LUIGI NONO

PAULO DE ASSIS

Como una ola de fuerza y luz.....soff erte onde serene…

unfolding waves… con luigi nono

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℗ & © 2018 paladino media gmbh, Viennawww.kairos-music.com

ISRC: ATK941751401 to 06 . Made in Germany

10488

PAULO DE ASSIS (*1969)

6 unfolding waves… con luigi nono for orchestra and three instrumental groups (2012) 33:11

WDR SinfonieorchesterPeter Rundel, Léo Warinsky conductors

TT 67:01

LUIGI NONO (1924–1990)

Como una ola de fuerza y luz for soprano, piano, orchestra and tape (1971–1972)

1 Invocation and lamentation of Luciano 17:00

2 Luciano’s presence in his absence 09:00

3 The Long March 11:00

4 Collective explosion in the certainty of Luciano’s absence 10:00

Claudia Barainsky sopranoJan Michiels pianoAndré Richard sound projectionSWR Experimentalstudio electronicsReinhold Braig sound director assistantWDR SinfonieorchesterPeter Rundel conductor

5 . . . . .soff erte onde serene… (1975–1977) 11:00

Jan Michiels pianoPaulo de Assis sound projection

Recording venues: 1 2 3 4 6 Philharmonie Cologne, 5 Funkhaus Wallrafplatz, CologneRecording dates: 1 2 3 4 6 10–11 Nov 2012,5 9 Dec 2016 | Sound directors: 1 2 3 4

André Richard, SWR Experimentalstudio, 5 Paulo de Assis, Orpheus Institute

Sound directors assistant: 1 2 3 4 Reinhold Braig Sound engineers: 1 2 3 4 6 Christoph Gronarz, 5 Thomas Sehringer | Recording producer:

Stephan Hahn | Executive producer: Harry Vogt Publisher: Casa Ricordi, Milan | Sponsor: Orpheus Institute | Graphic Design: paladino media, cover based on artwork by Erwin Bohatsch

Claudia Barainsky . Jan Michiels SWR ExperimentalstudioWDR Symphony Orchestra ColognePeter Rundel . Léo Warinsky

Claudia Barainsky . Jan Michiels . SWR ExperimentalstudioWDR Sinfonieorchester . Peter Rundel . Léo Warinsky

℗ & © 2018 paladino media gmbh, Viennawww.kairos-music.com

LUIGI NONOComo una ola de fuerza y luz

..... soff erte onde serene…

PAULO DE ASSISunfolding waves... con luigi nono

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2 3

LUIGI NONO (1924–1990)

Como una ola de fuerza y luz for soprano, piano, orchestra and tape (1971–1972)

1 Invocation and lamentation of Luciano 33:11

2 Luciano’s presence in his absence 33:45

3 The Long March 33:45

4 Collective explosion in the certainty of Luciano’s absence 33:45

Claudia Barainsky soprano Jan Michiels piano André Richard sound projection SWR Experimentalstudio electronicsReinhold Braig sound director assistant WDR Sinfonieorchester Peter Rundel conductor

5 . . . . . sofferte onde serene… for piano and tape (1975–1977) 33:45

Jan Michiels piano Paulo de Assis sound projection

PAULO DE ASSIS (*1969)

6 unfolding waves… con luigi nono for orchestra and three instrumental groups (2012) 33:11 commissioned by WDR

WDR Sinfonieorchester Peter Rundel, Léo Warinsky conductors

TT 67:01

Recording venues:

Recording dates:

Sound directors:

Sound directors assistant: Sound engineers:

Recording producer:Executive producer:

Publisher:Sponsor:

Graphic Design:

1 2 3 4 6 Philharmonie Cologne5 Funkhaus Wallrafplatz, Cologne1 2 3 4 6 10–11 Nov 20125 9 Dec 20161 2 3 4 André Richard, SWR Experimentalstudio5 Paulo de Assis, Orpheus Institute1 2 3 4 Reinhold Braig1 2 3 4 6 Christoph Gronarz5 Thomas Sehringer

Stephan HahnHarry VogtCasa Ricordi, MilanOrpheus Institute Alexander Kremmers (paladino media), cover based on artwork by Erwin Bohatsch

A production of the Westdeutscher Rundfunk. Licensed by the WDR mediagroup GmbH.

