Luigi Nono - Fragmente-Stille, an Diotima (1979-80) per quartetto d'archi
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- เผยแพร่เมื่อ 4 ธ.ค. 2020
- Fragmente-Stille, an Diotima (1979-80) per quartetto d'archi
Composer: Luigi Nono (1924 - 1990)
Performers: Arditti String Quartet: Irvine Arditti & David Alberman, violin; Levine Andrade, viola; Rohan de Saram, cello.
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"Before the composition of his String Quartet, there had been no chamber music in Luigi Nono’s oeuvre. Even with all his attention to creating intricate microstructures, it was still expressive sound, the human voice and, above all, large-scale dramatic contrasts that formed the essence of his music. In his Quartet, however, Nono faced head-on the most extreme demands of the genre’s traditions: [it] is a quartet of the utmost concentration, of radical subjectivity, of extreme rigour - and of enormous technical difficulty for the performers. But at the same time, these Fragments - Stillness are intimate and inwardly directed to the point of being esoteric; they are an unshielded act of self-questioning that recalls the “existential” quartets of Smetana and Wolf, Janacek and particularly Alban Berg’s Lyric Suite.
Although Nono’s work thus clearly belongs to the string quartet genre, some of its features nevertheless contradict that tradition. This is intimated by the title itself [...]. By “fragments” is meant here an extremely fragile web, which appears open on all sides and repeatedly assumes a state of motionlessness, even within the islands of sound, rather than a strict linear progression from the first note to the final chord. [...]
Weightlessness, light, air - these are suggested by sounds which are characteristic of this work but previously quite unusual for Nono: notes produced by very high hand positions, harmonics, flautato, notes played on the fingerboard and near the bridge, notes produced with the wood of the bow by tapping it or drawing it across the instrument - and all within a dynamic range kept largely between p and a barely audible ppppp. These are sounds as “from the ether”, tones from a “more secret world” [...]. “To awaken the ear, the eye, human thought, intelligence, externalizing as fully as possible that which has been internalized - this is what matters today”, stated Nono in a talk given in Geneva in 1983.
The “more secret world” of this quartet has something eminently mysterious about it; it questions and it raises questions. This is hinted at by the title: For Diotima.”… from the ether…” and “… a more secret world…” are two of 47 short quotations from the poetry of Hoelderlin that the composer has written into the score in 52 places. Twelve of these quotations, significantly, stem from a single poem, Diotima; another [...] recurs five times, always together with Beethoven’s indication “mit innigster Empfindung”. Here too, in the verbal mode, a fading in and out: not complete lines, but a web of memories and allusions to Diotima and Hoelderlin, to the lovers.
The music does not illustrate or comment on the texts. Nono said that “they must not under any circumstances be recited during a performance”, nor should they be misunderstood “as naturalistic programme indications”. - He called them “silent “songs” from other spaces and other skies, intimations that one need not say farewell to hope”. The four players “may “sing” them silently as they experience them - as sounds striving for that “delicate harmony of the inner life” (Hoelderlin)”.
Hoelderlin’s Diotima, as woman and lover, appears in yet another form in Nono’s Quartet. In 1889 Giuseppe Verdi composed a setting of the Ave Maria as a harmonization of an unusual, “enigmatic scale”. This work [...] combines modern expressiveness with vocal writing in the style of Palestrina to create a prayer, a musical representation of the Virgin. The same “scala enigmatica” serves as material for Nono’s Quartet, a submerged layer not directly audible, another of the work’s “more secret worlds”.
Verdi fused the old (Palestrina) with the contemporary, and Nono does the same: the principal voice of the chanson “Malheur me bat” (“I am struck by misfortune”) is hidden in the viola part a few minutes before the end of the Quartet. [...]
Old music, memories, things from the distant past are thus present here like pain [...] and hope [...]. The composer poses the fundamental question: “Where am I, who am I?” He asks himself - and his listener. To question relentlessly, with the repeated ‘… das weisst aber du nicht…” (“but you cannot know that”) also implies a readiness to break out of the habitual, the petrified, and to emerge “into the open air” - “mit innigster Empfindung”.
~Juerg Stenzl (Translation: C. Stenzl and L. Pan)
Source: quatuorbozzini.ca/en/oeuvres/...
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One of the greatest masterpieces for string quartet of the last years. I remember having seen, under a performance of Das Atmende Klarsein, a comment along the lines of "this piece shows why Nono is one of the most important composers of the second half of the 20th century", and this applies to this piece as well. I highly suggest, to whomever's interested in Nono's work and in this quartet in particular, the reading of Laurent Feneyrou's study on the quartet (only beware - as far as I know, it's only available in french).
Thank you for the upload.
You're kidding, right?
@@organman52 what lol
@@organman52 Well, to each his own... Though it would seem that, having looked at all your comments under videos of Nono's music, you are quite obsessed with him... You could try listening with an open mind and without judgement - to me it makes no difference, but you might end up enjoying it!
@@organman52 This really contains some good tips th-cam.com/video/WbE5sfYhxIk/w-d-xo.html
Thank you very much for the score.
Un des sommets du quatuor à cordes. La plastique sonore est sublime et invite l’esprit à voyager dans cette médiation en communion avec le son parfaitement travaillé grâce au compositeur et aux interprètes. Pour moi le lien avec Hölderlin ne rajoute rien. C’est la cuisine interne du compositeur qui est un des plus grands génies du son de l’histoire de la musique.
Музычка, приятная во всех отношениях
sodelicious
Truman Capote once had a cat named Diotima . . .
interesting
dat music score
This is supposed to be music?
yeh
@@juliusseizure591 It could have fooled me.
Yes it is
If you heard that it isn't music, what do you think it is?
In fact the word music is very generic, it brings together very different things such as a traditional Congolese song, Gregorian chant, Elvis Presley, Erich Dolphy, Luigi Nono... In any case this work of art made of sounds does not have the aim of entertaining, of make you whistle a song or accompany your daily chores. it is something deep, abysmal and terrible like a curse; if we can say that it is "beautiful" it is as beautiful as the demonstration of a theorem. It is not for everyone, it requires effort, dedication, study and a certain predisposition. Perhaps Nietzsche would say that it is music for everyone and for no one.