 1916 - Prokofiev: "Scythian" Suite ("Ala and Lolly"), Op. 20, at the Mariinsky Theater in Petrograd, with the composer conducting (Julian date: Jan. 16); 1932 - Gershwin: "Second Rhapsody" for piano and orchestra, in Boston, with the Boston Symphony conducted by Serge Koussevitzky and the composer as soloist; 1936 - Constant Lambert: "Summer's Last Will and Testament" for chorus and orchestra, in London; 1981 - John Williams: first version of Violin Concerto (dedicated to the composer's late wife, actress and singer Barbara Ruick Williams), by Mark Peskanov and the St. Louis Symphony conducted by Leonard Slatkin; Williams subsequently revised this work in 1998; This premiere date is listed (incorrectly) as Jan. 19 in the DG recording featuring Gil Shaham; Links and Resources On Donald Shirley

Un día como hoy, 29 de enero. Nace: 1860, Antón Chéjov. 1866, Romain Rolland. 1867, Vicente Blasco Ibáñez. 1892, Ernst Lubitsch. 1924, Luigi Nono. Fallece: 1899, Alfred Sisley. Conducido por Joel Almaguer Una producción de Sala Prisma Podcast. 2023.

Als ich vor Jahren „Il fabbricca illuminata“ von Luigi Nono gesungen habe, bin ich auch die Künstlerin Carla Henius gestoßen und bin seitdem voller Bewunderung für sie. Carla hat dieses Jahr ihren 20.Todestag und ich singe im Oktober wieder „Il fabbricca illuminata“. Ich ging auf die Suche nach jemanden, der sie gut kannte und habe den Komponisten Ernst August Klötze gefunden. Er bringt uns die Sängerin, Autorin, Kuratorin, Köchin und den Mensch dahinter sehr nahe. Carla Henius hat so viele wichtige Dinge in der neuen Musik initiiert und entdeckt. Ich wünsche mir es gibt mehr Menschen wie sie.

Probabil cel mai postmodern episod din această serie, filmat în Cluj împreună cu Cristian (Neo-Eclesiastul) și Toni. Temele au fost variate: muzica clasică și nuanțele ei mai experimentale, marxism, relația dintre artă și politică, Rousseau, Julius Evola, Walter Benjamin, cearta dintre Nietzsche și Richard Wagner, Kafka și dacă poți separa autorul de arta sa, Kierkegaard și parabola biblică a lui Avraam și fiul său Isac, Hemingway, Melville ș.a. ▶LINKURI RELEVANTE: Videoul original: https://youtu.be/ZuDcxY_NuCg ▶PODCAST INFO: Website: podcastmeditatii.com Newsletter: podcastmeditatii.com/aboneaza YouTube: youtube.com/c/meditatii Twitch: www.twitch.tv/meditatii Meditații Politice: www.youtube.com/channel/UCK204s-jdiStZ5FoUm63Nig Apple Podcasts: podcasts.apple.com/us/podcast/medi…ii/id1434369028 Spotify: open.spotify.com/show/1tBwmTZQHKaoXkDQjOWihm RSS: feeds.soundcloud.com/users/soundclo…613/sounds.rss ▶SUSȚINE-MĂ: – Patreon: www.patreon.com/meditatii – PayPal: paypal.me/meditatii ▶DISCORD: – Comunitatea: discord.gg/meditatii – Arhiva dialogurilor: www.patreon.com/meditatii/posts?f…%5Btag%5D=Discord ▶SOCIAL MEDIA: – Instagram: www.instagram.com/meditatii.podcast – Facebook: www.facebook.com/meditatii.podcast – Goodreads: goodreads.com/avasilachi – Telegram (jurnal): t.me/andreivasilachi – Telegram (chat): t.me/podcastmeditatii ▶EMAIL: andrei@podcastmeditatii.com ▶CRONOLOGIE: 0:00 - intro 0:17 – Rousseau: Emile, abandonul copiilor, muzica 3:46 – muzica absolută vs. muzica programatică 6:00 – Gustav Mahler 7:06 – Daniel Chua: istoricismul lui Foucault și principiul dialecticii negative a lui Walter Benjamin 7:36 – Theodor Adorno, Arnold Schoenberg și muzica serială 9:00 – Hannah Arendt, Marx și distincția dintre filosofi 10:52 – ar trebui arta să fie politică? (Luigi Nono, Alexander Mosolov, Walter Benjamin, Julius Evola) 12:56 – Evola, René Guénon și estetizarea politicului (Hugo Boss și naziștii) 14:08 – războinicia, Nietzsche și mitul lui Agon 15:43 – putem separa opera autorului de viața lui? 18:43 – Kafka: Scrisoare către tata 21:25 – Metamorfoza 32:32 – Bătrânul și marea (Hemingway); Moby Dick (Melville) 39:01 – Mircea Cărtărescu: ajutor ajutor ajutor ajutor... 40:20 – Șerban, Biblia, Camus și Mitul lui Sisif 41:49 – Toni: „Dostoievski oare a omorât pe cineva?” 42:47 – Cristian: “Louis Althusser și-a strangulat soția încercând să-i facă masaj” 43:53 – Andrei: “Noi ne aflăm în Cluj…” 44:57 – Toni: “știi să cânți Wonderwall la pian?” 46:13 – Frica și Cutremur (Kierkegaard); parabola biblică despre Avraam și fiul său Isac 1:06:08 – Kafka: “O carte trebuie să fie un topor pentru marea înghețată din noi” 1:12:23 – Toni: “Deja urlă corbii” 1:14:46 – Un mesaj imperial (Kafka) 1:16:09 – întoarcerea lui Cristian și morți absurde 1:18:14 – Cristian: „ăștia nu-s corbi, ăștia-s paraziți” 1:20:07 – de ce s-au certat Nietzsche și Richard Wagner? 1:41:04 – începuturi memorabile în cărți 1:44:45 – cartea lui Cristian 1:46:43 – a procedat Kierkegaard corect față de Regina Olsen? 1:47:37 – Toni, ce te macină? 1:51:49 – concluzii?

