Out of stock
LP
Luigi NONO
“Fragmente – Stille, An Diotima”
Edition of 300 copies, gold foil printed sleeve, includes 12-page booklet and two leporello inserts printed on translucent paper
On the centenary of the birth of Luigi Nono, the Maurice Quartet – Georgia Privitera (violin), Laura Bertolino (violin), Francesco Vernero (viola) and Aline Privitera (cello) – reinterprets the composition for string quartet by the Venetian composer: Fragmente - Stille, An Diotima, dedicated to LaSalle Quartet on the occasion of the thirtieth Beethovenfest in Bonn, in 1980. The driving force of inspiration must have been Beethoven, understood as a radical innovator of the conventions of his time. This same definition was attributed to Nono after composing this work, so much so that the critics of the time spoke of the "turning point work". An extreme chamber music work, at the same time private and political, which Nono himself summarized as follows: "I have not changed at all. Even tenderness, the private, has its collective, political side. Therefore my String Quartet is not the expression of a new retrospective line in me, but rather my current position of experimentation: I want the great, rebellious affirmation with the minimum means".
The edition includes a set of evocative photographs of the Giudecca in Venice – which follow the aesthetics of the fragment – realized by Sophie-Anne Herin and a precious musicological contribution by Francesca Scigliuzzo.
The Maurice Quartet – active for more than twenty years in the field of experimentation between contemporary music, electronics and multimedia – joins the numerous homages that the world of music pays to Nono one hundred years after his birth with a recording work of great philological and interpretative relevance, aimed at capturing the most intimate and feverish side of one of the most significant composers of the last century.
30,00€
In stock
LP
Luigi NONO
“Musica manifesto n. 1”
First ever repress of this seminal work. LP version, edition of 300 copies on black vinyl. This edition is on black vinyl, it is hosted in an outstanding shiny/refelecting silver cover (a hommage to the notorious Philips Prespective Series of the same period) and features the tabloid/poster with unpublished photos of the Venice Biennale riots of 1968
Long considered, with Pierre Boulez and Karlheinz Stockhausen, to be one point in the trinity of the post-war avant-garde, Luigi Nono was, without question, one of the most important and singular composers to emerge in the years following the Second World War – defining the zeitgeist, taking the his idiom into startling new territories, while standing decidedly apart. Nono's music infused the avant-garde with a sense of emotion and moral consciousness which had been previously unheard, seeking to join advanced forms of music in the social struggles of every day life. Unlike most of his peers, the composer was political in everything he did. His music is a rallying call of the left. Originally issued in 1969, none of Nono's works illuminate this radical consciousness and concern better than his seminal Musica-Manifesto N.1. Now reissued for the first time by die Schachtel in collaboration with Archivo Storico Ricordi, it is revolution led by one man – a window into the creative and political potential of sound.
Nono's music emerged from the ashes of war – a voice in a social and intellectual landscape trying to cope with what had been, and build itself anew. While most of his contemporaries divorced themselves from the political forum, focusing themselves on more abstract concerns, Nono's work was vocally political from its earliest days – first as explicitly anti-fascist, pointedly embracing Marxism (he officially joined the Communist Party in 1952), before, as 60s and 70s unfolded, becoming a voice in the international worker and student struggles and the fight against the Vietnam War.
It's hardly coincidental that a work as important and powerful as Musica-Manifesto N.1 emerged at the time it did. It is among the greatest sonic culminations of 1960's, composed and released just before the decade's end – emotion, empathy, and politic, manifesting as some of the most forward thinking and radical sounds and structures of their day. Nearly half a century on, what is says, and how its says, remain startling fresh.
Musica-Manifesto N.1, original intended to be the first part in a suite which never appeared, was commissioned by the communist administrated town of Chatillon-sous-Bagneux, in France, during the Spring of 1969. The work, manifesting in two parts, can be understood as snapshot of its moment – incorporating texts taken from the walls of Paris in May, 68, read by Edmonda Aldini against the voices of Communist leaders like Che Guevara, Ho Chi Minh, and Mao, as well as recordings of the riots and protests which occurred at the Venice Biennale in June, 68 – the materiality of the streets and political struggle taking form as the sounds whistles, howls, shouts through a megaphone, and battles with the police, joined with the history of the movement from which those events sprang via a lyrical poem, Mattino (Morning) by Cesare Pavese, one of most important Italian anti-fascist intellectual voices during Second World War, sung under the instruction of the composer by Liliana Poli and Kadigia Bove. Both sides of Musica-Mainifesto N.1, Un volto, e del mare and Non consumiamo Marx, are works for magnetic tape, the first archived through careful editing to achieve a singular polyphonic complexity, while the second utilizes manipulation of its source material through filters and modulators, played against electronically generated sounds. The cumulative result remains a legendary culmination of avant-garde practice and political struggle – an astounding, immersive, and thought proving body of sound, which remains as relevant today as the day it was made.
