Luigi Nono: La Lontananza Nostalgica Utopica Futura (1988-1989)
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- เผยแพร่เมื่อ 8 ก.พ. 2025
- Luigi Nono (1924-1990): La Lontananza Nostalgica Utopica Futura, madrigale per più "caminantes" con Gidon Kremer, per violino e otto nastri magnetici (1988-1989).
Daniele Colombo, violino
Agostino di Scipio, regia del suono ed elettronica.
Registrazione dal vivo effettuata durante la settimana di musica contemporanea (dissonanzen '09) nella chiesa di Santa Maria Maggiore alla Pietrasanta, Napoli, 11/11/2009.
Cover image: Dadamaino - Cromorilievo (1974) tavola con tasselli (particolare)
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One of the breathtaking landmark twentieth century pieces I can think of a marvel of beauty and brilliance
I can't believe this was considered art at some point
Dieci anni fa, quando, a costo di grandi sforzi, portavo a termine l'ascolto delle sinfonie di Brucker, i lavori di Nono, quest'opera, mi sembravano una punizione ingiusta, qualcosa di inaccessibile, di inascoltabile. Ancora cinque anni fa, nonostante un orecchio più allenato, la confidenza con l'ultimo Beethoven, le sinfonie di Mahler, i concerti di Prokofiev, Wagner, le sonate seicentesche per strumento solista e bc, provando ad ascoltare Nono, restavo perplesso e disorientato: incomprensibile ed ingiustificabile. Negli ultimi 5 anni ho vissuto molto, gioie e dolori. Sono cresciuto. Ho fatto esperienza della vita. Ho imparato nuove lingue, visitato città e paesi nuovi. Mi sono allontanato dalla musica, per mancanza di tempo, di coraggio, per paura di ritrovarmi a pensare troppo. I miei ultimi ascolti importanti sono stati Sibelius e Scriabin (le loro sinfonie), e Schnittke (concerti grossi, concerti per strumento solista, che mi hanno stupito). Sono ancora in una fase di non ascolto. Qualunque cosa mi sembra banale, anche se gradevole, oppure inautentica. Mi riferisco sia alla musica leggera sia a quella d'autore. Riascolto di tanto in tanto Bruckner, Schmelzer, Stradella, Biber, Sibelius. Mi emoziono, ricordo, mi commuovo, ma è come riguardare un vecchio film. Ho capito di trovarmi in una fase delicata, forse pericolosa, una sorta di insoddisfazione cronica dei miei bisogni musicali, legata certamente al mio stato psicologico, emotivo. Forse è un caso, ma ecco che i lavori di Nono, questa composizione, mi sembrano musica per la prima volta. Sono ben lontano dalla loro comprensione, ma trovo questi suoni nuovi, discreti, profondi. Non ancora appaganti, ma comunicativi. Non so che cosa significhi tutto ciò, se il futuro dei suoni, l'evoluzione del nostro udito, siano nascosti o meno tra queste pagine novecentesche. Prendo solo atto del mutamento avvenuto dentro di me e lascio questa testimonianza con nessuna intenzione particolare, se non quella di ricordare a me stesso, tra qualche tempo, di non essermi rassegnato e di averci provato sempre, a capire l'uomo e le cose del mondo.
Pingopalla gran testimonianza, mi fa pensare alla musica come una chiave di noi stessi, ma non per la razionalità, una chive di lettura come i versi misteriosi dell'oracolo di Delfi, che colpiscono al centro, nella parte più profonda dello spirito, organizzata, misurata oppire destrutturata, oppure silenzi, oppure assordante, la musica è uno dei più criptici e rivelatori linguaggi della Vita. Viva la musica tutta
musica dell'intimo, che risuona dentro l'anima.
man mano che l'anima cresce e si compie, troviamo dentro noi stessi quest'immagine, e questi suoni.
Nono, assai più di Maderna, nell'ultima parte della sua vita ha finakmente trovato la sua autentica chiave espressiva, la cifra compiuta.
Suoni per anime elette.
