Nono: Como una ola de Fuerza
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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
Top Customer Reviews
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!
Most Helpful Customer Reviews on Amazon.com (beta)
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.
"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
young as the revolution
and you will keep on
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.
THE 1976 BERLIN CLASSICS RECORDING
"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.
Como una ola de fuerza y luz, for soprano, piano, orchestra and tape was written in 1971-72 and is something of a large musical collage (its title translates as "Like a wave of light and strength"). It is built up not so much from rows of notes as from big blocks of sound, from which Nono build (and hardly resolves) tension and drama into something that is almost shatteringly cataclysmic. In its almost Dadaist way, the various pieces are juxtaposed and put on top of each other, often unsubtly hammered together by repeated hammering from the piano (Maurizio Pollini). Both the piano and the soprano part (Slavka Taskova) are subjected to electronic distortion and transformation and fired back into the mix. Overall, it is an almost surprisingly captivating and effetive affair, mostly because of its many-faceted rich textures and effects, though I admit that it is not a work that is likely to change the mind of someone already negative to avant-garde techniques. I suppose the performances are as good as one could hope for, and the sound quality is fair if a little dry.
... sofferte onde serene ... is a rather different work, not the least because it is, in a sense, "pure" music that is not, at least not explicitly, making any sort of political statement. Apparently inspired by Venice, this is a mysterious, slowly morphing and evolving, often glittering tapestry. The work is a dialogue between the pianist and his former self, that is, what he plays is contrasted with recordings (like echoes) of his previous playing. It is a rather elusive creation, to be sure, but it certainly rewards concentration - I would be inclined to judge it something of a masterpiece - and Pollini manages to make it a pretty mesmerizing experience.
The integration of his political works into his music is perhaps most problematic in Contrappunto dialettico alla mente, which may be somewhat harder to fully appreciate if you don't manage to (at least pretend) identify with his political outlook. It dates from 1967-68, and is pretty much a collage of recorded political statements, electronically treated and distorted, and slabbed on top of each other in a massive, moving tapestry. It is actually quite immediately effective, though I am less sure it is a piece that will really reward repeated listening.
To sum up, there is at least one masterpiece in this program, namely ... sofferte onde serene ..., and Como una ola ... is a really compelling and stirring work as well. Although I am less sure about Contrappunto, it is an effective conclusion to a rewarding program that I don't think anyone with an interest in 20th century music will want to miss.