Ensemble Luigi Nono

In which manner and under which circumstances is music capable of leading a social, civic, and even political discourse? Artists tended to pursue such questions throughout the 20th Century. Their work was seen as part of the effort to change the world. Luigi Nono (1924-1990) may be considered one of the main exponents of this train of thought. In the middle of the Seventies, having abandoned the smaller form, Nono's work experienced a change of tide. The first performance of his opera 'Al gran sole carico d'amor' was in 1975, of which '... Sofferte onde serene ...' was an element. Aware of the teachings of Schönberg, but equally sensitive to the Italian tradition of madrigals and polyphony, and aiming to confront neo-fascism, Nono's music directly involved the listener. His work is footed on the great ideologies; it demonstrates his intention to change conventional listening habits by unravelling the possibilities of the spacialisation of sound. His collaboration with the Elektronische Studio in Freiburg resulted in 'Das atmende Klarsein' for bass flute and live electronics. 'Zeitkunst,' a term signifying the change to a different use of tonality and time, is the core element of this work. In 'A Pierre. Dell'azzurro silenzio, inquietum' and 'Post-prae ludium per Donau', Nono pursues the mysterious timbres of wind instruments.