24,00€
Out of stock
CD
Luigi NONO
“Musica manifesto n. 1”
Long considered, with Pierre Boulez and Karlheinz Stockhausen, to be one point in the trinity of the post-war avant-garde, Luigi Nono was, without question, one of the most important and singular composers to emerge in the years following the Second World War – defining the zeitgeist, taking the his idiom into startling new territories, while standing decidedly apart. Nono's music infused the avant-garde with a sense of emotion and moral consciousness which had been previously unheard, seeking to join advanced forms of music in the social struggles of every day life. Unlike most of his peers, the composer was political in everything he did. His music is a rallying call of the left. Originally issued in 1969, none of Nono's works illuminate this radical consciousness and concern better than his seminal Musica-Manifesto N.1. Now reissued for the first time by die Schachtel in collaboration with Archivo Storico Ricordi, it is revolution led by one man – a window into the creative and political potential of sound.
Nono's music emerged from the ashes of war – a voice in a social and intellectual landscape trying to cope with what had been, and build itself anew. While most of his contemporaries divorced themselves from the political forum, focusing themselves on more abstract concerns, Nono's work was vocally political from its earliest days – first as explicitly anti-fascist, pointedly embracing Marxism (he officially joined the Communist Party in 1952), before, as 60s and 70s unfolded, becoming a voice in the international worker and student struggles and the fight against the Vietnam War.
It's hardly coincidental that a work as important and powerful as Musica-Manifesto N.1 emerged at the time it did. It is among the greatest sonic culminations of 1960's, composed and released just before the decade's end – emotion, empathy, and politic, manifesting as some of the most forward thinking and radical sounds and structures of their day. Nearly half a century on, what is says, and how its says, remain startling fresh.
Musica-Manifesto N.1, original intended to be the first part in a suite which never appeared, was commissioned by the communist administrated town of Chatillon-sous-Bagneux, in France, during the Spring of 1969. The work, manifesting in two parts, can be understood as snapshot of its moment – incorporating texts taken from the walls of Paris in May, 68, read by Edmonda Aldini against the voices of Communist leaders like Che Guevara, Ho Chi Minh, and Mao, as well as recordings of the riots and protests which occurred at the Venice Biennale in June, 68 – the materiality of the streets and political struggle taking form as the sounds whistles, howls, shouts through a megaphone, and battles with the police, joined with the history of the movement from which those events sprang via a lyrical poem, Mattino (Morning) by Cesare Pavese, one of most important Italian anti-fascist intellectual voices during Second World War, sung under the instruction of the composer by Liliana Poli and Kadigia Bove. Both sides of Musica-Mainifesto N.1, Un volto, e del mare and Non consumiamo Marx, are works for magnetic tape, the first archived through careful editing to achieve a singular polyphonic complexity, while the second utilizes manipulation of its source material through filters and modulators, played against electronically generated sounds. The cumulative result remains a legendary culmination of avant-garde practice and political struggle – an astounding, immersive, and thought proving body of sound, which remains as relevant today as the day it was made.
300 copies
15,50€
Out of stock
CD
Luigi NONO
“20 Jahre Inventionen V”
“Quando Stanno morendo (diario polacco no. 2)” (1982) for female voices, bass flute, cello, live electronics. “Canciones a Guiomar” (1962-63) for soprano solo, chor and instruments. “Omaggio a Emilio Vedova” (1960), electronic music. Interpreters : Ingrid Ade, Monika Bair-Ivenz, Bernadette Manca di Nissa, Halina Nieckarz, Roberto Fabbriciani, Frances-Marie Uitti, Arturo Tamayo, Experimentalstudio der Heinrich-Strobel-Stiftung des SWF, Ars nova ensemble Berlin, Edelgard Neubert-Imm, Peter Schwarz. “The live electronics that Nono worked with for the first time in the early 1980’s at the Freiburg Experimental Studio also serves the musical displacement: the music moves away from clear spatial and timbral assignations. Due to electronic processing, the sonic characteristics of both instruments, bass flute and cello, can hardly be recognized. Tones and gestures are lengthened into seeming infinity and move in space.” Lydia Jeschke
14,00€
Out of stock
CD
Luigi NONO
“Risonanze erranti. Liederzyklus a Massimo Cacciari”
SACD authoring. DDD 5.1 channel surround sound, DSD converted from PCM 48 khz/24 bit. Multichannel hybridsacd can be played on any compact disc player.
Luigi Nono (1924-1990)
“Risonanze erranti. Liederzyklus a Massimo Cacciari” (1985-87) for contralto, flute, tuba, six percussion and live electronics.
1. Parma, Italy, 2014.
Ensemble Prometeo: Katarzyna Otczyk, contralto; Mario Caroli, flute; Gianluigi Paganelli, tuba; Flavio Tanzi, Aurelio Scudetti, Pietro Pompei, Alberto Toccaceli, Sara de Cicco, Pedro Perini, percussion; Marco Angius, conduction; Luca Richelli, live electronics; Alvise Vidolin, sound.
2. “Risonanze erranti. Liederzyklus a Massimo Cacciari” forth definitive version recorded in Paris, Théàtre National de Chaillot, 1987.