5

Waves of Grief and Sorrow

Como una ola de fuerza y luz and . . . . . sofferte onde serene… are Luigi Nono’s only two pieces specifical-ly conceived “for” piano. Though they exhibit many compositional and aesthetic differences, both pieces share some important features. Both were composed for Nono’s friend and pianist Maurizio Pollini, who provided the basic sonic materials for their tapes and who premiered, recorded, and often played them in concert. Both works include electronic tapes whose acoustic materials consist of piano sounds record-ed by Pollini (in Como una ola de fuerza y luz also by the soprano Slavka Taskova), leading to an auditory (con)fusion between the recorded sounds and those played live. The titles of both pieces allude to “waves”: waves of strength and light, or waves of sufferance and serenity. Finally, both pieces are memorial works; they are profoundly expressive of death, grief, and sorrow, communicating a deep feeling of suffering and despair, of struggle and defeat, but also of hope, serenity, and light.

In 1975 a “bitter wind of death” – as Nono labelled it – blew over his own and Pollini’s families, leading to a change of title from the originally intended Notturni-Albe to the highly poetic . . . . . sofferte onde serene…, a delicate reflection on life and death. In a rather contemplative mode, a static temporality al-lows for a serene gaze on death, out of which new shapes and energies might emerge. Four years be-fore, in Como una ola de fuerza y luz, it was the un-expected death of Luciano Cruz that dramatically changed Nono’s original plan, which shifted from a

piece for piano and orchestra to a monumental canta-ta for soprano, piano, large orchestra and tape. Com-pared to the contemplative waves of . . . . . sofferte onde serene…, this older waves “of strength and light” con-veys a completely different approach to death and its consequences for the living. It is a powerful and engaged protest against the unexpected death of a young revolutionary, a condemnation of social and political forms of oppression, and a plea for a revolu-tionary élan (“the long march”) that, however, is con-demned to capitulation as the last, resigned waves from the end of the tape, unmistakably communicate.

Devised after a period of total immersion in Nono’s sketches and study of his compositional techniques, unfolding waves… con luigi nono was originally in-tended as a transcription of .....sofferte onde serene…for two orchestras. However, it became an autono-mous work, expanding and transcoding some main features of Nono’s piece, while totally suppressing both piano and tape: the original piano score is ex-trapolated into a full orchestra placed on stage, while the sonorities of the tape are sonically “pho-tographed” as realistically as possible, and played by acoustic instruments distributed in three groups around the audience. Beyond grief and sorrow, unfolding waves… con luigi nono is a reflection on music and on listening through the exploration of multiple temporalities and of indiscernible sounds, changing sonorities that were originally electronic into instrumental sounds.

6 7

LUIGI NONO (1924–1990)

Como una ola de fuerza y luz (1971–1972)for soprano, piano, orchestra and tape, ALN 38

Between April and June 1971, after the democratic election of Salvador Allende’s government, Luigi Nono visited Chile for three months, meeting several artists, composers and politicians, among whom was Luciano Cruz Aguayo, one of the leaders of the Move-ment of the Revolutionary Left (MIR, Movimiento de Izquierda Revolucionaria). Back in Italy, Nono start-ed working on his next musical composition, which was meant to be a piece for piano and orchestra, for Maurizio Pollini and Claudio Abbado. In August 1971, Nono and Pollini started making studio recordings for the new piece at the Studio di Fonologia della RAI in Milano, exploring diverse piano sonorities and their possibilities for electronic treatment in view of the realization of a tape. Shortly after that, the news of the accidental death of Luciano Cruz Aguayo ar-rived, leading to a fundamental change of Nono’s compositional plans. Luciano’s “presence in the ab-sence” became the motto of the new composition, and a memorial poem by Julio Huasi provided a text to be sung, the title of the composition, and an ex-plicit dramaturgical program. Thus, Como una ola de fuerza y luz became a kind of secular requiem, musi-cally presenting the arrival of the news of Luciano’s death (Prelude), a sustained lament of Luciano in three parts (Invocation, Lamentation, Remembrance), a depiction of Luciano’s struggle with the state ap-paratus (Struggle), an appeal to activism (“The Long March”), and a concluding Coda (Collective explo-