Dato che menzioni la qualità dei suoni, ti consiglio di ascoltare Agostino Di Scipio, che ha curato la regia del suono e l’elettronica di questa registrazione. La sua impronta è fortissima, specialmente nella qualità dello “spazio”.
Prova ad ascoltare Arvo Part
Perché non prova con Mozart?
Un filamento sottile,teso,, impercettibile,anche nelle pause,che non si disperde mai.
Intenso e raffinato.
quando si arriva a desiderare l'ascolto di Luigi Nono
e nient'altro, la Vita ci ha molto preso e molto dato,
ma non ne vogliamo più, solo chiudere gli occhi....
Su l’isola abitata più piccola de Galapagos. Luogo a bastanza isolato per sentire questa musica come emanazione del proprio pianeta e ascoltare con tutta la sua forza non la nostalgia del passato ma la lontananza nostalgica de un futuro utopico nel quale noi tutti siamo impegnati. Pressi per la voragine, la furia e la speranza.
This is one of my favourite works ever.
There is a clear intellectual vibrancy in this music, which, almost in spite of itself, carries a high emotional resonance. Chilling and forthright.
@Bruno56 So is screaming in fear or agony, but neither noise is senseless. Something is conveyed in those noises, fam.
@Bruno56 thou'rt artless af nigga get up out my house of learnedness boi
@@BigPuddin lol
Pseuds Corner much, Daithidh?
Grande musica. Grazie a chi l'ha resa disponibile
Really a magnificent piece of music, one of Nono's greatest, no?
Ma, si - dai!
yes
@Christopher Bryce :)
Grandi italiani ahah
daje hahaha
@Christopher Bryce Hahahaha i was going to write the same.
-- Une œuvre magique, mystique, magnifique. --
+Ben Cuevas oui cette musique m'inspire profondément dans les moments difficiles de ma vie de mouche
One of my favorite works of Nono... As I listen to this yet again, I begin to wonder which of the truly adventurous composers of the post-WWII 20th century will endure in any musical canon or repertoire. Nono will be among them.
There will be any number of representatives composing post WWII who will remain or enter the repertoire. Nono, Maderna, Ligeti, Carter and Babbitt. Undoubtedly others whether we know them or not. Those who are ecstatic that serial and spectral music are passe are simply wrong. And those that believe we are headed back to "beautiful" music, that is tonal, facile, and classically structured are wrong.
I recall a few days after the sad news of Luigi Nonos death, there had been some concert In Frankfurt/Main, Alte Oper. The word went around that Gidon Kremer was in town and ready to give a concert to the memory of his friend in some church nearby - first, a partita by J.S.Bach, which he played from the pulpit - and a version of "La Lontananza" without the tape. Later it turned out that Nono had declared "La Lontananza" should always be played WITH the tape, which contains Gidon Kremers recordings that Nono had used (and which you hear here). So that solistic performance was the only one that ever took place. I remember - without feeling any shame - thart I had wept sliently when that performance was coming to end. I just had had the honour to meet Nono twice before, and the intensity of his words, and his eyes, go together with that of his music.
Mad Musicologist very daring to play this piece without tape. I wonder if it worked
I think not
The score also has a vocal part for the violinist, which AFAIK Kremer never performed. Also, the performer has to select from sections and the order; and the electronicist is live mixing the tape to their aesthetic understanding, so it is intended to be a diaphanous, variable piece. I think a reduction to Violin can be equally valid, especially since the tape is mostly Kremer.
@@LawrencedeMartin I don't agree: the piece is intended for haveing different sources of sounds encounterings and even clashing in variable ways, its diaphanous nature doesn't mean that everything can work :) . it wants to be open and "randomlike" in the way associative memory is, it is clear in Nono's words (he writes "come ricordi" "as memories"). I can't see how this vagueness could be effective with a single instrument. He wanted different sources and unpredictable encounters. A solo violin would be pretty but would loose all its peculiarity.
There's any true vocal part, there's a sentence saying "cantare all'unisono quando possibile" (to sing in unison when possible) ... nevrtheless I never heard any performance of this piece with someone singing (and I heard this piece several times, but mayebe someone tried to sing)... I'll ask but probably Nono tested this and changed mind on it. I'll ask as soon as possible it's an interesting question.