Susanne Otto, contralto; Roberto Fabbriciani, bass flute, piccolo; Giancarlo Schiaffini, tuba; Carlos Beresi, Konrad Graf, Richard Lepetit, Isao Nakamura, Rüdiger Pawassar, Gregory Riffel, percussion; Friedrich Goldmann, conduction; experimentalstudio from SWF, live electronics; Luigi Nono, Hans-Peter Haller, sound.
“The poetic significance of Risonanze Erranti (1985-87) should be interpreted in the light of the reflections developed since the summer of 1975 with the venetian friend and philosopher Massimo Cacciari, to whom the work is dedicated.
after “al gran sole carico d”amore” (in the bright sunshine heavy with love) (1972-74) Nono, obsessed by a sense of anguish owed to his solitude and his activism frustrated by the stagnation of italian music institutions, felt the need to re-examine his work as a composer, in the gramscian sense of an “organic intellectual in the society”. His meeting with the philosopher revived his interest in the critical and artistic activity in the Vienna of Ludwig Wittgenstein’s tractatus logico-philosophicus, and more broadly in the mitteleuropean culture between the 19th and 20th centuries, which he perceived as a “higher” commitment to the quest for truth, as opposed to the falsehood of political, scientific, religious, logical-mathematical thought and the misleading implications of language.
as regards the past his protest is intensely isolated, reflecting the anxiety of modern man who seeks comfort in the solitude of his own inward space to evade the “storm” and the caducity of time and listen to the “breathing limpidity” of the freedom of the infinite, as in the verses of the seventh of Rainer Maria Rilke’s “duino elegies”, chosen by Cacciari and used by Nono in “das Atmende Klarsein” [the breathing being-clear] (1981), a work that contains in a nutshell the poetics of his production in the 1980s.” Marinella Ramazzotti
Luigi Nono (1924-1990)
“Risonanze erranti. Liederzyklus a Massimo Cacciari” (1985-87) for contralto, flute, tuba, six percussion and live electronics.
1. Parma, Italy, 2014.
Ensemble Prometeo: Katarzyna Otczyk, contralto; Mario Caroli, flute; Gianluigi Paganelli, tuba; Flavio Tanzi, Aurelio Scudetti, Pietro Pompei, Alberto Toccaceli, Sara de Cicco, Pedro Perini, percussion; Marco Angius, conduction; Luca Richelli, live electronics; Alvise Vidolin, sound.
2. “Risonanze erranti. Liederzyklus a Massimo Cacciari” forth definitive version recorded in Paris, Théàtre National de Chaillot, 1987.
Susanne Otto, contralto; Roberto Fabbriciani, bass flute, piccolo; Giancarlo Schiaffini, tuba; Carlos Beresi, Konrad Graf, Richard Lepetit, Isao Nakamura, Rüdiger Pawassar, Gregory Riffel, percussion; Friedrich Goldmann, conduction; experimentalstudio from SWF, live electronics; Luigi Nono, Hans-Peter Haller, sound.
“The poetic significance of Risonanze Erranti (1985-87) should be interpreted in the light of the reflections developed since the summer of 1975 with the venetian friend and philosopher Massimo Cacciari, to whom the work is dedicated.
after “al gran sole carico d”amore” (in the bright sunshine heavy with love) (1972-74) Nono, obsessed by a sense of anguish owed to his solitude and his activism frustrated by the stagnation of italian music institutions, felt the need to re-examine his work as a composer, in the gramscian sense of an “organic intellectual in the society”. His meeting with the philosopher revived his interest in the critical and artistic activity in the Vienna of Ludwig Wittgenstein’s tractatus logico-philosophicus, and more broadly in the mitteleuropean culture between the 19th and 20th centuries, which he perceived as a “higher” commitment to the quest for truth, as opposed to the falsehood of political, scientific, religious, logical-mathematical thought and the misleading implications of language.
as regards the past his protest is intensely isolated, reflecting the anxiety of modern man who seeks comfort in the solitude of his own inward space to evade the “storm” and the caducity of time and listen to the “breathing limpidity” of the freedom of the infinite, as in the verses of the seventh of Rainer Maria Rilke’s “duino elegies”, chosen by Cacciari and used by Nono in “das Atmende Klarsein” [the breathing being-clear] (1981), a work that contains in a nutshell the poetics of his production in the 1980s.” Marinella Ramazzotti
25,00€
Out of stock
2 CD
Luigi NONO
“Seguente”
Rerelease of ed. RZ LP Luigi Nono plus three legendary recordings. “A Carlo Scarpa, architetto, ai suoi infiniti possibili” (1984) for orchestra. “A Pierre. Dell’azzurro silenzio, inquietum” (1985), for contrabass flute and clarinet and electronics. “Guai ai gelidi mostri” (1983) for voices, ensemble and electronics. “La terra e la compagna” (1957/58) for voice, choir and instruments. “Caminantes... Ayacucho” (1986/87) for voices, flute, choir and electronics. “No hay caminos, hay que caminar... Andrej Tarkowskij” (1987) for seven orchestra.
24,50€