Resonances

Authored by: Jonathan Impett

Routledge Handbook to Luigi Nono and Musical Thought

Print publication date:  October  2018
Online publication date:  October  2018

Print ISBN: 9781409455974
eBook ISBN: 9780429485732
Adobe ISBN:

10.4324/9780429485732-15

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Abstract

Architect Carlo Scarpa was an important early influence on Nono. A 1984 retrospective exhibition in Venice prompted discussion at the IUAV (Institute of architecture). A Carlo Scarpa architetto, ai suoi infiniti possibili, for orchestra, was written for the Hamburg Philharmonic Orchestra. Finished at the end of 1984, it was premiered in 1985. The 71 bars (Scarpa’s age at his death) exploit the microtonal possibilities of the orchestra, but, in keeping with Scarpa’s minimalist architecture, use only the notes C and Eb (es – hence Scarpa’s initials), with microtonal variations. Risonanze erranti. Liederzyklus a Massimo Cacciari was written for Nono’s close collaborators with a group of percussion and performed at the Paris Festival d’Autumne dedicated to his music in 1987. It is shown to derive from two unfinished projects: Machaut-Ockeghem-Josquin, using fragments of their motets like sound samples, and a song-cycle using texts from Das atmende Klarsein and Prometeo. In Risonanze errant these are cross-cut with settings of Ingeborg Bachmann, the whole cataylsed by texts from Herman Melville on the cost of war. These two works are seen as complementary resonances of Prometeo. Nono establishes a new base in Berlin, first as guest of the DAAD, then as a member of the Wissenschaftskolleg. He develops projects with film-makers and dramatists such as Alexander Kluge and Heiner Müller, and makes a trip to Greenland by ship.

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