This article may require cleanup to meet Wikipedia's quality standards. Please improve this article if you can. (July 2007)

Grave of Nono in the San Michele Cemetery, Venice.

Luigi Nono (January 29, 1924 – May 8, 1990) was an Italian avant-garde composer of classical music and intellectual, one of the most important composers of the 20th century. Image File history File links Broom_icon. ... Image File history File linksMetadata Download high-resolution version (960x1182, 409 KB) Grave of Luigi Nono in San Michele. ... Image File history File linksMetadata Download high-resolution version (960x1182, 409 KB) Grave of Luigi Nono in San Michele. ... San Michele, nicknamed The Island of the Dead, is the cemetery island of Venice. ... For other uses, see Venice (disambiguation). ... is the 29th day of the year in the Gregorian calendar. ... For the rap album, see 1924 (album). ... is the 128th day of the year (129th in leap years) in the Gregorian calendar. ... This article is about the year. ... A work similar to Marcel Duchamps Fountain Avant garde (written avant-garde) is a French phrase, one of many French phrases used by English speakers. ... A composer is a person who writes music. ... This article is about Western art music from 1000 AD to the present. ...

Biography

Early years

Born in Venice, he was a member of a wealthy artistic family, and his grandfather was a notable painter. Nono began music lessons with Gian Francesco Malipiero in 1941 at the Venice Conservatory where he acquired knowledge of the Renaissance madrigal tradition, amongst other styles. After graduating with a degree in law from the University of Padua, he was given encouragement in composition by Bruno Maderna. Through Maderna, he became acquainted with Hermann Scherchen—then Maderna's conducting teacher—who gave Nono further tuition and was an early mentor and advocate of his music. Venice (Venetian: Venezsia, Italian: Venezia, Latin: Venetia) is the capital of region Veneto, and has a population of 271,663 (census estimate January 1, 2004). ... Gian Francesco Malipiero (March 18, 1882 - August 1, 1973) Italian composer, musicologist and music editor. ... This article is about the European Renaissance of the 14th-17th centuries. ... A madrigal is a setting for two or more voices of a secular text, often in Italian. ... For other uses, see Law (disambiguation). ... Gymnasivm Patavinum: The Universitys main Bo palace shown in a 1654 woodcut The University of Padua (Italian Università degli Studi di Padova, UNIPD) located in Padua, Italy was founded in 1222. ... Bruno Maderna (April 21, 1920 - November 13, 1973) was an Italian-German conductor and composer. ... Hermann Scherchen (June 21, 1891 – June 12, 1966) was a German conductor. ...

It was Scherchen who presented Nono's first acknowledged work, the Variazione canoniche sulla serie dell'op. 41 di A. Schönberg in 1950, at the Internationale Ferienkurse für Neue Musik Darmstadt—a centre for the rediscovery of modern music after the devastation of dictatorship and war. The Variazioni canoniche, based on the twelve-tone series of Arnold Schoenberg's Op 41, marked Nono as a committed composer of anti-fascist political orientation (Annibaldi 1980). Nono had been a member of the Italian Resistance during the Second World War (Nono 1993^{[citation needed]}). In fact Nono's striking political commitment, while allying him with some of his contemporaries at Darmstadt such as Henri Pousseur and in the earlier days Hans Werner Henze, distinguished him from others, including Pierre Boulez and Karlheinz Stockhausen. Nevertheless, it was with Boulez and Stockhausen that Nono became one of the leaders of the New Music during the 1950s. Initiated in 1946 by Wolfgang Steinecke, the Internationale Ferienkurse für Neue Musik (Darmstadt new music summer courses), held annually until 1970 and subsequently every two years, encompass both the teaching of composition and interpretation and include premières of new works. ... For other uses, see Darmstadt (disambiguation). ... Twelve-tone technique (also dodecaphony) is a method of musical composition devised by Arnold Schoenberg. ... Arnold Schoenberg, Los Angeles, 1948 Arnold Schoenberg (pronounced [ˈaːrnÉ”lt ˈʃøːnbÉ›rk]) (13 September 1874 – 13 July 1951) was an Austrian and later American composer, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. ... Partisans parading in Milan The Italian resistance movement was a partisan force during World War II. It became massive after the capitulation of the Italian Royal Army on September 8, 1943. ... Henri Pousseur (Composer Born 1929) Studied at the Academies of Music in Liège and in Brussels. ... Hans Werner Henze (born July 1, 1926 in Gütersloh, Westphalia, Germany) is a composer well known for his left-wing political beliefs. ... Pierre Boulez Pierre Boulez (IPA: /pjɛʁ.buˈlÉ›z/) (born March 26, 1925) is a conductor and composer of classical music. ... Karlheinz Stockhausen (born August 22, 1928) is a German composer, and one of the most important and controversial composers of the 20th century (Barret 1988, 45; Harvey 1975b, 705; Hopkins 1972, 33; Klein 1968, 117; Power 1990, 30). ...

1950s and the "Darmstadt School"

A number of Nono's early works were first performed at Darmstadt, including Tre epitaffi per Federico García Lorca (1951–53), La Victoire de Guernica (1954)—modeled after Picasso's painting as an indictment of the war-time atrocity—and Incontri (1955). The Liebeslied (1954) was written for Nono's wife-to-be, Nuria Schoenberg (daughter of Arnold Schoenberg), whom he met at the 1953 world première of Moses und Aron in Hamburg. They married in 1956. Nono had enrolled as a member of the Italian Communist Party in 1952 (Flamm 1995). Moses und Aron (Moses and Aaron) is a two-act opera by Arnold Schoenberg with a third act unfinished. ... For other uses, see Hamburg (disambiguation). ... The Partito Comunista Italiano (PCI) or Italian Communist Party emerged as Partito Comunista dItalia or Communist Party of Italy from a secession by the Leninist comunisti puri tendency from the Italian Socialist Party (PSI) during that bodys congress on 21 January 1921 at Livorno. ...