@@camilorojas1744 I can't imagine Kremer experimenting without having some idea. Then again w/out the tape signifies Nono's absence .
Some of this is quite haunting. I love the seeming disembodied voices in the background that pop up now and then.
Just fantastic music. Nono was a true master.
+Haotian Yu what a beautiful song !!!!!!!!!!!!!!!! WOAW
Meraviglioso e toccante. Ogni volta che lo ascolto lo devo riascoltare e riascoltare.....
The picture is actually moving...😯
Remote nostalgia for a utopian future - seems to sum up what has happened to the hopes of many of us.
nono est génial comme toujours ,,sa modernité peut dérouter et c'est le mystère qui m'attire la nouveauté peut être ai je trop écouté bach mozart schubert beethoven et tous les autres et pourtant j'apprécie toujours les grands classiques brahmps surtout mon musicien préféré ,, et puis j'ai découvert bruckner schonberg berg webern nono stockhausen , berio , cage crumd scelsi messiaen , zimmermann est divin ,, un génie méconnu ,, KA hartmann , schostakovitch , stravinsky schnittke , dusapin ,artvo part ,,varèse , boulez , , riley ,, rachmaninov , et d'autres ce fut un coup de foudre ,, la dislocation du clacicisme me facinait ,, je rêve de découvrir d'autres créateurs , bien sûr il y divers degré d'intêret
UN GRANDE COMPOSITORE E I SUOI LIVE ELETTROACUSTICI RIMANGONO INARRIVABILI PER ELEGANZA, ARTICOLAZIONE E FATTURA , SINORA.
Senza inizio o fine. Ogni suono è una distinta composizione tesa verso un futuro lontano e insicuro..
Detta così me la fai piacere
Exactly. You have a tremendous potential for teaching music at a top University.
Grandissima composizione ! Mi dispiace assai per chi non la capisce.
Grazie di cuore
God, this is a beautiful piece of music!
PARTICOLARMENTE INTERESSANTE ED UNICO-GRANDE MAESTRO LUIGI NONO/GIUSTO FRANCO COMPOSITORE E PIANISTA SAVONA I
Really cool piece.
Proprio grazie a questa musica si fatica a proporre l'opera di un compositore vivente.
Gli organizzatori dicono: meglio andare sul sicuro.
marvellous - many thanks for uploading
thank you for uploading this! one of my favourite artists as of late. the futurist movement is really interesting..
Isabelle Faust is amazing in this piece. Her pianissimi are between the most subtle, perfect and "dolce" of all times.
AMAZING ! like it.
Bravo!!
Grazie !
I'm just discovering Nono, a master of 20th century classical music. Priceless and timeless. Thank you for posting. Nice video.
Sorry to burst your bubble Rafik, but Luigi Nono did not write a single note of "classical" music.
@@DavidA-ps1qr thank god, since classical sucks.
@@TheFate23 Not sure what you listen too, but please don't make a fool of yourself. If it wasn't for classical music you wouldn't have the music you have today. Read, learn and understand. Just because your brain can't cope with it doesn't mean it sucks.
Thank you. Grazie.
I can not imagine not loving this music
Well it's easy. Imagine respecting your ears and brains.
@ Uros Rojko I can, even if I love it. there's no music loved by everyone.
@ mikkis We all respect ourselves... I respect your dislike for this music, you should have to respect those who love it even if you don't understand why they love it.
@paul w Thank god I didn't go or I don't go to music school.
@@TheMikkis100 MAGA, right? Ignerntz rools!
My first exposure to Nono
me2
me3
Nothing like top 40, easy listening.
only the greatest top 40 hits from your favourite composers including Nono, Varese, Stockhausen and Ligeti!
It's easy to listen to,... it's just hard to enjoy ... but I did like the reverb, and i was hoping the abrupt loud snapping crunch, and the resounding echo, somewhere in the middle was Gidon Kremer , showing his dedication to Nono by sacrificing his Stradivarius to Nono's brilliance,... but No no it wasn't ,... just when I might have enjoyed a melding with this piece and John Cage's ten minutes of silence. Madrena's music I like,... this,... No no no no .