Synopsis In 1952, the West Point Military Band celebrated that famous military academy's Sesquicentennial by asking prominent composers to write celebratory works to mark the occasion. Among those who responded was the American composer Morton Gould, whose “West Point Symphony” received its premiere performance on today's date in 1952, at a gala concert featuring the West Point Academy. There are two movements in Gould's “West Point Symphony.” They are titled “Epitaphs” and “Marches,” and the composer himself provided these descriptive comments: “The first movement is lyrical and dramatic… The general character is elegiac. The second and final movement is lusty… the texture a stylization of marching tunes and parades cast in an array of embellishments and rhythmic variations… At one point,” concludes Gould, “there is a simulation of a Fife and Drum Corp, which, incidentally, was the instrumentation of the original West Point Band.” Of all the pieces written in honor of West Point's Sesquicentennial in 1952, Gould's Symphony is probably the best-known. The score of the West Point Symphony calls for a “marching machine,” but on this classic 1959 recording under the late Frederick Fennell, the required sound was provided by the very real marching feet of 120 Eastman School of Music students. Music Played in Today's Program Morton Gould (1913-1996) — West Point Symphony (Symphony for Band) (Eastman Wind Ensemble; Frederick Fennell, cond.) Mercury 434 320 On This Day Births 1810 - French composer Felicien David, in Cadenet, Vaucluse; 1816 - English composer Sir William Sterndale Bennett, in Sheffield; 1938 - American composer and pianist Frederic Rzewski, in Westfield, Mass.; Deaths 1756 - Burial date of the German composer and keyboard virtuoso Johann Gottlieb Goldberg, age c. 29, in Dresden; 1826 - German composer Franz Danzi, age 62, in Schwetzingen; 1944 - French composer and pianist Cécile Chaminade, age 86, in Monte Carlo; Premieres 1742 - Handel: oratorio, "Messiah,"in Dublin (Gregorian date: April 24); 1789 - Mozart: Divertimento in Eb (K. 563) for string trio, in Dresden, by Anton Teiber (violin), Anton Kraft (cello), and the composer (viola); 1943 - Randall Thompson: "A Testament of Freedom" for men's voices and piano, at the University of Virginia; The orchestral version of this work premiered in Boston on April 6, 1945; 1952 - Morton Gould: Symphony No. 4 ("West Point Symphony") for band, during the West Point Military Academy Sesquicentennial Celebration in West Point, N.Y, by the Academy Band, with the composer conducting; 1961 - Luigi Nono: opera "Intolerance 1960," in Venice at the Teatro La Fenice; 1992 - Schnittke: opera "Life with an Idiot," in Amsterdam at the Dutch Opera; 1997 - Morten Lauridsen: "Lux Aeterna"for chorus and chamber orchestra, at Dorothy Chandler Pavilion in Los Angeles, by the Los Angeles Master Chorale, Paul Salamunovich conducting; 2000 - Danielpour: Piano Trio ("A Child's Reliquary"), at Hancher Auditorium at the University of Iowa, by the Kalichstein-Robinson-Laredo Trio; Others 1823 - Franz Liszt, age 11, performs at the Imperial Redoutensaal in Vienna; Legend has it that Beethoven attended this performance and planted a kiss on the young performer's forehead, but in fact Beethoven did not attend the concert; According to Liszt, the incident occurred a few days before at Beethoven's home, after Liszt had performed one of Beethoven's works; See Dec. 1, 1822, for Liszt's Vienna debut; 1896 - The American Guild of Organists is founded in New York City; 1958 - American pianist Van Cliburn wins the Tchaikovsky Competition in Moscow, the first American to do so. Links and Resources On Morton Gould