The world première of Il canto sospeso (1955–56) for solo voices, chorus, and orchestra brought Nono international recognition and acknowledgment as the legitimate successor to Webern. "Reviewers noted with amazement that Nono's canto sospeso achieved a synthesis—to a degree hardly thought possible—between an uncompromisingly avant-garde style of composition and emotional, moral expression" (Flamm 1995): Anton Webern (December 3, 1883 – September 15, 1945) was a composer of classical music and a member of the so called Second Viennese School. ...

If any evidence exists that Webern's work does not mark the esoteric "expiry" of Western music in a pianissimo of aphoristic shreds, then it is provided by Luigi Nono's Il Canto Sospeso… The 32-year-old composer has proved himself to be the most powerful of Webern's successors. (Kölner Stadt Anzeiger, 26 October 1956, quoted in Flamm 1995) is the 299th day of the year (300th in leap years) in the Gregorian calendar. ... A car from 1956 Year 1956 (MCMLVI) was a leap year starting on Sunday (link will display full calendar) of the Gregorian calendar. ...

This work, widely regarded as one of the central masterpieces of the 1950s (Stenzl 1986, 3), is a commemoration of the victims of Fascism, incorporating farewell letters written by political prisoners before execution. Musically, Nono breaks new ground, not only by the "exemplary balance between voices and instruments" (Annibaldi 1980) but in the motivic, point-like vocal writing in which words are fractured into syllables exchanged between voices to form floating, diversified sonorities—which may be likened to an imaginative extension of Schoenberg's "Klangfarbenmelodie technique" (Flamm 1995, IX). Nono himself emphasized his lyrical intentions in an interview with Hansjörg Pauli (Pauli 1971, quoted in Flamm 1995, IX), and a connection to Schoenberg's Survivor from Warsaw is postulated by Guerrero 2006. However, Stockhausen, in his 15 July 1957 Darmstadt lecture, "Sprache und Musik" (published the next year in the Darmstädter Beiträge zur Neuen Musik and, subsequently, in Die Reihe), stated: Fascist redirects here. ... is the 196th day of the year (197th in leap years) in the Gregorian calendar. ... Year 1957 (MCMLVII) was a common year starting on Tuesday (link displays the 1957 Gregorian calendar). ... Die Reihe was an influential German-language music journal, edited by Herbert Eimert and Karlheinz Stockhausen, and published by Universal Edition (Vienna) between 1955 and 1962 (ISSN 0486-3267). ...

In certain pieces in the "Canto", Nono composed the text as if to withdraw it from the public eye where it has no place… In sections II, VI, IX and in parts of III, he turns speech into sounds, noises. The texts are not delivered, but rather concealed in such a regardlessly strict and dense musical form that they are hardly comprehensible when performed. Why, then, texts at all, and why these texts? Here is an explanation. When setting certain parts of the letters about which one should be particularly ashamed that they had to be written, the musician assumes the attitude only of the composer who had previously selected the letters: he does not interpret, he does not comment. He rather reduces speech to its sounds and makes music with them. Permutations of vowel-sounds, a, ä, e, i, o, u; serial structure. Should he not have chosen texts so rich in meaning in the first place, but rather sounds? At least for the sections where only the phonetic properties of speech are dealt with. (Stockhausen 1964, 48–49)

Nono took strong exception, and informed Stockhausen that it was "incorrect and misleading, and that he had had neither a phonetic treatment of the text nor more or less differentiated degrees of comprehensibility of the words in mind when setting the text" (footnote in Stockhausen 1964, 49). Despite Stockhausen's contrite acknowledgment, three years later, in a Darmstadt lecture of 8 July 1960 titled "Text—Musik—Gesang" (Nono 1975, 41–60), Nono angrily wrote: is the 189th day of the year (190th in leap years) in the Gregorian calendar. ... Year 1960 (MCMLX) was a leap year starting on Friday (link will display full calendar) of the Gregorian calendar. ...

The legacy of these letters became the expression of my composition. And from this relationship between the words as a phonetic-semantic entirety and the music as the composed expression of the words, all of my later choral compositions are to be understood. And it is complete nonsense to conclude, from the analytic treatment of the sound shape of the text, that the semantic content is cast out. The question of why I chose just these texts and no others for a composition is no more intelligent than the question of why, in order to express the word "stupid", one uses the letters arranged in the order s-t-u-p-i-d. (Nono 1975, 60)

Il canto sospeso has been described as an "everlasting warning" (Annibaldi 1980); indeed, it is a powerful refutation to the apparent claim made in an often-cited, but out-of-context phrase (cf. Hofmann 2005) from philosopher Theodor W. Adorno that "to write poetry after Auschwitz is barbaric." (Adorno 1981, 34) Theodor Ludwig Wiesengrund Adorno (September 11, 1903 – August 6, 1969) was a German sociologist, philosopher, pianist, musicologist, and composer. ...