@@Geopholus Kremer played Guarneri and at later time changed to Amati, not Stradivarius
@@Geopholus There are some atmospheric timbral elements that I feel could have been turned into something but alas I fail to see much in any of this sort of thing, seems aimless zZzZz. Turns on Honeggers 2nd symphony.
Ben detto! Nono è un caposaldo della musica per tutti i tempi
Webern's abstract poetry taken to a new level, I believe
Excelente!!!
248,570 views as of 16 Apr 2019,
Over 2.2K likes, and only 73 dislikes. Not bad for a piece like this.
I really like this piece. (I'm in the Alfred Schnittke class).
Encore please. I`m not done licking the mountain.
Bravo.
I really like how he plays with space.
Bellísimo !!!
Mario: So Luigi, what do you want to do now?
Luigi:
e x t e n d
I HOPE SHE BRINGS LOTS OF SPAGHETTI
*is swallowed by the void*
- L.Nono "La Lontananza Nostalgica Utopica Futura" - Amazing Compositon.
This is a valuable adjunct to a sense of history, and impressive for being as late a work (?). I had a teeny bit of Nono on ancient LPs but my recollection of it is negligible.
+Brad Wood note: yes late work indeed, he died shortly thereafter
Meraviglia.
The Berlin Wall fell just after this wonderful piece...
by the sound of the music, there might have been some kind of cause and effect at work there
I agree, after listening to this music one autocratic dictator might ask him or herself, what difference does it make?, if there is a wall or not?... things are equally bleak on both sides of the fence,... in future for instance , an american president might chose to lick the boots of the leader of the most repressive regime in the world, and in so doing reduce all hope for humanity to absolute zero, by becoming the embodiment of abject depravity itself.
thx
There's kind of music which speak to your ears. There's kind of music which speaks to your soul.
Guess on which side Luigi Nono's music plays.
True, but I like Beethoven anyway.
Ah why yes, although is that indicative of a lack of message? no, what emotion the work is trying to evoke is interpretive, as it is in all art. It is simply that the elements which allow one to understand the evocations of such music as this are not present in you. There is nothing wrong with this, if you do not enjoy engaging with these conceits (this being a great, fantastical attraction to the depths of the unknowable), then perhaps you think them neurotic. For want of not understating my point, our own perspective of the universe crafted individually through a lifetime, if your perspective does not allow you to enjoy this music, then that is fine! You have your own conceits, and ways, as do we. One of our gateways is Luigi NoNo, yours may be any other myriad sources; to recite the old aphorism "How boring life would be if we were all the same".
did you just respond to yourself...
Helvetica Standard a reply was probably deleted
What a stupid dichotomy. Why does it have to be one or the other?
The comrade Luigi did a good job
Had he actually lived in Marxist society, he would not have been able to create this.
Khrennikov worked politics to his advantage. As president of the Soviet Composers Union, he denounced Prokofiev and Shostakovich. This way he was able to pursue his more advanced composition, but this made him into a hypocrite. So yes and no to your comment.
This is communist music. Go listen to Wagner if you're so eager to equate communism with Stalinism and soak yourself in the blood shed by capitalist acccumulation.
Yes, I guess you could call it "communist music" since Khrennikov was a leading member of the communist party. But your other statement is illogical. Wagner was a narcissist and in it for himself. Stalin-Lenin were Marx-inspired. "Capitalist accumulation" includes the computer or smart phone you're using to read this. So enjoy, and "soak yourself in the blood shed by capitalist accumulation" - whatever that is supposed to mean.
@@fstover5208 You are wrong about Marx. If you are trying to say on the senses that many dictators, who called themselves Marxists, than you are right. But, remember, Aaron Copland had many problems with Macarty in the United States. And people always say that the United States is free and democratic, even though 51 years ago they murdered Dr. King just because he asked for equal rights for the negros. People do not know Marx, but they always have something to talk about him, for good or for worse.
La primera vez que oí esto,dije si-si a Nono
ótima peça musical atual 😊
Toute œuvre qui pourrait avoir le hasard pour compositeur est contingente et anecdotique.