durée : 00:25:10 - Les Grands entretiens - par : Judith Chaine - Etudiant, Helmut Lachenmann passe des journées entières à copier des partitions, de Machaut, de Bach, de Berg ou de Webern. Il rencontre bientôt Luigi Nono, qui accepte de le prendre comme élève. A Venise, à La Giudecca, il habite pendant deux ans l'appartement situé à l'étage en dessous des Nono.

Synopsis In New York City on today's date in 2008, The Juilliard School's FOCUS! Festival showcased music from the opposite coast, including the world premiere of a new string quartet by Californian composer John Adams. Some 14 years earlier, Adams had written a work for the Kronos Quartet and pre-recorded tape that he titled “John's Book of Alleged Dances,” because, as he said, “the steps for the dances had yet to be invented.” His new work for 2008 had a more serious title: simply, “String Quartet,” and was premiered by the St. Lawrence String Quartet.  Adams had heard the Saint Lawrence Quartet perform his “Book of Alleged Dances,” and was so impressed he wanted to write a new work for the ensemble, but found it an intimidating experience, given the great string quartets written by composers of the past ranging from Haydn to Ravel. “String quartet writing is one of the most difficult challenges a composer can take on,” confessed Adams. “Unless one is an accomplished string player and writes in that medium all the time – and I don't know many these days who do – the demands of handling this extremely volatile and transparent instrumental medium can easily be humbling, if not downright humiliating.”  Music Played in Today's Program John Adams (b. 1947) — String Quartet (No. 1) (St. Lawrence String Quartet) Nonesuch 523014 On This Day Births 1715 - Austrian composer Georg Christoph Wagenseil, in Vienna; 1782 - French composer Daniel-François-Esprit Auber, in Caen; 1852 - British composer Frederic Hymen Cowen, in Kingston, Jamaica; 1862 - English composer Fritz (Frederick) Delius, in Bradford, Yorkshire; 1876 - English composer Havergal Brian, in Dresden, Staffordshire; 1924 - Italian composer Luigi Nono, in Venice; Deaths 1946 - British composer Sydney Jones, age 84, in London, age 84; 1962 - Austrian composer and violinist Fritz Kreisler, age 86, in New York City; Premieres 1728 - Gay & Pepusch: ballad-opera, “The Beggar's Opera,” at Lincoln's Inn Fields, London; This work, mounted by the London impresario John Rich, proved so popular that it was staged 62 times that season; As contemporary wags put it, the wildly successful work “made Gay Rich and Rich Gay&rdquo(Gregorian date: Feb. 9); 1781 - Mozart: opera, "Idomeneo" in Munich at the Hoftheater; 1826 - Schubert: String Quartet in D minor, "Death and the Maiden," as a unrehearsed reading at the Vienna home of Karl and Franz Hacker, two amateur musicians; Schubert, who usually played viola on such occasions, could not perform since he was busy copying out the parts and making last-minute corrections; 1882 - Rimsky-Korsakov: opera "The Snow Maiden," in St. Petersburg (Gregorian date: Feb. 10); 1892 - Chadwick: “A Pastoral Prelude,” by the Boston Symphony. Arthur Nikisch conducting; 1916 - Prokofiev: "Scythian" Suite ("Ala and Lolly"), Op. 20, at the Mariinsky Theater in Petrograd, with the composer conducting (Julian date: Jan. 16); 1932 - Gershwin: "Second Rhapsody" for piano and orchestra, in Boston, with the Boston Symphony conducted by Serge Koussevitzky and the composer as soloist; 1936 - Constant Lambert: "Summer's Last Will and Testament" for chorus and orchestra, in London; 1981 - John Williams: first version of Violin Concerto (dedicated to the composer's late wife, actress and singer Barbara Ruick Williams), by Mark Peskanov and the St. Louis Symphony conducted by Leonard Slatkin; Williams subsequently revised this work in 1998; This premiere date is listed (incorrectly) as Jan. 19 in the DG recording featuring Gil Shaham; Links and Resources More on John Adams More on the string quartet and its history