Nono was to return to such anti-fascist subject matter again, as in Diario polacco; Composizione no. 2 (1958–59), whose background included a journey through the Nazi concentration camps, and the "azione scenica" Intolleranza 1960, which caused a riot at its première in Venice, on 13 April 1961 (Steinitz 1995, Schoenberg-Nono 2005). National Socialism redirects here. ... Intolleranza 1960 (Intolerance 1960) is an opera by Luigi Nono. ... is the 103rd day of the year (104th in leap years) in the Gregorian calendar. ... Year 1961 (MCMLXI) was a common year starting on Sunday (link will display full calendar) of the Gregorian calendar. ...

It was Nono who, in his 1958 lecture "Die Entwicklung der Reihentechnik" (Nono 1975, 21–33), created the expression "Darmstadt School" to describe the music composed during the 1950s by himself and Pierre Boulez, Bruno Maderna, Karlheinz Stockhausen, and other composers not specifically named by him (Nono 1975, 30). He likened their significance to the Bauhaus in the visual arts and architecture (Nono 1975, 30).^{[citation needed]} Pierre Boulez Pierre Boulez (IPA: /pjɛʁ.buˈlÉ›z/) (born March 26, 1925) is a conductor and composer of classical music. ... Bruno Maderna (April 21, 1920 - November 13, 1973) was an Italian-German conductor and composer. ... Karlheinz Stockhausen (born August 22, 1928) is a German composer, and one of the most important and controversial composers of the 20th century (Barret 1988, 45; Harvey 1975b, 705; Hopkins 1972, 33; Klein 1968, 117; Power 1990, 30). ... For information about British gothic rock band, see Bauhaus (band). ...

On 1 September 1959, Nono delivered at Darmstadt a polemically charged lecture written in conjunction with his pupil Helmut Lachenmann, "Geschichte und Gegenwart in der Musik von Heute" ("History and Presence in the Music of Today"), in which he criticised and distanced himself from the composers of chance and aleatoric music, then in vogue, under the influence of American models such as John Cage (Nono 1975, 34–40). Although in a seminar a few days earlier Stockhausen had described himself as "perhaps the extreme antipode to Cage", when he spoke of "statistical structures" at the concert devoted to his works on the evening of the same day, the Marxist Nono saw this in terms of "fascist mass structures" and a violent argument erupted between the two friends (Kurtz 1992, 98). In combination with Nono's strongly negative reaction to Stockhausen's interpretation of text-setting in Il canto sospeso, this effectively ended their friendship until the 1980s, and thus disbanded the "avant-garde trinity" of Boulez, Nono, and Stockhausen (Schoenberg-Nono 2005). is the 244th day of the year (245th in leap years) in the Gregorian calendar. ... Year 1959 (MCMLIX) was a common year starting on Thursday (link will display full calendar) of the Gregorian calendar. ... Helmut (Friedrich) Lachenmann (born November 27, 1935) is an important German composer. ... For the Mortal Kombat character, see Johnny Cage. ...

1960s and 1970s

Intolleranza 1960 may be viewed as the culmination of the composer's early style and aesthetics (Annibaldi 1980). The plot concerns the plight of an emigrant captured in a variety of scenarios relevant to modern capitalist society: working class exploitation, street demonstrations, political arrest and torture, concentration camp internment, refuge, and abandonment. Described as a "stage-action"—Nono explicitly forbade the title of opera (Stenzl, 1999) —it utilizes an array of resources from large orchestra, chorus, tape, and loudspeakers to the "magic lantern" technique drawn from Meyerhold and Mayakovsky theatre practices of the 1920s to form a rich, expressionist drama. Angelo Ripellino's libretto consisting of political slogans, poems, and quotations from Brecht and Sartre (including moments of Brechtian alienation), together with Nono's strident, anguished music, fully accords with the anti-capitalist fulmination the composer intended to communicate (Annibaldi 1980). The riot at the première in Venice was significantly due to the presence of both left- and right-wing political factions in the audience. Neo-nazis had attempted to disrupt proceedings with stink-bombs, nonetheless failing to prevent the performance ending triumphantly for Nono (Schoenberg-Nono 2005). Intolleranza is dedicated to Schoenberg. Vsevolod Emilevich Meyerhold (born Karl Kazimir Theodor Meyerhold) (1874 - 1940) was a Russian theatrical director, actor and theorist. ... Portrait of Vladimir Mayakovsky Vladimir Vladimirovich Mayakovsky (Влади́мир Влади́мирович Маяко́вский) (July 7 (O.S.) = July 19 (N.S.), 1893 - April 14, 1930) was among the foremost representatives for the poetic futurism of early 20th century Tsarist Russia and the Soviet Union. ... {{dy justified his choice of form, and from about 1929 on he began to interpret its penchant for contradictions, much as had Eisenstein, in terms of the dialectic. ... Jean Paul Sartre Jean-Paul Sartre (June 21, 1905–April 15, 1980) was a French existentialist philosopher, dramatist, novelist and critic. ... The alienation effect (from the German Verfremdungseffekt) is a theatrical and cinematic device which prevents the audience from losing itself passively and completely in the character created by the actor, and which consequently leads the audience to be a consciously critical observer. ... The terms Neo-Nazism and Neo-Fascism refer to any social or political movement to revive Nazism or Fascism, respectively, and postdates the Second World War. ...

