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Nono: Como una ola de Fuerza

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Product details

  • Audio CD (19 Mar. 1997)
  • SPARS Code: ADD
  • Number of Discs: 1
  • Label: Deutsche Grammophon
  • ASIN: B00000E3Z2
  • Other Editions: MP3 Download
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 70,880 in Music (See Top 100 in Music)

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song TitleArtist Time Price
Listen  1. Nono: Como una ola de fuerza y luz - BeginningSlavka Taskova 2:32£0.79  Buy MP3 
Listen  2. Nono: Como una ola de fuerza y luz - 1. Interno dolceSlavka Taskova 1:46£0.79  Buy MP3 
Listen  3. Nono: Como una ola de fuerza y luz - 2. Duro decisoSlavka Taskova 2:13£0.79  Buy MP3 
Listen  4. Nono: Como una ola de fuerza y luz - Piano entrySlavka Taskova 6:54£0.79  Buy MP3 
Listen  5. Nono: Como una ola de fuerza y luz - 3. Dolcissimo serenoSlavka Taskova 2:11£0.79  Buy MP3 
Listen  6. Nono: Como una ola de fuerza y luz - Orchestra entryMaurizio Pollini10:01£1.49  Buy MP3 
Listen  7. Nono: Como una ola de fuerza y luz - Orchestra and piano entrySlavka Taskova 4:19£0.79  Buy MP3 
Listen  8. Nono: ....Sofferte onde serene....for piano and magnetic tapeMaurizio Pollini13:57£1.89  Buy MP3 
Listen  9. Nono: Contrappunto dialettico alla menteLiliane Poli19:51£2.59  Buy MP3 

Product Description

nono: como una ola de fuerza y luz, ...sofferte onde serene... [cd, classica]nono (artista) | formato: audio cd 1.como una ola de fuerza y luz : beginning2.como una ola de fuerza y luz : interno dolce3.como una ola de fuerza y luz : duro deciso4.como una ola de fuerza y luz : piano entry5.como una ola de fuerza y luz : dolcissimo sereno6.como una ola de fuerza y luz : orchestra entry7.como una ola de fuerza y luz : orchestra and piano entry8.sofferte onde serene, for piano & magnetic tape - luigi nono9.contrapunto dialettico alla mente, for magnetic tape - luigi nono