Nuria Schoenberg-Nono was born in Barcelona in 1932 to parents Arnold and Gertrud Schoenberg. She grew up in Los Angeles, California, and settled to Europe in 1954, marrying the composer Luigi Nono. In 1993 she founded the Luigi Nono Archive, and today she is president of the Board of the Arnold Schoenberg Centre in Vienna. Her experience is unique, in that the has been close to two major 20th century composers, both of whom can be said to have had a lasting impact on the music of our time. LINKSThe Luigi Nono FoundationThe Arnold Schoenberg Center in ViennaSUPPORT THIS PODCASTPatreonDonorboxORDER SAMUEL ANDREYEV'S NEWEST RELEASEIridescent NotationLINKSYouTube channelOfficial WebsiteTwitterInstagramEdition Impronta, publisher of Samuel Andreyev's scoresEPISODE CREDITSPodcast artwork photograph © 2019 Philippe StirnweissSupport the show (http://www.patreon.com/samuelandreyev)

Elisabetta Chiodini"Il mito di Venezia"Da Hayez alla BiennaleNovara, Castello Visconteo SforzescoFino al 13 marzo 2022 Per celebrare i 1600 anni della città di Venezia, la cui fondazione è stata tradizionalmente fissata al 25 marzo dell'anno 421, Mets Percorsi d'arte, la Fondazione Castello e il Comune di Novara propongono dal 30 ottobre 2021 al 13 marzo 2022 la bella mostra Il mito di Venezia. Da Hayez alla Biennale, curata da Elisabetta Chiodini con un prestigioso Comitato scientifico diretto da Fernando Mazzocca di cui fanno parte Elena Di Raddo, Anna Mazzanti, Paul Nicholls, Paolo Serafini e Alessandra Tiddia. Punto di partenza del percorso espositivo sono le opere di alcuni dei più grandi maestri che hanno operato nella città lagunare nel corso dei primi decenni dell'Ottocento influenzando significativamente con il loro insegnamento e i loro lavori lo svolgersi della pittura veneziana nella seconda metà del secolo, vera protagonista della rassegna. Settanta opere divise in otto sale nella splendida cornice del Castello Visconteo di Novara per raccontare il mito della città lagunare. Partendo dal grande Hayez attraverso una ricca selezione delle opere più importanti - e spesso mai viste perché provenienti da prestigiose collezioni private - dei più noti artisti italiani della seconda metà dell'Ottocento come, tra gli altri, Ippolito Caffi, Guglielmo Ciardi, Pietro Fragiacomo, Giacomo Favretto, Luigi Nono, Ettore Tito. Scorci veneziani e vedute intime, paesaggi incantevoli, ritratti e scene familiari di grande suggestione in un percorso molto godibile che racconta Venezia e l'evolversi della pittura italiana dalla metà alla fine dell'Ottocento, verso i fermenti che caratterizzeranno i primi del Novecento.Curatrice: Elisabetta ChiodiniComitato Scientifico: Elisabetta Chiodini, Elena Di Raddo, Anna Mazzanti, Fernando Mazzocca,Paul Nicholls, Paolo Serafini, Alessandra TiddiaIL POSTO DELLE PAROLEascoltare fa pensareilpostodelleparole.it

Die Münchner Dokumentarfilmerin und Autorin Bettina Ehrhardt versteht sich darauf, die Musik unserer Zeit und ihre Protagonisten in ihren Filmen greifbar zu machen. Komponisten wie Luigi Nono sind es, Pierre Boulez, Helmut Lachenmann und Wolfgang Rihm. In ihrer jüngsten Arbeit stehen die Donaueschinger Musiktage im Zentrum: Zum 100-jährigen Bestehen hat sie Geschichte und Gegenwart des Traditionsfestivals ins Bild gesetzt.