D'ailleurs, il n'est pas anodin qu'à ceux qui sont réfractaires à ce type de musique il leur soit reproché de n'y rien comprendre : c'est bien étrange que la musique doive être abordée comme une équation à résoudre, ou bien être posée comme un rébus à déchiffrer, alors que, lorsque elle était d'un temps où la plus haute inspiration la suscitait et s'y exprimait, il ne suffisait que de l'écouter et d'y être sensible, charmé, subjugué, ou pas.
Mais il ne faut surtout pas que notre époque n'est plus rien artistiquement à dire, il faut continuer de produire de solennelles vétilles dans toutes les formes d'art plutôt que de se rendre à l'évidence que l'Art (avec majuscule) a un début, un développement et une fin.
Je ne vois personne qui vous demande ici de "résoudre une équation" ? Le mieux que l'on puisse attendre d'un auditeur, ici, est qu'il soit tout à l'écoute.
Comme vous le dites si bien : il ne suffit "que de l'écouter".
Après, que vous-même n'en soyez pas subjugué, ou simplement intéressé, ce n'est pas si important, n'est-ce pas ?
Pouvons-nous au moins seulement penser que vous avez été raisonnablement attentif ?
Mais, encore une fois, nos sensibilités personnelles n'ont ici aucune importance.
Ce qui est plus intrigant (et même inquiétant ?) dans votre déclaration, c'est que vous semblez savoir ce qu'il doit en être de l'Art... (Ne pas oublier la majuscule.)
Si on comprend bien ce que vous voulez nous dire, l'Art ayant début, développement et fin... est fini.
Pour vous, quand a-t-il commencé ? Quand, et avec qui a-t-il fini ? Nous ne le saurons pas précisément...
Peu importe. Il suffit de comprendre que c'est vous, du haut d'on ne sait quel surplomb, qui avez décidé de ce qu'il doit en être.
Ce qui remarquable, surtout, c'est que vous détachez l'histoire de l'art (sans majuscule) de l'histoire de l'humanité.
Pourquoi pas. C'est un point de vue qui en vaut un autre, à condition du moins de savoir en tirer toutes les conséquences.
@@patrickguillot1865
Je vais seulement vous donner - et très rapidement - quelques éléments, car il n'importe pas que nous débattions.
Quand l'Art a-t-il commencé ? À peu près quand quelqu'un s'est avisé qu'il pouvait faire mieux que les artisans ses confrères et qu'il signa dès lors ses propres œuvres. Il est, j'espère, entendu, que cela n'a pas eu lieu en un seul lieu, un seul moment, et du fait d'une seule personne.
Quand cela a-t-il pris fin ? On doit mieux pouvoir circonscrire l'époque, car il y a un moment à peu près situable dans le temps où l'Art a commencé à vouloir être compris (il aurait dû changer de nom, mais doit perdre au moins sa majuscule), plutôt que de se donner ingénument à savourer : il ne serait pas douteux que cela coïncidât avec l'heure de sa mort, et que toutes les notices explicatives des intentions de l'« artiste » soient d'authentiques actes de décès. Quelques illustrations cependant : le fameux canular Boronali, l'"Urinoir" de Duchamp, le "Carré blanc sur fond blanc de Malévitch, et puis toutes les solennelles vétilles qui suivront, au rang desquelles je mets du Pollock comme du Tapiès, du Basquiat comme du Combaz, etc., etc. L'origine de tout cela, comme vous le savez, se situe au début du XXe siècle, et depuis la marée des œuvres, toutes précieuses, ne cesse d'emplir jusqu'aux combles les entrepôts des FRAC par exemple. En musique, après les audaces de Stravinsky, voilà qu'il faut rompre nettement les amarres : l'Ecole de Vienne. C'est bien, ça ne dépasse pas l'expérimentation, et ne peut aller plus loin à cause de l'air de ressemblance d'œuvres qui auraient pu aussi bien avoir le hasard pour compositeur, ce qui ne tardera pas purement et simplement d'advenir.