During the 1960s, Nono's musical activities became increasingly explicit and polemical in their subject, whether that be the warning against nuclear catastrophe (Canti di vita e d'amore: sul ponte di Hiroshima of 1962), the denunciation of capitalist exploitation (La Fabbrica Illuminata, 1964), the condemnation of Nazi war criminals in the wake of the Frankfurt Auschwitz trials (Ricorda cosi ti hanno fatto in Auschwitz, 1965) or of American imperialism in the war against Vietnam (A floresta e jovem e cheja de vida, 1966—surely one of the composer's most extraordinary works in performance^{[citation needed]}). Nono began to incorporate documentary material (political speeches, slogans, extraneous sounds) on tape, and a new use of electronics, that he felt necessary to produce the "concrete situations" relevant to contemporary political issues (Annibaldi 1980). The instrumental writing tended to conglomerate the 'punctual' serial style of the early 1950s into groups, clusters of sounds—broadstrokes that effectively complimented the use of tape collage (Annibaldi 1980). In keeping with his Marxist convictions as 'reinterpreted' through the writings of Antonio Gramsci (Flamm 1995, Koch, 1972), he brought this radical music out of the concert hall into universities, trade-unions and factories where he gave lectures and performances. The Frankfurt Auschwitz Trials, known in German as der Auschwitz-Prozess or der zweite Auschwitz-Prozess, (the second Auschwitz trial) was a series of trials running from December 20, 1963 to August 10, 1965, charging twenty-two defendants under German penal law for their roles in the Holocaust as mid... Punctualism (commonly also called pointillism) is a style of musical composition prevalent in Europe between 1949 and 1955 whose structures are predominantly effected from tone to tone, without superordinate formal conceptions coming to bear (Essl 1989, 93). ... The references in this article would be clearer with a different and/or consistent style of citation, footnoting or external linking. ... Antonio Gramsci (IPA: ) (January 22, 1891 – April 27, 1937) was an Italian writer, politician and political theorist. ...

Nono's second period commonly thought to have begun after Intolleranza (Annibaldi 1980) reaches its apogee in his second "azione scenica", Al gran sole carico d'amore (1972-74)—a collaboration with Yuri Lyubimov, who was then director of the Taganka Theatre in Moscow. In this large-scale stage work, Nono completely dispenses with a dramatic narrative, and presents pivotal moments in the history of Communism and class-struggle "side-by-side" to produce his "theatre of consciousness". The subject matter (as evident from the quotations from manifestos and poems, Marxist classics to the anonymous utterences of workers) deals with failed revolutions; the Paris Commune of 1878, the 1917 Russian Revolution, and the revolt of freedom fighters in 1960s Chile under the leadership of Che Guevara and Tania Bunke. Then extremely topical, Al gran sole offers a multi-lateral spectacle and a moving meditation on the history of twentieth-century communism, as viewed through the prism of Nono's music. It was premiered at La Scala, Milan in 1975. Al gran sole carico damore (In the Bright Sunshine Heavy with Love) is an opera by Luigi Nono. ... Yuri Petrovich Lyubimov (born September 17, 1917 in Yaroslavl) is a Russian stage actor and director. ... A scene from the 1967 production of Mayakovskys poems. ... For other uses, see Moscow (disambiguation). ... This article is about the form of society and political movement. ... Le Père Duchesne looking at the statue of Napoleon I on top of the Vendome column: Eh ben ! bougre de canaille, on va donc te foutre en bas comme ta crapule de neveu !… (Well now! buggering rascal, we will knock you the fuck off just like your crook of... The Russian Revolution (1917) was a series of economic and social upheavals in Russia, involving first the overthrow of the tsarist autocracy, and then the overthrow of the liberal and moderate-socialist Provisional Government, resulting in the establishment of Soviet power under the control of the Bolshevik party. ... Ernesto Guevara de la Serna Lynch (May 14, 1928 – October 9, 1967), commonly known as Che Guevara, el Che, or simply Che, was an Argentine Marxist revolutionary, political figure, author, military theorist, and leader of Cuban and internationalist guerrillas. ... The Teatro alla Scala in Milan, by night. ... Type Anti-tank Nationality Joint France/Germany Era Cold War, modern Launch platform Individual, Vehicle Target Vehicle, Fortification History Builder MBDA, Bharat Dynamics (under license) Date of design 70s Production period since 1972 Service duration since 1972 Operators 41 countries Variants MILAN 1, MILAN 2, MILAN 2T, MILAN 3, MILAN...

During this time, Nono visited Soviet Russia where he awakened the interest of Alfred Schnittke in the contemporary practices of avant-garde composers of the West (Ivashkin, 1996^{[cite this quote]}). Indeed, the 1970s were marked by frequent travels abroad, lecturing in Latin America, and making the acquaintance of leading left-wing intellectuals and activists (Archivo Luigi Nono, Biography-Timeline). It was to mourn the assassination of Luciano Cruz, a leader of the Venezuelan Revolutionary Front, that Nono composed Como una ola fuerza y luz (1972).^{[citation needed]} Very much in the bold, expressionist style of Al gran sole, with the use of large orchestra, tape and electronics, it became a kind of piano concerto with added vocal commentary. Alfred Schnittke April 6, 1989, Moscow Alfred Garyevich Schnittke (Russian: Альфре́д Га́рриевич Шни́тке, November 24, 1934 Engels - August 3, 1998 Hamburg) was a Russian and Soviet composer. ... Latin America consists of the countries of South America and some of North America (including Central America and some the islands of the Caribbean) whose inhabitants mostly speak Romance languages, although Native American languages are also spoken. ...