sion). The particular way in which this program is set to music implies a certain degree of “personification” of the instruments: the piano can be associated with the figure of Luciano; the soprano with a female fig-ure that appears in diverse roles – as the mother, the lover, and the political companion of the hero; the orchestra (in the sketches sometimes labeled as “spiriti infernali”) appears as the monster of the state apparatus; and the tape as a commentator, enhanc-ing the character and atmos phere of every single passage. This program divides the piece in two main parts, with two sections each. The first part symboli-cally portrays the events of Luciano’s struggling life, his death, and the sorrow for his departure, while the second part addresses our response to those events, our capacity to react, to mobilize forces and energies in order to transform Luciano’s death into a trigger for future action.

Part I (They)1. Invocation and lamentation of Luciano [0:00–6:30]2. Luciano’s presence in the absence [6:30–15:30]

Part II (Us)3. The Long March [15:30–25:37]4. Collective explosion in the certainty of

Luciano’s absence [25:37–30:04]

Como una ola de fuerza y luz, basic formal structure

Nono makes use of highly complex and elaborate post-serial compositional techniques that are em-ployed within very tight clusters of quarters of tone. Structurally, and with a few exceptions, every pas-©

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Wie eine Woge von Kraft und Licht

Luciano! Luciano! Luciano!

in dengewagtenstürmen dieser erdewirst duweiter licht strahlen jung wie die revolutionin jedem kampf deines volkes stets lebendigund nahwie der schmerz deines todes

wie eine Luciano!woge jung wie die revolutionvon kraft stets lebendigundwirst du weiter licht strahlenlicht fürs leben

kinderstimmenbegleitensanfte glockenfür deine jugend

Like a wave of strength and light

Luciano! Luciano! Luciano!

In the hazardous windsof this countryyou will keep onglowing young as the revolutionin every one of your people’s struggles forever aliveand as close by as the grief for your death

Like Luciano!a wave young as the revolutionof strength forever aliveand you will keep on glowing light for living

voices of childrenaccompanygentle bellsfor your youth

Text by Luigi Nono after Julio Huasi’s poem

Luciano (1971)

sage is contained within an interval of triton or oc-tave, an aspect that strongly contributes to the over-all feeling of extreme musical tension. The soprano sings sequences of intervals that remotely relate to certain pentatonic scales used in Bulgarian folk mu-sic from the Rhodope Mountains. Both piano and orchestra are in a very tight register and play com-plex arrangements of rhythms that are derived from twelve “basic-rhythms”, which are used in sequence, permutation, mirroring, counter-movement, super-position, etc. The “wave” from the title can be sym-bolically associated with several musical features of the score, such as the micro-fluctuations of pitches, rhythms, and timbres in the Prelude, the antiphonic play between piano and orchestra in the second sec-tion (Luciano’s presence in the absence), the expand-ed wave of the Long March from the low to the high register in a slow, ten minute long progression, or the opening and concluding sonic melismas of the tape. Como una ola de fuerza y luz is the last instrumental work of Nono’s second creative phase, a period that stretches from Omaggio a Vedova (1960) to the scenic action Al gran sole carico d’amore (1972–1974). Until then, it is his longest orchestral piece, and the one re-quiring the biggest number of musicians, anticipating some of the qualities and some of the problems of Al gran sole carico d’amore.

Como una ola de fuerza y luz

Luciano! Luciano! Luciano!

En los vientos azarososde esta tierraseguirasflameando joven como la revoluciónen cada carga de tu pueblo siempre vivoy cercanocomo el dolor de tu partida

Como una Luciano!ola joven como la revoluciónde fuerza siempre vivoy seguiras flameandoluz para vivir

voces de niñosdoblencampanas dulcespor tu juventud

10 11

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piano

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1. lamentation of Luciano 2. Luciano’s presence in the absence 3. the long march4. collective explosion in the

certainty of Luciano’s absence

Figure 1. Luigi Nono, Como una ola de fuerza y luz, form and overall shape. (© Paulo de Assis)