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16 of 16 people found the following review helpful By D. E. Potts on 20 Aug. 2009
Format: Audio CD
If you are new to Nono then I can highly recommend this recording and it should tell you if you are going to like him or not, as it is typical. Como was written in the early 70's when Nono was reaching his climax of political works. Written for soprano, orchestra, piano (Pollini), tape and electronics. The sound world builds and builds with a big sense of space, brilliant mechanical piano parts and big clusters of sound explode out as the music breathes. Very hard to record with all the forces involved and the sound may seem a bit hard to begin with, but the dynamics on the louder parts really come through well.
I love Nono and think he really stands out among the Darmstadt school as the most original artist. He used new methods of creating sounds but rarely for the sake of it, I would recommend buying his masterpeice Prometeo last as it is worth the journey!
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 8 reviews
42 of 46 people found the following review helpful
Revolutionary music. 30 Aug. 2003
By Augustus Caesar, Ph.D. - Published on Amazon.com
Format: Audio CD
Luigi Nono (1924-1990) was one of the 20th century's most radical composers. Nono, who fought against the Fascists in the Italian Resistance during World War II, studied both music and law in the post-war years before joining the Italian Communist Party in 1952. During the mid- to late-1950s, Nono taught at Darmstadt, the center of European serialism, and with Boulez and Stockhausen was the foremost exponent of that music on the continent. Nono married Schoenberg's daughter, Nuria, in 1955, and severed his ties with Darmstadt in 1959, after delivering a lecture entitled "The Presence of History in the Music of Today." This lecture was the composer's most notable public statement concerning his own radical Marxist politics, and the 1960s and 1970s saw Nono taking an increasingly active role the affairs of the Communist Party, for which he served on the Central Committee.
Like Pollini, Abbado, and Berio, Nono's worldview was permanently shaped by the subjection of Italy to the Fascism of Mussolini. All turned to Marxism in response, and Nono's deeply held political beliefs are on display throughout this magnificent collection of works from the late 1960s and early '70s. Unlike Stockhausen and Boulez, Nono saw in serialism a revolutionary musical grammar with implications extending beyond the realm of the purely musical into the realm of the political. Nono's adoption of serialism was a response to the domination of capitalism, imperialism, and the continued subjugation of the many by the few. Nono's music, which is initially forbidding and inaccessible, can be understood as the embodiment of Marx's concept of the unity of theory and practice. This is a revolutionary music, through which the composer expresses his hope for a world of true freedom rather than slavery, alienation, and mass murder.
"Como una ola de fuerza y luz" is dedicated to the memory of Lusiano Cruz, whose name is repeated in the work by the soprano vocalist (in this case, Slavka Taskova). Cruz, a Chilean revolutionary, died in 1971, two years before the Kissinger-planned coup which led to the death of Marxist president Salvador Allende and the installation of the Fascist Augusto Pinochet, who murdered Chileans en masse for the next 17 years. Nono's text implores the dead Cruz to "keep on glowing, young as the revolution in every one of your peoples' struggles." This powerful piece features thundering piano work from Nono's fellow Marxist, Maurizio Pollini, whose virtuosity is offset by the composer's jarring tape manipulations. A beautifully conceived and executed work.
Pollini again contributes his piano skills to 1976's "... sofferte onde serene. . . ." Moments of lyricism are contrasted against Nono's magnetic tape arrangements, and the result is a stunning mixture of opacity and accessibility. A challenging, but ultimately satisfying work.
"Contrappunto dialettico alla mente" (1968) again sets overtly political texts in Nono's pursuit of a total political engagement, "ideological and technical." Using words from Malcolm X and an anti-Vietnam War pamphlet, Nono crafts a work that is a reflection of the warped society it criticizes: terrifying, overwhelming, remorseless. The shrieking voices and intimations of violence echo the horrific destruction of the late-1960s. This is one of Nono's most important and ideologically characteristic works.
Obviously, this is not music for everyone, but for the openminded and discerning listener, this disc contains treasures. Nono's work is among the most vital and dynamic to emerge from the 20th century avant-garde, and in our modern world of Fascism, war, and imperialism, the political message which lies behind Nono's music has never been more relavent.
17 of 17 people found the following review helpful
get it while you can 30 Aug. 2003
By Jonathan Kandell - Published on Amazon.com
Format: Audio CD
I agree 100% with Autonomeus, this is a "must own"; I was excited to see they reissued it. The last piece "Contrapunto dialettico alla mente" is a classic from the tape-manipulation genre, mixing sounds of leftist 60s speeches with interesting effects. I don't think it's available anywhere else, so worth getting for this masterpiece alone. The sung line (in Italian) "Whitey wants you, n*gg**, to go to Vietnam and die" gives me shivers every time, even after hearing this piece many times. The second piece "...sofferte onde serene..." is a subtle complex piece admired by pianists but difficult to get a hook into for listeners. This is a great performance of it though. In my opinion this version of "Como una ola de fuerza y luz" isn't as good as the other recorded rendition--which is not what you'd expect considering it's Abaddo (who's excellent with Nono) and Pollini (who's Pollini)! Part of it is the singing; the passion of the singer on the other version is superior, maybe because she speaks Italian. Also, though Pollini's piano is noticably better in this rendition, something is missing from his overall performance. Maybe Nono is too--dare I say--raw for Pollini? Still, this performance is different enough from others that it is worth owning. Overall, terrific CD.
24 of 28 people found the following review helpful
Massive Orchestral Violence 6 Nov. 2003
By Moraine Lake - Published on Amazon.com
Format: Audio CD
Having posessed this disc for quite a few years I was surprised to see it again here. This is not music for the faint of heart. Ultimately this music is about destruction - maybe the lyrics are not, but the music itself is. Nono went on to other musical ideas later on in his career, but this truly is Nono at his most ruthless on the ear. This music demands a very high end stereo system and either no neighbors or deaf neighbors. The last movement of Como una ola... is pretty uncompromising. I find it the apex of anger, hatred and violence in music that I have heard so far out of the Nono catalog. The performances on this disc are first rate. No other recording (yes, there are others) approaches the intensity of this. Buy this if you are extremely agitated yourself or want to be.
8 of 8 people found the following review helpful
Apocalyptic electro-acoustic masterpiece from the early Seventies 15 Jun. 2003
By Autonomeus - Published on Amazon.com
Format: Audio CD
Como una ola de fuerza y luz (1971-2 -- 29'58)
"Like a wave a strength and light"
for soprano, piano, orchestra and tape
Slavka Taskova, soprano
Maurizio Pollini, piano
Bavarian Radio Symphony Orchestra, conductor Claudio Abbado

This is the original recording of one of Nono's masterpieces, with Maurizio Pollini on piano and Claudio Abbado conducting the Bavarian Radio Symphony Orchestra in October 1973. "Como una ola de fuerza y luz" ("Like a Wave of Strength and Light") was written in response to the death of a friend of Nono's, Luciano Cruz, a leader of the Chilean MIR -- Movement of the Revolutionary Left. (Cruz died in 1971, and the CIA-backed military coup against Allende which brought Pinochet to power didn't take place until September 11, 1973.)

It is a stunning work of apocalyptic power, featuring a tape of electronically altered choral vocals and piano over which are layered live vocals, piano and orchestra. The anguished soprano sings of the fallen Cruz in the opening section. The piano is featured next, with orchestra. Then the tape takes over, building and building to a raging intensity that finally ends after thirty minutes.

For anyone familiar with the low-volume Nono of the Eighties, it is striking that this work is maximalist. The vocals are extreme, and the electronics are extreme. Only the piano part introduces a more introspective element, along with sections of the tape toward the beginning of the piece.

The poem by Julio Huasi that Nono sets to music includes the following line:

"like, Luciano!, a wave
of strength
young as the revolution
forever alive
and you will keep on
glowing light
for living."

