Luigi Nono
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Luigi Nono – Da un diario italiano
Biography
Luigi Nono (29 January 1924 - 8 May 1990) was an Italian composer.
He studied at the Venice Conservatoire where he became acquainted with serialism. (He married Arnold Schönberg’s daughter Nuria in 1955). He became a leading composer of instrumental and electronic music.
In 1950, he attended the “Ferienkurse für neue Musik” in Darmstadt, where he met composers such as Edgard Varèse and Karlheinz Stockhausen. Works from this first period include: Polifonica-Monodica-Ritmica (1951), Epitaffio per Federico García Lorca (1952-1953), La victoire de Guernica (1954) and Liebeslied (1954). He increasingly rejected the analytical approach of serialism, as evidenced by the following works: Incontri (1955), Il canto sospeso, (1955-1956), et Cori di Didone (1958).
Nono was committed to socialism. In 1952, he joined the Communist party. His avant-garde music was also a revolt against bourgeois culture. As such, he avoided most normal concert genres in favor of opera and electronic music, and sought to bring music to factories. He made frequent recourse to political texts in his work. Many of his works are overtly political: Il canto sospeso (1956), based on the letters of victims of wartime oppression, which brought him international fame; Diario polacco (1958), Intolleranza, (1960), Intolleranza (1961), La fabbrica illuminata (1964), Ricorda cosa ti hanno fatto ad Auschwitz (1966), Non consumiamo Marx (1969), Ein Gespenst geht um in der Welt (1971), Canto per il Vietnam (1973), and Al gran sole carico d’amore (1975). From 1956 onward, he was increasingly interested in electronic music, first at the “Elektroakustische Experimentalstudio” at Gravesano (Scherchen).
He studied at the Venice Conservatoire where he became acquainted with serialism. (He married Arnold Schönberg’s daughter Nuria in 1955). He became a leading composer of instrumental and electronic music.
In 1950, he attended the “Ferienkurse für neue Musik” in Darmstadt, where he met composers such as Edgard Varèse and Karlheinz Stockhausen. Works from this first period include: Polifonica-Monodica-Ritmica (1951), Epitaffio per Federico García Lorca (1952-1953), La victoire de Guernica (1954) and Liebeslied (1954). He increasingly rejected the analytical approach of serialism, as evidenced by the following works: Incontri (1955), Il canto sospeso, (1955-1956), et Cori di Didone (1958).
Nono was committed to socialism. In 1952, he joined the Communist party. His avant-garde music was also a revolt against bourgeois culture. As such, he avoided most normal concert genres in favor of opera and electronic music, and sought to bring music to factories. He made frequent recourse to political texts in his work. Many of his works are overtly political: Il canto sospeso (1956), based on the letters of victims of wartime oppression, which brought him international fame; Diario polacco (1958), Intolleranza, (1960), Intolleranza (1961), La fabbrica illuminata (1964), Ricorda cosa ti hanno fatto ad Auschwitz (1966), Non consumiamo Marx (1969), Ein Gespenst geht um in der Welt (1971), Canto per il Vietnam (1973), and Al gran sole carico d’amore (1975). From 1956 onward, he was increasingly interested in electronic music, first at the “Elektroakustische Experimentalstudio” at Gravesano (Scherchen).
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