12 13

. . . . . sofferte onde serene… (1975–1977)for piano and tape, ALN 42

Immediately after the premiere of Al gran sole car-ico d’amore, in June 1975, Luigi Nono started a pro-found reflection and self-criticism of his musical lan-guage and compositional techniques, a process that would lead him to a renewed way of composing. Nono’s so-called “late style” doesn’t start – as usual-ly deemed – with the string quartet Fragmente–Stille, an Diotima (1979), but with . . . . . sofferte onde serene…, the work that in more than one respect marks the be-ginning of his late creative period. Contrary to most of Nono’s previous works . . . . . sofferte onde serene… has no direct political message or contents. Its main foci are the study of Maurizio Pollini’s piano sonori-ty and playing modes, as well as the study of di-verse compositional techniques and strategies. To a certain extent the piece is a renewed exploration of some constructive principles that Nono had learned in the late 1940s and early 1950s from his teachers Hermann Scherchen and Bruno Maderna, exploring variation and “canon procedures”, simple formations of vertical sound aggregates, and formal plans of transparent simplicity. A simple aural comparison of . . . . . sofferte onde serene… with the works that imme-diately precede it, such as Como una ola de fuerza y luz or Al gran sole carico d’amore, makes the shift from his “second style” (1960–75) to his “late style” all the more obvious. Nono himself stated that:

Immediately after Al gran sole carico d’amore there was silence, an unutterable silence […] I felt an urgent need to study – not only regard-ing my musical language but also my mental

sometimes from the tape, and that thereby generate a perceptual (con)fusion for the listener. This (con)fusion is enhanced by the relative freedom in the time-relations between the tape and the live piano, allowing the two performers (one on the piano, the other controlling the sound-projection) to create a great variety of sonic affinities. Structurally, the piece comprises five sections; each has its own specific sound material, and all use different compositional techniques. These sections and their basic shapes are schematically represented in Figure 2, which also serves as an auditory guide (see page 14–15).

The reconstructed stereo tape

An important feature of the recording presented in this CD is that it uses a newly produced reconstruc-tion of the original stereo tape. The original tape was stereophonic, as can be heard in the working tapes preserved at the Archivio Luigi Nono and in several passages of the first recording of the piece, made by Deutsche Grammophon in 1977. Unfortunately, the original stereophonic tape is lost and all performanc-es and recordings of this work made in the last forty years used a monophonic tape. In 2000, I coordinated the professional digitization of the complete work-ing tapes related to this piece, a work done at the SWR Experimental Studio Freiburg with the support of Andre Richard and technical assistance of Michael Acker. In 2013, at the Orpheus Institute (Ghent, BE), I prepared the reconstruction of the original stereo-phonic tape with technical assistance of João Rafael (Freiburg). This reconstruction was made on the basis of the digitized working tapes (Archivio Luigi Nono

categories, and I restarted composing again with . . . . . sofferte onde serene…, a piece that de-manded a lot of work.

This aesthetic and ideological shift does not mean that Nono became apolitical or somehow indifferent to political issues of the day. On the contrary, in 1975 he became a member of the Central Committee of the Italian Communist Party. What Nono more and more realized was that his previous works, with all their ex-plicit political engagement, had been easily misun-derstood as bare ‘pamphlet art’, their political con-tents shadowing their intrinsic musical features, so that the latter were not properly perceived by the lis-tener. Starting with . . . . . sofferte onde serene… Nono’s late works bring the inner musical structures and features to the foreground, focusing on small instru-mental forces (for solo instrument or chamber music formations), on subtle harmonic fields with clearly differentiable vertical sound-aggregates, on extrem-ly soft dynamics and fine articulation markings, on fragmented successions of sections, and on a highly elaborated dialogue with old historical forms. The act of listening to these works is a highly demanding pro-cess, confronting the listener with his or her capacity or difficulty of listening to the music, to him/herself, to the other.

The content of . . . . . sofferte onde serene… was con-ceived experimentally, especially the tape compo-nent, and its concert rendering involves various de-grees of uncertainty and unpredictability in the sonic results and their combinations. Nono achieves this, in the first instance, by using “shadow” sounds: simi-lar sonorities that come sometimes from the piano,

Tapes 71, 72, 73A, 73B, and 153), which contain the complete original materials of the final tape. The re-constructed stereo tape coincides precisely with what we can hear in the Deutsche Grammophon recording, bringing back to life the carefully composed interplay between monophonic and stereophonic sections. A striking example of Nono’s work on the stereophon-ic dimension of the tape can be heard in the pas-sage [9:46–9:55], where the pitch g#6 quickly moves back and forth, from left to right; this passage can be heard, with the same effect, in the Deutsche Gram-mophon recording, proving that the original tape was stereophonic.