Une précision encore. Je peux n'aimer pas Rubens, en aucun cas je ne puis, sauf à mentir, dire que je pourrais en faire autant : l'art, étymologiquement le savoir-faire, y est d'évidence magistral, tout comme celui de Schönberg d'ailleurs, mais qui pourtant aboutit à une impasse, après que le compositeur se fut posé la question terrible : "que faire désormais ?". Ce qui donne un aperçu de la situation de la création en général.
J'ai peu de loisir, mais je voulais vous faire au moins la politesse de vous répondre, tout en vous donnant, bien trop superficiellement je le sais, un peu plus de détails néanmoins.
Sachez que je vous sais gré de ce petit échange de points de vue, même si je ne m'attends pas à ce que vous nourrissiez plus de sympathie que cela à mon égard.
Cher Monsieur Fatticci, je ne vois pas que notre sujet ait le moindre rapport avec la "sympathie" que nous pourrions "nourrir" l'un pour l'autre à la suite de ce bref échange ? Échange qui pourrait être d'autant plus bref, d'ailleurs, que vous indiquez dès votre première phrase "qu'il n'importe pas que nous débattions". Dont acte.
Cependant, comme, malgré le "peu de loisir" dont vous disposez, vous avez pris le temps d'argumenter assez longuement votre exposé, je l'ai assez attentivement lu. Et je vais prendre le temps d'y répondre. Si ce n'est pour vous, ce sera au moins à mon usage : de toute façon que vous soyez le maître de votre horloge ne vous fait pas le maître de la mienne, n'est-ce pas ? ;-)
Je passe sur votre assimilation de l'Art et de la Signature (de l'objet "d'art" et de l'objet "signé"), qui restera pour moi une curiosité... (D’ailleurs, ne serait-il pas instructif, à ce sujet, de comprendre la signification dernière de l’épisode de l’exposition du fameux urinoir par Duchamp - auquel vous faites vous-même allusion ?)
De même, votre opposition entre ‘artiste’ et ‘artisan’ est-elle triviale, et depuis assez longtemps déjà sans pertinence. Je passerai aussi sur votre insistance à distinguer ce qui, pour vous, dans l'activité artistique des humains, mérite la majuscule, et ce qui ne la mérite pas... Peut-être considérez-vous l'art "à majuscule" comme une divinité ? Cela reste non explicité, donc sans intérêt dans le débat.
Par contre, je relève avec intérêt la façon dont vous soulignez l'importance que semble prendre, à un certain moment historique, l'INTENTION. C'est assez bien vu. De fait, à un certain moment, et pas seulement dans la musique, on voit les artistes ressentir plus souvent, et plus fortement, le besoin d'expliciter leurs intentions... C’est que, en effet, il semble qu'ils éprouvent quelque fois le besoin d'être "compris"… Mais pourquoi faire dater ce besoin lui-même du « début du XXème siècle » ? Ce qui fait date, là, ce n’est que la plus grande visibilité des manifestations de ce besoin. Pourquoi cette véhémence dans le monde l’art ? Vous semblez situer sa raison dans la débilité, soudaine, des artistes. On pourrait aussi la situer plutôt dans la débilité du public des consommateurs ? Quoiqu’il en soit, nous sommes là dans la sociologie, et plus trop dans l’esthétique - pour autant que la seconde discipline puisse se pratiquer sans garder un œil au moins sur la première…
Je suis sûr, comme vous, que les « combles des entrepôts des FRAC » sont encombrés par des produits qui ne marqueront pas l’histoire de l’art. Certes. Cependant, avez-vous pris la mesure du fatras laissé par les époques passées, et qui encombrent les musées et les bibliothèques ? Sans doute êtes-vous un amateur des oratorios de Georg Philipp Telemann et des opéras de Salieri, plutôt que des madrigaux de Monteverdi et des opéras de Wagner, etc. Etc. Et pourquoi non ? Notre époque - que vous n’aimez pas - aura du moins veillé à leur re-diffusion. Et maintenant, nous pouvons un jour allez écouter Luigi Nono au concert, et, un autre jour… Marin-Marais, pourquoi non ? Aux époques de l’Art à majuscule, que vous révérez exclusivement, on ne s’embarrassait pas tant des vieilleries : Mozart arrive ! … Le public a déjà depuis longtemps mis J. S. Bach à la poubelle...