Nono returned to the piano (with tape) for his next piece, ...Sofferte onde serene… (1976), written for his friend Maurizio Pollini after the common bereavement of two of their relatives.^{[citation needed]} With this work began a radically new, intimate phase of the composer's development—by way of Con Luigi Dallapicolla for percussion and electronics (1978) to Fragmente-Stille, an Diotima for string quartet (1980). One of Nono's most demanding works (both for performers and listeners), Fragmente-Stille is music on the threshold of silence. The score is interspersed with 53 quotations from the poetry of Hölderlin addressed to his "lover" Diotima, which are to be "sung" silently by the players during performance, striving for that "delicate harmony of inner life" (Hölderlin). A sparse, highly concentrated work commissioned by the Beethoven Festival in Bonn, Fragmente-Stille reawakened great interest in Nono's music throughout Germany (Loescher 2000). Maurizio Pollini Maurizio Pollini (born January 5, 1942) is an Italian classical pianist. ... Friedrich Hölderlin Johann Christian Friedrich Hölderlin (March 20, 1770 – June 6, 1843) was a major German lyric poet. ... Bonn is the 19th largest city in Germany. ...

1980s

Nono had been introduced to the Venice-based philosopher, Massimo Cacciari (now Mayor of Venice), who began to have an increasing influence on the composer's thought during the 1980s (Carvalho 1999). Through Cacciari, Nono became immersed in the work of many German philosophers, including the writings of Walter Benjamin whose ideas on history (strikingly similar to the composer's own) formed the background to the monumental Prometeo—tragedia dell' ascolto (1984) (Stenzl, 1995). Nono's late music is haunted by Benjamin's philosophy, especially the concept of history (Über den Begriff der Geschichte) which is given a central role in Prometeo. Massimo Cacciari (June 5, 1944) is an Italian philosopher and politician, currently mayor of Venice. ... Walter Bendix Schönflies Benjamin (July 15, 1892 – September 27, 1940) was a German Marxist literary critic, essayist, translator, and philosopher. ... Prometeo (Prometheus) is an opera by Luigi Nono. ...

Musically, Nono began to experiment with the new sound possibilities and production at the Heinrich Strobel ExperimentalStudio des SWR in Freiburg. There, he devised a whole new approach to composition and technique, frequently involving the contributions of specialist musicians and technicians to realise his aims (Fabbriciani 1999).The first fruits of these collaborations were Das atmende Klarsein (1981-82), Diario polacco II (1982)—an indictment against Soviet Cold War tyranny—and Guai ai gelidi mostri (1983). The new technologies allowed the sound to circulate in space, giving this dimension a role no less important than its emission. Such innovations became central to a new conception of time and space (Pestalozza 1992). These highly impressive masterworks were partly preparation for what many regard as his greatest achievement. This article refers to the city in Baden-Württemberg. ... For other uses, see Cold War (disambiguation). ...

Prometeo has been described as "one of the best works of the 20th century" (Beyst 2003). After the theatrical excesses of Al gran sole, which Nono later remarked was a "monster of resources" (Stenzl, 1995), the composer began to think along the lines of an opera or rather a 'musica per dramatica' without any visual, stage dimension. In short, a drama in music—"the tragedy of listening"—the subtitle a poignant comment on consumerism today. Nono blamed this tragedy on commercialism, especially television—whose "breathless succession of sounds and images destroys our understanding of content" (CD notes—Variazioni Cannoniche^{[citation needed]}). Hence, in the vocal parts the most simple intervalic procedures (mainly 4ths and 5ths) profoundly resonate amidst a tapestry of harsh, dissonant, microtonal writing for the ensembles. 19 scale piano Microtonal music is music using microtones — intervals of less than an equally spaced semitone, or as Charles Ives put it, the notes between the cracks of the piano. ...

Prometeo is perhaps the ultimate realisation of Nono's "theatre of consciousness"—here, an invisible theatre in which the production of sound and its projection in space become fundamental to the overall dramaturgy. The architect Renzo Piano designed an enormous 'wooden boat' structure for the première at San Lorenzo church in Venice, whose acoustics must to some extent be reconstructed for each performance. (For the Japanese première at the Akiyoshidai Festival (Shuho), the new concert hall was named 'Prometeo Hall' in Nono's honour, and designed by leading architect Arata Isozaki) (Casa Ricordi Online, Historical Background)> The libretto incorporates disparate texts by Hesiod, Hölderlin, and Benjamin (logistically inaudible during performance due to Nono's characteristic deconstruction), which explore the origin and evolution of humanity, as compiled and expanded by Cacciari. In Nono's timeless and visionary context, music and sound predominate over the image and the written word to form new dimensions of meaning and "new possibilities" for listening. The Padre Pio Pilgrimage Church in San Giovanni Rotondo. ... Kyoto Concert Hall Arata Isozaki (磯崎新, Isozaki Arata; born 23 July 1931) is a Japanese architect from Oita Prefecture. ... Roman bronze bust, the so-called Pseudo-Seneca, now identified by some as possibly Hesiod Hesiod (Hesiodos, ) was an early Greek poet and rhapsode, who presumably lived around 700 BC. Hesiod and Homer, with whom Hesiod is often paired, have been considered the earliest Greek poets whose work has survived... Friedrich Hölderlin Johann Christian Friedrich Hölderlin [] (March 20, 1770 – June 6, 1843) was a major German lyric poet. ... Walter Bendix Schönflies Benjamin (July 15, 1892 – September 27, 1940) was a German Marxist literary critic, essayist, translator, and philosopher. ...