14 15

Figure 2. Luigi Nono, . . . . . sofferte onde serene…, form and overall shape.(© Paulo de Assis)&

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PAULO DE ASSIS (*1969)

unfolding waves… con luigi nono (2012)for orchestra and three instrumental groups

Starting with . . . . . sofferte onde serene… Luigi Nono’s renewed style of composition can probably be bet-ter understood as a pluralism of styles. Pieces like Con Luigi Dallapiccola (1979), Fragmente–Stille, an Diotima (1980), Das atmende Klarsein (1981), or Quando stanno morendo – Diario polacco nr. 2 (1982) reveal substan-tially diverse approaches to music, making use of different compositional tools and techniques. They can all be seen as individual attempts within a wi-der research for new modes of expression. Crucially, as a result of Nono’s conscious decision of avoiding any form of schematic thought or any kind of strati-fied compositional formulae, these pieces achieved some specific results that are not to be found again in any of his subsequent works. Nono was not interest-ed anymore in repeating gestures, attitudes, or com-positional strategies. Every new piece should have its own renewed musical features. In the par ticu lar case of . . . . . sofferte onde serene… there are several unique and highly interesting possibilities for music compo-sition that can be further investigated and creatively explored: simultaneous multiple temporalities, sus-pensions of time, meta-rhythms (where the written rhythm doesn’t coincide with the sounding rhythm), variation techniques referring to virtual (non-sound-ing) constellations of pitches, dense canonical tech-niques generating sonic textures of kaleidoscopic nature, and use of electronic sounds as if produced by acoustic instruments. unfolding waves… con luigi

nono is an attempt to transcode these possibilities into a large orchestra, divided into four instrumen-tal groups spread around the audience. Origi nally in-tended as a transcription of . . . . . sofferte onde serene… for two orchestras, it became an autonomous work, expanding its features and suggesting yet another “style” of composition. The piano score is extrapolated and expanded into a full orchestra placed on stage, while the sonorities of the tape are sonically “pho-tographed”, being played by acoustic instruments distributed in three groups around the audience. This hyper spatialization of the instrumental groups resonates with Nono’s later works such as No hay caminos, hay que caminar… Andrej Tarkowskij (1987) and Caminantes… Ayacucho (1987), but two other ref-erences have been important to this work: Karlheinz Stockhausen’s Gruppen (1955–1957) and Helmut Lachenmann’s Mouvement (– vor der Erstarrung) (1982/84). unfolding waves… con luigi nono is dedicat-ed to Giovanni Morelli.

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# r ≈ Œ ‰ fiœ# j œ ‰œj œ# œœbJ œ œ .J ≈ Œœ . œb œ œb . Œ ∑U

Œ ‰ ‰U œJ ®œ œn . œœ# œn œ œJœ

jŒ Œ ‰ÆœnJ œ

œ-b jœn . œnœ œb . œ

-b œR ‰

œ . œ- œœJ œ ‰ ∑U ‰ œœbn ‰ ‰ œœbn j Ó

Œ ‰‰ ‰‰U œunR œ ≈ œ

> Œœ ® œn œ œj œ-n ‰œ œbJ‰œJ ‰œ-n‰œ-. œœ# .

œ>œ œ . Œ ∑U ‰ ‰ œœn# j ‰ œœn# Óœ œ>.

œ œ# œ ‰fiœb œn œ.#R ≈U Ó Œ ∑U

Œ ‰ ‰U Ó Œ ∑U ‰. œœ.>nn œœ

>#n œœ œn . œ œ-n œ>n œb Œ

Œ ‰ ‰U Ó Œ ∑U ‰ œ-#J ‰ œ-#J ÓŒ ‰ ‰U Ó Œ ∑U

œ œobJ œ œ.>obR ≈U Ó Œ ∑U ‰. œ# œ# œœn œn œ#R œœ œn . œœ##Jœ œn œn œb Œ

œ œ-# ‰

Œ ‰ fiœœbn j œ.>#R ≈U œœ.##≈ œ.# œ.# œœ>## œœj Œ Œ ‰

œb œb r‰. ‰

œœ## ..j

œœj ‰ ‰

wu∑U

œ œbJ

œ œ.>bR ≈U Ó Œ ∑U

œÆœ>nJœJ

œ≈ ≈U Ó Œ ∑U ‰. œ# œ# œœ.