This is an electro-acoustic masterpiece of its time, alongside Xenakis's Kraanerg (1969), which also uses a recorded tape of electronically altered orchestral music.

This DG 20th Century Classics disc also includes:

...sofferte onde serene... (1976 -- 13'58)
"serene waves suffered"
for piano and magnetic tape
Maurizio Pollini, piano

Contrappunto dialettico all mente (1968 -- 19'51)
for magnetic tape
Liliana Poli, soprano
Cadigia Bove, Marisa Mazzoni, Elena Vicini, Umberto Troni, voices
RAI Chamber Choir, Rome
Nino Antonellini, director

The piano and electronics piece clearly indicates the direction Nono would take from that point on, although his late period is typically marked with the string quartet of 1980. Gone are the large-scale contrasts and use of heterogeneous materials. Nono works with clusters and variations, the swelling and subsiding of reverberation, nuances of electro-acoustic sound that he would delve more deeply into in later works.

"Contrappunto dialettico alla mente" is a startling radical 20-minute piece for vocals and electronics, using angry poetry by Sonia Sanchez and Nanni Balestrini. The booklet contains the complete original texts, thankfully, since the vocals are all in Italian. The human voice is central, as is usually the case in Nono's music, extended by electronics and "concrete" material including street sounds recorded in Venice. The result is fascinating and powerful, a clear indication of the radical nature of its time and what we have since lost.

"Como una ola..." was recorded again in July 1976 for Berlin Classics by the Leipzig Radio Symphony Orchestra, led by Herbert Kegel. It is also an excellent interpretation, with more bottom, a heavier, more menacing sound. It is certainly interesting to hear such a radical piece performed by a DDR (East German) orchestra -- I had the impression that the Soviet bloc was in the iron grip of socialist realism, but this was clearly not the case!

The Berlin Classics disc includes two early vocal works from 1952-3, "Epitaffio No. 1" and "Epitaffio No. 3" for the anti-fascist movement of Spain, based on the poetry of Federico Garcia Lorca and Pablo Neruda. Eleven and seventeen minutes long, they are both beautiful pieces written in Nono's early serialist style. However, compared to the electro-acoustic piece on the DG disc they sound quite traditional, with vocal parts that actually sing through the lyrics without electronic fragmentation.

*** *** ***

Both performances and recordings are superb. Any serious Nono listener will want to hear both.

See my NONO: A LISTENER'S GUIDE for more reviews and recommendations.

[UPDATED 7/24/12]
3 of 3 people found the following review helpful
Massive sculptures of sound that transcend the gritty circumstances of their writing 19 May 2008
By Christopher Culver - Published on Amazon.com
Format: Audio CD
Any written account of Luigi Nono's music of the 1960s and 1970s inevitably focuses on two things. One is his commitment to musical modernism, becoming a core member of the Darmstadt group of composers and even marrying Arnold Schoenberg's daughter Nuria. The other prominent feature everyone talks about is his Communist zeal, which inspired nearly every work he wrote from his discovery of Marxism until the beginning of his late period in the late 1970s. The two were even combined, for Nono believed that musical modernism, with its demolition of tonal hierarchies, was a perfect music for the working class. Listening to this DG reissue of three of his pieces from this period, what impresses me most is how Nono's music is so much more than the features that get all the press.

Sure, "Como una ola de fuerza y luz" (1972) is inspired by the death of a Chilean revolutionary, and the cry "Lusiano joven como la revolucion siempre vivo" forms the sung text. Nonetheless, this transcends politics to form simply a monumentally awesome edifice of sound. It is scored in massive proportions: soprano, piano solo, orchestra and electronics (played on tape). At first, only the tape is heard, though what Nono put together for this is already rich and complex. Eventually the soprano enters, wailing the name of Nono's fallen friend. Subsequently, the piano enters, and finally the orchestra as a whole. Nono's music is modernist to be sure, but this is far from the sparse bleep-bloop serialism strongly identified with Darmstadt composers. For all the knotiness of the music, with its refusal to settle into anything approaching common-practice tonality, there is still a powerful sense of drama and direction.

The following two pieces are considerably smaller in scale, though they reveal further sides to Nono as a composer. "Contrapuntto dialettico alla mente" is a work for tape that has a variety of political readings electronically transformed. The result is entertaining listening for those who like old tape works (which admittedly is not everyone). The texts are given in the CD booklet, but I find the piece worthy just as a sonic abstraction even if I cannot understand what the voices are saying exactly. "...sofferte onde serene..." for piano and tape (1976) has a live pianist interacting with taped piano sounds, played on a speaker either inside or under the piano. Here one really admires how Nono could write a serialist piano work that, far from being monochromatic like earlier Darmstadt venues, is rich and dramatic.

The conductor Claudio Abbado was a close friend of Nono, as was pianist Maurizio Pollini, so these performances may be seen as definitive. I wouldn't recommend Nono to just anyone, but if you already have some experience with the post-war avant garde, Nono is a major figure and this disc makes a great introduction to his political era.
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