Je me souviens avoir entendu la « Grande Fugue », pour la première fois, à un concert du Domaine Musical. Autre temps, autres mœurs.
Wow😯😮
I find a lot of listeners tend to have many notions Better to just listen to the piece itself. Nono put no premium on pretty.
The more I hear pieces like this one, the more I think they are about time and the person.
and space and perception and memory and presence....
I don`t think Luigi grasped the breadth of his creations - his musicality was way ahead of his ideology.
Fun dancing music
Where as a performer do you even start to learn something like this? Or do you just sight read your way through and hope for the best?
je passe au petit-matin
dans la longue allée d'arbres morts
mon sang tourne comme une ombre
Listening to this is like receiving a strawberry enema...
I don't know what that would be but I agree wholeheartedly.
So like, you use strawberry juice for an enema? I'm intrigued. And perhaps I shouldn't but I kinda wanna try it.
crazy music
всегда как в первый раз
гениальная вещь
Обалдеть, ночью в ушах слушать, как я сейчас на балконе.😄😆
Muy util para pensar, divagar entre lo abstracto. Se sacan buenas conclusiones,
"Threnody for FrankZappa"
Esta composition esvBuenismo! Delicado,intense fantastico,mind bendingly sublime, das e's goot, sureal suenos,
best af fr
Sci-fi soundtrack.
The only reason I'm here at all is because of the music iceberg video lol.
Hey Gidon Kremer:
Bra-Effin'-vo!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ჯაანდაბა
+TheWilsonmiller რომ?
◾🌌◾. Dust to dust, and in betwixt, absence
Aham Brahmasmi, Tvam Brahmasi, Om Tat Sat
Όταν ο θεός μίραζε μαλλιά ο Luigi Nono πείρε με κλοιστά τα μάτια
..che io mi chiedo ..."la gentarella" qui come c' arriva? sarà il gatto che passeggia sulla tastiera? :D
basta saltare da un video ad un altro e... ecco
Io sono appassionato di musica sconosciuta quindi ;)
Che snob
Immagina sentirti superiore ad altri solo per la musica che credi di capire
terrorífico...!
Let's see Mario try to top this
Crom likes this :)
It´s human to think otherwise but as Debussy admitted "there are limits in the creatiion process". No doubt Nono had all the composition tecnick and musical structure. It could have been a great composer But hardly this piece is not simple distortion of notes, spaces, modulations, senseless. Abstraction ? Yes - provided it makes sense. Abstracta res per abstract res, nulla res (Joyce, Ulysses).
+Alexandre Costa Or it's an exploration of sound. Composers who push and obliterate the boundaries of what is acceptable by the masses allow composers who do prefer to create within boundaries a new palette of sounds to use to expand their "sound." This music may not appeal to most people, but it does have a purpose. As an improvisatory musician and a composer I think it is something to listen to for inspiration. How much of it is to be "borrowed" or "adopted" is up to the musician or composer.
+Alexandre Costa And one more thing, I do really think that this music when heard as a close listening experience, would expand the "ear" of a casual listener. They may not like it & still prefer to think of it as "horror film music" or just "noise." However, it may open their ears up to music that is less jarring, such as Stravinsky or even Debussy. Most people in Europe & US listen to pop music. They don't listen to orchestral instrumental music. Hearing this may stretch their ear a bit. They don't have to like it.
+Alexandre Costa The approach of "trying" a new sound, broadly speaking, introduced to the world gentlemen like Bach, Beethoven, Bartok, Strauss (Richard), Maessien, Orff and to a certain extent Debussy. But even Art (with capital A) self-demands "sense of limits". If we go for simple intelectualization of sounds, Mathematics and synthetyzers do the job , let´s silence violins, cellos, trumpets, flutes , ie all arsenal.
jodi183
საქართველო?