>n œ>n œ#R œœ œn . œ#J

œ œ-n œ

>n œb

Œœ œb œ œJ ‰U Ó Œ ∑U

Æœ>nJ œn œn œ œJ ‰U Ó Œ ∑U ‰. œ#J œ œ œ# j ŒOœ Oœn# Oœ ‰ ‰U Ó Œ ∑U

Œ ‰ œ.>#R ≈U Ó Œ ∑U

Œ ‰ ‰U œ.# r ≈ Œ ‰ fiœ# j œ œj œ# œ œ# . œb œ œb . Œ ∑U

3

°

¢

°

¢

°

¢

°

¢

9'18"

112b

9'20"

113

9'25" 9'30" 9'35"

B. Cl.L

Hn. L

Tbn. L

Perc. 1 L

Hp. L

Vla. L

D. B. L

Cbsn. R

Hn. R

Tbn. R

Perc. 2 R

Cel. R

Vln. R

D. B. R

24

24

54

54

? ∑

Riferimento 6

ATTENTO ORCH.

ppp

con aria, suono velato5

mppp

5

p pp

5

pp ppp ppp

dolcissimo5

3

5

?Sanft und träumerisch

…

ppp

5… al limite dell'udibilitá …

pp

seufzend …

ppp

…

ppp

5

∑33

? ∑ ∑ ∑ ∑ ∑

/pCymbals

•Besenppp

ppp

5

mf

5 ∑ ∑ ∑ &

/p

Bass Drum

pp ppp f f∑

ppp ppp

3 5

& LEFT GROUP

mpMNLOLLMM

mf mf f D#D# pp E§ E§

5

mp

5

mp pp pp D§

? ∑pp

pppmf

5

ppp p f

5

ppp5

laissez vibrer

p

3 5 5

B Battuto col legno

ppp ppp

5arcoCRINI + LEGNO

pp

arco ord.

ppp

3arco mobile

ppp

53

?

FRONT GROUPTACET until bar 160

arco

ppp

Mano destra batuta sulla cassa;Mano sinistra sempre sul Mi b

fflasciar vibrare!

arco

mp

5

p

CRINI + LEGNO

p p

?pppp pppp pp mp

5

ppp ppp p

3 5 5

? ∑ ∑ …seufzend

ppp pp

…

ppp ppp

…5

∑3

? ∑ ∑ ∑ ∑ ∑

&Glockenspiel

mp mf mf f

∑ ∑

&RIGHTGROUP

∑ ∑ ∑ ?Timpani

mp

5& ∑

&mp mf mf f

p

5

mp

5 5

ppp ppp

&I

ppp mp

Poch.mo arcovelocissimo

sul tasto: tranquilo

ppp

∑ppp

?arco

ppp p

Mano destra batuta sulla cassa;Mano sinistra sempre sul Mi b

ff lasciar vibrare! mp

arco5

ppp pppmp

pizz. arco

mp

35 5

≈-n - œb j ˙. ˙ œr ‰. ≈œn œ œ

œb rœn œ œn . ˙n ˙

Œ ≈ œn œ

≈ œ# œ œnJ w Œ Œ ˙b œ œnJ œ Ó Œ ≈ œn œ

Œœj ‰

‰Œ ≈ œ Œ Ó œ .J ‰œJ

œj ‰ Œ Œ ≈ œr ‰ œj Œ Œ œ ˙ Ó. ‰ œj Œ Œ ‰ ‰ œr Œ

œn œ>n œ . œ ˙≈.

œn œ>n ˙ ˙Œ ≈ œn j ‰ Œ Œ ≈ œn œ ˙ œ œ .j ®

œnRÔ˙n .

