Luigi Nono (29 January 1924 – 8 May 1990) was an Italian avant-garde compos… Read Full Bio ↴Luigi Nono (29 January 1924 – 8 May 1990) was an Italian avant-garde composer of classical music. He remains one of the most prominent composers of the 20th century.
Born in Venice, Italy, Nono 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.
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).
He married Arnold Schönberg's daughter Nuria in 1955.
Nono was committed to socialism. He joined the Communist party in 1952. 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). Electronic music is involved in works like Como una ola de fuerza y luz for soprano, piano, orchestra and tape (1971-1972), ...sofferte onde serene... for piano and tape (1974-1977) and especially Al gran sole carico d'amore (1972-1975).
After 1980 he worked in the "Experimentalstudio der Heinrich Strobel-Stiftung des Südwestfunks" in Freiburg, where he resolutely turned to live electronics. He became increasingly interested in the properties of sound as such. The new approach became apparent in works such as Quando Stanno Morendeo Diario polacco n° 2 (1982), Guai ai gelidi mostri (1983) et Omaggio a Kurtág (1983), but above all in his last opera Prometeo (1984). In the same spirit he wrote Fragmente - Stille, an Diotima (1980), No hay caminos, hay que caminar... Andrei Tarkovski pour 7 groupes instrumentaux (1987), La lontananza nostalgica utopica futura for violin, live electronics and tape (1988).
Born in Venice, Italy, Nono 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.
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).
He married Arnold Schönberg's daughter Nuria in 1955.
Nono was committed to socialism. He joined the Communist party in 1952. 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). Electronic music is involved in works like Como una ola de fuerza y luz for soprano, piano, orchestra and tape (1971-1972), ...sofferte onde serene... for piano and tape (1974-1977) and especially Al gran sole carico d'amore (1972-1975).
After 1980 he worked in the "Experimentalstudio der Heinrich Strobel-Stiftung des Südwestfunks" in Freiburg, where he resolutely turned to live electronics. He became increasingly interested in the properties of sound as such. The new approach became apparent in works such as Quando Stanno Morendeo Diario polacco n° 2 (1982), Guai ai gelidi mostri (1983) et Omaggio a Kurtág (1983), but above all in his last opera Prometeo (1984). In the same spirit he wrote Fragmente - Stille, an Diotima (1980), No hay caminos, hay que caminar... Andrei Tarkovski pour 7 groupes instrumentaux (1987), La lontananza nostalgica utopica futura for violin, live electronics and tape (1988).
Conclusione
Luigi Nono Lyrics
We have lyrics for 'Conclusione' by these artists:
Le Orme Ecco è finito così il nostro ellepì E noi siamo stanchi…
Metamorfosi ... e fu così che noi tornammo a riveder le stelle.…
We have lyrics for these tracks by Luigi Nono:
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
@BonacciAhUm
I'm very sorry for the following bad translation. I'd like to be able to however feel free to send me a message if you won't understand something.
However this is a fragment of a concert organized in 1975 by "FGCI" (Italian Communist Youth Federation) at "Palazzo dello sport di Roma". There were many artists that day (Maria Carta, Giorgio Gaslini, Mario Schiano, Bruno Cirino, Gian Maria Volonté, Luigi Proietti, etc.).
"Comrade, there is a really important political and cultural fact: I'm aware of the reasons why you are hissing, and I'm also aware of certain difficulty in listening closely.
But we communists must be certain and conscious that we must use all the resources that are available to the Culture.
We must use all kind of available resources, not only guitars: from guitars, to political songs, to electronic music and instrumental music.
We must beware both of easy triumphalism and of the oversimplification of political lyrics.