@popolo peccato che c'e ancora chi mette arte altrui sotto la luce del gusto proprio per denigrarla... poretti, che si tratta di Battiato o Bieber, accetto un verdetto che dichiara il proprio piacere o dispiacere per un opera ma dubito che si possono attribuire qualità assolute a chiunque artista, specie da qualche assolutista (fanatico). de gustibus .. poi l'attribuzione di effetti sul animo di quella musica denotano, al mio avviso, un' ignoranza fondamentale del prossimo. @FranzKEYGUIMPET80
Based
Genius perhaps, but only if genius is gauged spatially and with reference to variance from the mean.
In this model of understanding, worth can only be accepted if artefact is Necessarily far & away & above comprehension of normal man, in which case, it is also thoroughgoingly un- or anti-democratic.
Music is a fine human enterprise so long as it is a device to unite and not separate.
Artefacts which are wilfully obscure and whose unstated motive is to divide people into warring camps CANNOT be considered works of genius, regardless the amount of cerebral effort used to produce them.
!!
Not quite my tempo...
Ma chi è F.Battiato... quello che faceva collage in stile Marinetti oppure quello dopo con medesima tecnica sui testi con musica polka rock.. no di certo quello dopo con i giri di sol+ però con i violini e qualche poesia d'altri ululata in mezzo. E certo ha fatto i soldi, quindi è un grande. Battiato musicista d'avanguardia buahahahahhhhah
I'm sorry but this does not sound to me like a carefully crafted piece of music, the person murmuring and another clearing their throat, at 7:43 sort of dispelled my notion that this is anything,... other than a composer impressing us, with how bleak and modern his view of existential angst is, (now planted in last century).... and how he managed to persuade a following that included Gidon Kremer, (to be overwhelmed with admiration) is amazing ! including the fact that Gidon seemed to believe the "electronic tape" part was not necessary to the integrity of the piece!!!! How about the room reverb, is that notated? Footsteps and door closing @ 37:40 to 39:00,?? Guy laughing at 41:00 eviscerates the "emotional integrity" of the rest of the piece. When Gidon did the solo version did he provide those as well?
💻💻💻💻
Prima!
i brauch whisky
14:40
41:09
eduzione per le orecchie abituate alla solita minestrina stracotta.
c 7,00
I tend to like this kind of music, but why is 47 minutes of it necessary? It seems everything has been said after about 15 minutes.
I know what you mean, but what sounds the same isn't always the same. I remember as a kid needing a couple run throughs to get into even the most accessible romantic symphonies. I couldn't bare the late Beethoven quartets, but now die Grosse Fuge sounds like Haydn. This runs counter-intuitive to the widely held belief that a good piece should always grab you from day one. This is grown up music which will not always reveal itself so easily.
Thanks for wise comments. I got my music education from Looney Tunes (and my news form Mad Magazine). Now, I get my music education from my 3 kids who all play classical because I take them to private lessons. The music gene skipped a generation, I guess!
John Accurso You are attracted to music which exists on another level. I would say that counts you as very musical even if its frustrating that it doesn't manifest itself in an obvious way. Maybe you could discuss this with your kids and get them to help you on your journey.
it is annoying like the rain during a day of picnic
+dou4006 Y'aren't ready for this.
NON0>APHEX TWIN
Ma non vi fa angoscia una roba del genere!?!? Mi spiegate come si fa ad ascoltare cose di questo tipo e dire "bellissima musica"? Qui oggettivamente siamo al limite del vergognoso, del casuale, la sagra della dissonanza. Questa è gente che ha fatto esperimenti sonori anzi rumorosi, e non andavano presi sul serio. Hanno stravolto la matematica perfetta che c'è dietro l'armonia musicale, e questa a mio avviso è una mancanza di rispetto per la musica. Anche io posso fare cigolare un violino, non ci vuole niente. Questi sono alla stessa stregua di quei " grandi " artisti figurativi che lanciano un secchio di pittura su una tela o la tagliano con un coltello e trovano qualche idiota di critico che grida all'innovazione, alla genialità, e la gente ci crede anche. Gente iniziate ad ascoltare con la vostra testa e ragionare, sviluppate il senso del bello, cercate musica vera, perché ste porcate sembrano più un utensile di un tornio che fischia piuttosto che musica