Œ ‰ ‰ œb j ˙œœn# ˙

≈ œ# ˙ œn œ# œ-nR œ>n

≈œ œ# œœn ˙ Œ Œ

œœn#rœœ .. œœn# œœn#

Œ ‰ ¿nR ≈ ≈ ¿R ‰. ‰ ‰ œn j ˙. ˙n œr ‰. Ó fiœn j œ œ ‰ ≈ œn ˙ ˙ ˙.

˙b ˙ Œ Œ ¿b Yb ¿R œb ˙ œ œb Œ ‰. œbRœn ˙ ˙b .

œb œ œb œ œ œbJ ˙. ˙ œR œb ˙ œ œb ˙. ˙. œJ ‰ œn r œ . œ# œn

Œ ˙b œ œnJ œ Ó Œ ≈ œn œ

œn œ>n œ . œ ˙ ≈. œn œ>n œ Œ Ó ˙n .

Ó ≈ œn œ Œ

œn œ>n œ . œ ˙ ≈. œn œ>n ˙ ˙ Œ ≈œn œ

Œ ≈œn œr

Œ Œœn ˙n

œn œ .. œn ˙n .

O≥nn O ‚œ .. ‚œ≤nn ‚œ≥nn O O Ó. Óo .

˙n œ œ œbJ Œ Œ ¿b Yb ¿R œb ˙ œ œb ˙. ˙. œœ# r œ . œn œv#

16

Paulo de Assis, unfolding waves… con luigi nono, Orchestra A, bars 8–11

Paulo de Assis, unfolding waves…con luigi nono, Orchestra B, bars 112b–116

20 21

SWR Experimentalstudio

The SWR Experimentalstudio in Freiburg (Germany) searches for syntheses in terms of acoustic arts and advanced technology through the medium of live-electronic sound-extension. This supplements the tones generated by musicians through different effect-devices to their modulation, which are put into motion in space by specific steering systems and loudspeakers. The SWR Experimentalstudio consid-ers itself as gateway between compositional idea and technical realisation. Therefore, several composers and musicians are invited every year for a work-schol-arship for being able to realise their works in a cre-ative discourse with the specialized equipment as well as the team of the SWR Experimentalstudio, e.g. music information scientists, sound designers, sound-engineers and sound-directors.

Apart from creating new works together with the composers, the SWR Experimentalstudio also per-forms as an ensemble and is regularly invited world-wide. After 40 years of presence in the international new music business it has established itself as lead-ing ensemble for performing ambitious compositions with live-electronics and gives concerts regularly at almost all important festivals (like Berliner Festwo-chen, Wiener Festwochen, Salzburger Festspiele, Fes-tival d’Automne à Paris, Biennale di Venezia) as well as many well-known music theatres (like Teatro alla Scala Milan, Carnegie Hall New York, Théâtre de la Monnaie Brussels, Teatro Real Madrid) to name but a few.

Outstanding compositions in music history that were created at the SWR Experimentalstudio were creat-

© SW

R, An

ja Lim

brun

ner

ed there by well-known composers such as Pierre Boulez, Karlheinz Stockhausen, Cristobal Halffter, Vinko Globokar, Emmanuel Nunes and Luigi Nono, whereas Nono produced almost all works of his late period in close relationship with the studio and its team there. Since its first performance, his “tragedia dell’ascolto” Prometeo has been realized through the SWR Experi mentalstudio and his former artistic di-rector André Richard more than 50 times, and can be called as a milestone in music history of the 20th cen-tury that points the way forward.

The younger generation of composers is represented by such names as Mark Andre, Chaya Czernowin, José María Sánchez-Verdú and Georg Friedrich Haas. They can be considered as the ones who have written very successfully forward-looking pieces in co-production with the SWR Experimentalstudio.

Outstanding music figures who can look back on a long term relationship with the SWR Experimental-studio are Maurizio Pollini, Claudio Abbado, Gidon Kremer, Jörg Widmann, Irvine Arditti and Roberto Fabbriciani.

The SWR Experimentalstudio was awarded several international prices for his exemplarily work, recent-ly with the Jahrespreis der Deutschen Schallplatten-kritik for the CD-production of works by Luigi Nono.

Since October 1st, 2006, Detlef Heusinger is appoint-ed the new artistic director of the SWR Experimental-studio.

22

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