Nono's last works, such as Caminantes… Ayacucho (1986–87), inspired by a region in southern Peru that experiences extreme poverty, La lontananza nostalgica utopica futura (1988-89), and "Hay que caminar" soñando (1989), offer poignant comment on the composer's life-long quest for political renewal and social justice. Toward the end of his life, Nono came across an inscription on a monastery in Toledo attributed to Antonio Machado, which became a kind of motto: For other uses, see Toledo (disambiguation). ... // Antonio Machado y Ruiz (July 26, 1875 – February 22, 1939) was a Spanish poet and one of the leading figures of the Spanish literary movement known as the Generation of 98. ...

Nono died in Venice in 1990. After his funeral, the German composer Dieter Schnebel remarked that he "was a very great man" (Loescher, 2000)—a sentiment widely shared by those who knew him, and those who have come to admire his music (Davismoon 1999a^{[citation needed]}). Nono is buried on the island of San Michele, alongside other such luminaries as Stravinsky, Diaghilev, and Ezra Pound. Dieter Schnebel (born 1930 in Lahr/Baden) is a composer. ... San Michele, nicknamed The Island of the Dead, is the cemetery island of Venice. ... Igor Fyodorovitch Stravinsky () (June 17, 1882 – April 6, 1971) was a composer of modern classical music. ... Sergei Pavlovich Diaghilev (Сергей Павлович Дягилев) (March 19, 1872 – August 19, 1929), often known as Serge, was a Russian ballet impresario and founder of the Ballets Russes from which many famous dancers and choreographers would later arise. ... Ezra Weston Loomis Pound (Hailey, Idaho Territory, United States, October 30, 1885 – Venice, Italy, November 1, 1972) was an American expatriate poet, critic and intellectual who was a major figure of the Modernist movement in early-to-mid 20th century poetry. ...

The full impact of Nono's art, especially the late music, has only just begun to take effect in the English-speaking world. Perhaps the three most important collections of Nono's writings on music, art, and politics (Texte: Studien zu seiner Musik (1975), Ecrits (1993), and Scritti e colloqui (2001)), as well as the texts collected in Restagno 1987, have yet to be translated into English. However, the London Sinfonietta in association with the Southbank, London, is scheduled to present the long awaited UK première of Prometeo on 09 May 2008 (repeated on 10 May 2008) at the newly refurbished Royal Festival Hall. By contrast, Nono's influence has been widely felt on the European continent by such composers as György Kurtág, Wolfgang Rihm, Helmut Lachenmann, Salvatore Sciarrino, Heinz Holliger, Brian Ferneyhough, and Nicolaus A. Huber.^{[citation needed]} Other distinguished admirers include architect Daniel Liebeskind and novelist Umberto Eco (Das Nonoprojekt), for Nono totally reconstructed music and engaged in the most fundamental issues with regards to its expressivity. The London Sinfonietta is a British chamber orchestra based in London. ... May 9 is the 129th day of the year in the Gregorian Calendar (130th in leap years). ... 2008 (MMVIII) is the current year, a leap year that started on Tuesday of the Anno Domini (or common era), in accordance to the Gregorian calendar. ... is the 130th day of the year (131st in leap years) in the Gregorian calendar. ... 2008 (MMVIII) is the current year, a leap year that started on Tuesday of the Anno Domini (or common era), in accordance to the Gregorian calendar. ... The Royal Festival Hall reopening celebrations The Royal Festival Hall is a concert, dance and talks venue within Southbank Centre in London, England. ... György Kurtág (born February 19, 1926) is a Hungarian composer of contemporary music. ... Wolfgang Rihm (b. ... Helmut (Friedrich) Lachenmann (born November 27, 1935) is an important German composer. ... Salvatore Sciarrino, born April 4, 1947, in Palermo. ... Heinz Holliger (born May 21, 1939) is a Swiss oboist and composer. ... // Brian John Peter Ferneyhough (born 16 January 1943 in Coventry) is an English composer. ... Nicolaus A. Huber (born 15 December 1939 in Passau) is a German composer. ... The aluminium clad east face of the Imperial War Museum North in Manchester. ... Umberto Eco (born January 5, 1932) is an Italian medievalist, semiotician, philosopher and novelist, best known for his novel The Name of the Rose (Il nome della rosa) and his many essays. ...

In 1993 the Luigi Nono Archives were established through the efforts of Nuria Schoenberg Nono for the purpose of housing and conserving the Luigi Nono legacy. For a complete list of Nono's works, please see the Archivio Luigi Nono.