The Communist Culture is a matter of great urgency, not to be taken lightly and demanding a huge amount of serious effort, as Gramsci said. It will inevitably be hard, but you must remember we need our entire intelligence and all available resources if we want to achieve cultural hegemony of the working class"
(thanks Peter Waters for revision. I suggest to search his videos: "Peter Waters piano")
O:)
@federicolatorre8575
+BonacciAhUm: questo è un frammento di un concerto organizzato nel 1975 dal "FGCI" (Federazione Giovanile Comunista Italiano) presso "Palazzo dello Sport di Roma". Ci sono stati molti artisti quel giorno (Maria Carta, Giorgio Gaslini, Mario Schiano, Bruno Cirino, Gian Maria Volonté, Luigi Proietti, etc.).
"Il compagno, c'è un fatto politico e culturale di grande importanza: io sono consapevole dei motivi per cui si sta proterstando, e sono anche consapevole di certa difficoltà ad ascoltare attentamente.
Ma noi comunisti dobbiamo essere convinti e coscienti che dobbiamo usare tutte le risorse che sono disponibili per la cultura.
Dobbiamo usare tutti i tipi di risorse disponibili, non solo chitarre: dalle chitarre, a canzoni politiche, alla musica elettronica e musica strumentale.
dobbiamo stare attenti a non abbandonarci a facili trionfalismi, nè alla semplificazione dei testi politici.
La cultura comunista è una questione di grande urgenza, per non essere presa alla leggera e chiede una quantità enorme di sforzo serio, come diceva Gramsci. Sarà inevitabilmente difficile, ma è necessario ricordare che abbiamo bisogno di tutta la nostra intelligenza e tutte le risorse disponibili, se vogliamo raggiungere l'egemonia culturale della classe operaia "
(. Grazie Peter Waters per la revisione vi suggerisco di cercare i suoi video: "Peter Waters pianoforte")
O :)
@VuotoPneumaNN
La musica classica non è mai appartenuta al grande pubblico, questo è un mito idiota reiterato da un mucchio di insegnanti di cosnervatorio frustrati e da giovanni stocazzo allevi. Gli esperimenti di Luigi Nono, così come di altri pionieri dell'elettronica ci hanno dato la possibilità di arrivare a suoni che hanno poi ccompletamente cambiato la faccia della musica e della cultura, cosa che non sarebbe mai successo se fossimo rimasti alle orchestre.
@animah9696
Luigi Nono ❤
@paolonatalini4184
Bell upload
@sangeetkaur6455
abbiamo bisogno, compagni, di tutta la nostra intelligenza.....
@littleflags
could someone please tell me what this is excerpted from? also, anyone up for the task of translating and adding english subtitles? it would be appreciated.
@BonacciAhUm
I'm very sorry for the following bad translation. I'd like to be able to however feel free to send me a message if you won't understand something.
However this is a fragment of a concert organized in 1975 by "FGCI" (Italian Communist Youth Federation) at "Palazzo dello sport di Roma". There were many artists that day (Maria Carta, Giorgio Gaslini, Mario Schiano, Bruno Cirino, Gian Maria Volonté, Luigi Proietti, etc.).
"Comrade, there is a really important political and cultural fact: I'm aware of the reasons why you are hissing, and I'm also aware of certain difficulty in listening closely.
But we communists must be certain and conscious that we must use all the resources that are available to the Culture.
We must use all kind of available resources, not only guitars: from guitars, to political songs, to electronic music and instrumental music.
We must beware both of easy triumphalism and of the oversimplification of political lyrics.
The Communist Culture is a matter of great urgency, not to be taken lightly and demanding a huge amount of serious effort, as Gramsci said. It will inevitably be hard, but you must remember we need our entire intelligence and all available resources if we want to achieve cultural hegemony of the working class"
(thanks Peter Waters for revision. I suggest to search his videos: "Peter Waters piano")
O:)
@littleflags
***** thanks a lot
@federicolatorre8575
***** grazie infinite.
@BonacciAhUm
Federico La Torre
ricorda che è possibile aggiungere i sottotitoli al video (https://support.google.com/youtube/answer/2734796?hl=en)
richard Taylor
revised translation posted :)
@federicolatorre8575
non lo so fare. grazie per la sbobbinatura!!