Sources

• Adorno, Theodor W. 1955. "Kulturkritik und Gesellschaft" (1951), in his Prismen: Kulturkritik und Gesellschaft. Frankfurt am Main: Suhrkamp Verlag.
• Adorno, Theodor W. 1981. Prisms. Translated from the German by Samuel and Shierry Weber. Studies in Contemporary German Social Thought 4. Cambridge: MIT Press. ISBN 0-262-01064-X (cloth) ISBN 0-262-51025-1 (pbk) [English translation of Adorno 1955]
• Annibaldi, Claudio. 1980. "Nono, Luigi". New Grove Dictionary of Music and Musicians, edited by Stanley Sadie. Washington, D.C.: Grove's Dictionaries of Music.
• Assis, Paulo de. 2006. Luigi Nonos Wende: zwischen Como una ola fuerza y luz und sofferte onde serene. 2 vols. Hofheim: Wolke. ISBN 3-936000-62-X
• [Author]. 1993. "[Title of article]." The Columbia Encyclopedia. New York: Columbia University Press.
• Bailey, Kathryn. 1992. "'Work in Progress': Analysing Nono's Il canto sospeso." Music Analysis 11, nos. 2-3 (July-October): 279–334.
• Beyst, Stefan. 2003. "Nono's Il Prometeo—a Revolutionary Swan Song"(Online).
• Borio, Gianmario. 2001a. "Tempo e ritmo nelle composizioni seriali di Luigi Nono." Schweizer Jahrbuch für Musikwissenschaft/Annales suisses de musicologie/Annuario svizzero di musicologia no. 21:79–136.
• Borio, Gianmario. 2001b. "Nono, Luigi." The New Grove Dictionary of Music and Musicians, ed. S. Sadie and J. Tyrrell. London: Macmillan.
• Carvalho, Mário Vieira de. 1999. "Quotation and Montage in the Work of Luigi Nono" Contemporary Music Review 18, part 2:37-85
• Casa Ricordi (Online) - Historical Background (Prometeo).
• Davismoon, Stephen (ed.). 1999a. Luigi Nono (1924-1990): The Suspended Song. Contemporary Music Review 18, part 1. [Netherlands] : Harwood Academic Publishers. ISBN 90-5755-112-8
• Davismoon, Stephen (ed.). 1999b. Luigi Nono (1924–1990): Fragments and Silence. Contemporary Music Review 18, part 2. [Netherlands] : Harwood Academic Publishers.
• Fabbriciani, Roberto. 1999. "Walking with Gigi". Contemporary Music Review 18, no. 1:7–15.
• Feneyrou, Laurent. 2002. Il canto sospeso de Luigi Nono: musique & analyse. [Paris?]: M. de Maule. ISBN 2-87623-106-9
• Feneyrou, Laurent. 2003. "Vers l'incertain: Une introduction au Prometeo de Luigi Nono." Analyse musicale no. 46 (February).
• Flamm, Christoph. 1995. "Preface" to Luigi Nono, Il canto sospeso (score), 13–28. London: Eulenburg Edition.
• Frobenius, Wolf. 1997. "Luigi Nonos Streichquartett Fragmente—Stille, An Diotima." Archiv für Musikwissenschaft 54, no. 3:177-193.
• Guerrero, Jeannie Ma. 2006. "Serial Intervention in Nono's Il canto sospeso". Music Theory Online 12, no. 1 (February)
• Hofmann, Klaus. 2005. "Poetry after Auschwitz—Adorno's Dictum". German Life and Letters 58, no. 2:182–94.
• Hopkins, Bill. 1978. "Luigi Nono: The Individuation of Power and Light." Musical Times 99, no. 1623 (May): 406–09.
• Ivashkin, Alexander. 1996. Alfred Schnittke. Phaidon 20th Century Composers, edited by Norman Lebrecht. London: Phaidon. ISBN 0714831697
• Kolleritsch, Otto (ed.). 1990. Die Musik Luigi Nonos. Studien zur Wertungsforschung 24. Vienna: Universal Edition. ISBN 3-7024-0198-9
• Kurtz, Michael. 1992. Stockhausen: A Biography. Translated by Richard Toop. London: Faber and Faber.
• Licata, Thomas. 2002. "Luigi Nono’s Omaggio a Emilio Vedova". In Electroacoustic Music: Analytical Perspectives, edited by Thomas Licata, 73–89. Contributions to the Study of Music and Dance 63. Westport, Connecticut & London: Greenwood Press. ISBN 0-313-31420-9.
• Loescher, Wolfgang. 2000. Luigi Nono (1924-1990), liner notes to Luigi Nono, Orchestral and Chamber Music. Col Legno CD WWE 1CD 20505.
• Luigi Nono Archive, Venice.
• Luigi Nono Exhibition - "Gigi e Nuria, il racconto di un amore in musica", Federazione CEMAT. Sonora|Ritratti
• The Luigi Nono Project 2006-07 (Online)Template:Citesource. European Union.
• Metzger, Heinz-Klaus, and Rainer Riehn, eds. 1981. Luigi Nono. Musik-Konzepte 20. Munich: Edition Text+Kritik. ISBN 3-88377-072-8.
• Nielinger, Carola. 2006. "The Song Unsung: Luigi Nono's Il canto sospeso." Journal of the Royal Musical Association 131, no. 1:83-150.
• Nono, Luigi. 1975. Texte, Studien zu seiner Musik, edited by Jürg Stenzl. Zürich: Atlantis. ISBN 3-7611-0456-1.
• Nono, Luigi. 1993. Ecrits, réunis, présentés et annotés par Laurent Feneyrou; traduits sous la direction de Laurent Feneyrou. Musique/passé/présent. [Paris]: Christian Bourgois Editeur. ISBN 2267011522
• Nono, Luigi. 2001. Scritti e colloqui. 2 vols. Edited by Angela Ida de Benedictis and Veniero Rizzardi. Milan: Ricordi; Lucca: LIM.
• Nono, Luigi, and Enzo Restagno. 2004. Incontri: Luigi Nono im Gespräch mit Enzo Restagno, Berlin, März 1987. Edited by Matteo Nanni and Rainer Schmusch. Hofheim: Wolke. ISBN 3936000328 [German translation of an interview originally published, in Italian, in Restagno 1987.]
• Pauli, Hansjörg. 1971. Für wen komponieren Sie eigentlich? Reihe Fischer, vol. F 16. Frankfurt am Main: Fischer.
• Pestalozza, Luigi. 1992. Nono: La lontananza nostalgica utopica futura, "Hey que caminar" sonando, Deutsche Grammophon.
• Pon, Gundaris. 1972. "Webern and Luigi Nono: The Genesis of a New Compositional Morphology and Syntax." Perspectives of New Music, 10, no. 2 (Spring-Summer): 111–19.
• Restagno, Enzo. 1987 Nono / autori vari. Biblioteca di cultura musicale: Autori e opere. Torino: EDT/Musica. ISBN 887063048X [Includes an interview with Nono (German translation published in Nono and Restagno 2004) and selections from his writings.]
• Schaller, Erika. 1997. Klang und Zahl: Luigi Nono: serielles Komponieren zwischen 1955 und 1959. Saarbrücken: PFAU.ISBN 3-930735-62-8
• Schoenberg-Nono, Nuria. 2005. Interview. "Music Matters", BBC Radio 3 (24 April).
• Spangemacher, Friedrich. 1983. Luigi Nono, die elektronische Musik: historischer Kontext, Entwicklung, Kompositionstechnik. Forschungsbeiträge zur Musikwissenschaft 29. Regensburg: G. Bosse. ISBN 3-7649-2260-5
• Spree, Hermann. 1992. Fragmente-Stille, an Diotima: ein analytischer Versuch zu Luigi Nonos Streichquartett. Saarbrücken : PFAU. ISBN 3-928654-06-3
• Stenzl, Jürg. 1998. Luigi Nono. Rowohlts Monographien 50582. Reinbek bei Hamburg: Rowohlt. ISBN 3-499-50582-7
• Stenzl, Jurg. 1999. "Stories/ Luigi Nono's 'theatre of consciousness', Al gran sole carico d'amore". Teldec New Line^{[citation needed]}.
• Stenzl, Jurg. 1986. "Luigi Nono: Fragments - Stillness, for Diotima". Liner notes for Deutsche Grammophon recording^{[citation needed]}.
• Stenzl, Jurg. 1995. "Prometeo -Tragedia dell'ascolto". Liner notes for EMI Classics recording^{[citation needed]}.
• Stenzl, Jürg. [Year]. Luigi Nono. Milan: Casa Ricordi.
• Steinitz, Richard. 1995. "Luigi Nono". Introduction, Huddersfield Contemporary Music Festival brochure.
• Stockhausen, Karlheinz. 1964. "Music and Speech", translated by Ruth Koenig. Die Reihe 6 (English edition): 40–64. Original German version, as "Musik und Sprache", Die Reihe 6 (1960): 36–58. The portion on Nono’s Il canto sospeso reprinted as "Luigi Nono: Sprache und Musik [sic] II", in Stockhausen, Texte 2. Cologne: Verlag M. DuMont Schauberg, 1964.
• Zehelein, Klaus. 199?. "Intolleranza 1960 - Music at the Crossroads". Liner notes for Teldec CD^{[citation needed]}:

Die Reihe was an influential German-language music journal, edited by Herbert Eimert and Karlheinz Stockhausen, and published by Universal Edition (Vienna) between 1955 and 1962 (ISSN 0486-3267). ... Die Reihe was an influential German-language music journal, edited by Herbert Eimert and Karlheinz Stockhausen, and published by Universal Edition (Vienna) between 1955 and 1962 (ISSN 0486-3267). ...

Discography

• Nono, Luigi. 2000. Variazioni canoniche/A Carlo Scarpa, architetto, ai suoi infiniti possibili/No hay caminos, hay que caminar...Andrei Tarkovski. SW German Radio Symphony Orchestra, Michael Gielen, cond. Naïve CD 782132.
• Nono, Luigi. 1986. Fragmente -Stille, an Diotima, Jürg Stenzl^{[cite this quote]}. Deutsche Grammophon CD 437 720-2.
• Nono, Luigi. 2000. Orchestral and Chamber Music. Wolfgang Loescher^{[cite this quote]}. Col Legno CD WWE 1CD 20505.
• Nono, Luigi. 1993. Canti di vita d'amore/Per Bastiana/Omaggio a Vedova. Gerhard R. Koch^{[cite this quote]}. Wergo CD WER 6229-2 286 229-2.
• Luigi, Nono. [year]. Intolleranza 1960. Notes by Klaus Zehelein. Teldec CD^{[cite this quote]}.
• Luigi Nono. 1988. "Coma una ola de fuerza y luz/Contrappunto dialettico alla mente/…Sofferte onde serene…". Slavka Taskova (soprano), Maurizio Pollini (piano), Bavarian Radio Symphony Orchestra, Claudio Abbado, cond. Deutsche Grammophon CD 423 248-2. First and third works reissued 2003 (together with Manzoni's Masse: Omaggio a Edgard Varèse) on Deutsche Grammophone CD 471362.
• Nono, Luigi. 1995. Prometeo. Igo Metzmacher, (with notes, "Prometeo - Tragedia dell'ascolto", by Jürg Stenzl). EMI Classics CD (5 55209 2)
• Nono, Luigi. [year]. Al gran sole carico d'amore. With notes, "Stories—Luigi Nono's 'Theatre of Consciousness'—Al Gran sole carico d'amore," by Jürg Stenzl. Teldec New Line CD 8573-81059-2.
• Nono, Luigi. 1992. La lontananza nostalgica utopica futura, 'Hay que caminar'—soñando. Luigi Pestalozza^{[cite this quote]}. Deutsche Grammophon CD 474326-2.

External links

• Archivio Luigi Nono, Venice, Italy, including list of dated works, biography and discography
• Nonoprojekt
• Le Scuole di Pace
• MusicWeb.uk.net: Nono
• http://www.sospeso.com/contents/composers_artists/nono.html
• Nono's il prometeo: a revolutionary's swansong
• Nono's 'Quando stanno morendo': cries, whispers and voices celestial'