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Adorno that "to write poetry after Auschwitz is barbaric" Adorno , Nono was to return to such anti-fascist subject matter again, as in Diario polacco; Composizione no. It was Nono who, in his lecture "Die Entwicklung der Reihentechnik" Nono , 21—33 , created the expression " Darmstadt School " to describe the music composed during the s by himself and Pierre Boulez , Bruno Maderna , Karlheinz Stockhausen , and other composers not specifically named by him. He likened their significance to the Bauhaus in the visual arts and architecture Nono , On 1 September , Nono delivered at Darmstadt a polemically charged lecture written in conjunction with his pupil Helmut Lachenmann , "Geschichte und Gegenwart in der Musik von Heute" "History and Presence in the Music of Today" , in which he criticised and distanced himself from the composers of chance and aleatoric music , then in vogue, under the influence of American models such as John Cage Nono , 34— Although in a seminar a few days earlier Stockhausen had described himself as "perhaps the extreme antipode to Cage", when he spoke of "statistical structures" at the concert devoted to his works on the evening of the same day, the Marxist Nono saw this in terms of "fascist mass structures" and a violent argument erupted between the two friends Kurtz , In combination with Nono's strongly negative reaction to Stockhausen's interpretation of text-setting in Il canto sospeso , this effectively ended their friendship until the s, and thus disbanded the "avant-garde trinity" of Boulez, Nono, and Stockhausen Schoenberg-Nono Intolleranza may be viewed as the culmination of the composer's early style and aesthetics Annibaldi The plot concerns the plight of an emigrant captured in a variety of scenarios relevant to modern capitalist society: working class exploitation, street demonstrations, political arrest and torture, concentration camp internment, refuge, and abandonment.

Described as a "stage-action"—Nono explicitly forbade the title of " opera " Stenzl —it utilizes an array of resources from large orchestra, chorus, tape, and loudspeakers to the "magic lantern" technique drawn from Meyerhold and Mayakovsky theatre practices of the s to form a rich expressionist drama Annibaldi Neo-nazis had attempted to disrupt proceedings with stink-bombs, nonetheless failing to prevent the performance ending triumphantly for Nono Schoenberg-Nono Intolleranza is dedicated to Schoenberg.

Nono began to incorporate documentary material political speeches, slogans, extraneous sounds on tape, and a new use of electronics, that he felt necessary to produce the "concrete situations" relevant to contemporary political issues Annibaldi The instrumental writing tended to conglomerate the 'punctual' serial style of the early s into groups, clusters of sounds—broadstrokes that complimented the use of tape collage Annibaldi In keeping with his Marxist convictions as 'reinterpreted' through the writings of Antonio Gramsci Flamm ; Koch , he brought this music into universities, trade-unions and factories where he gave lectures and performances.

Nono's second period, commonly thought to have begun after Intolleranza Annibaldi , reaches its apogee in his second "azione scenica", Al gran sole carico d'amore —74 —a collaboration with Yuri Lyubimov , who was then director of the Taganka Theatre in Moscow. In this large-scale stage work, Nono completely dispenses with a dramatic narrative, and presents pivotal moments in the history of Communism and class-struggle "side-by-side" to produce his "theatre of consciousness".

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The subject matter as evident from the quotations from manifestos and poems, Marxist classics to the anonymous utterances of workers deals with failed revolutions; the Paris Commune of , the Russian Revolution of , and the insurgency of militants in s Chile under the leadership of Che Guevara and Tania Bunke Stenzl Then extremely topical, Al gran sole offers a multi-lateral spectacle and a moving meditation on the history of twentieth-century communism, as viewed through the prism of Nono's music.

It was premiered at the Teatro Lirico , Milan, in Indeed, the s and 70s were marked by frequent travels abroad, lecturing in Latin America, and making the acquaintance of leading left-wing intellectuals and activists. It was to mourn the assassination of Luciano Cruz, a leader of the Chilean Revolutionary Front, that Nono composed Como una ola de fuerza y luz Very much in the expressionist style of Al gran sole , with the use of large orchestra, tape and electronics, it became a kind of piano concerto with added vocal commentary.

Nono returned to the piano with tape for his next piece, With this work began a radically new, intimate phase of the composer's development—by way of Con Luigi Dallapiccola for percussion and electronics to Fragmente-Stille, an Diotima for string quartet One of Nono's most demanding works both for performers and listeners , Fragmente-Stille is music on the threshold of silence. A sparse, highly concentrated work commissioned by the Beethovenfest in Bonn, Fragmente-Stille reawakened great interest in Nono's music throughout Germany Loescher Nono had been introduced to the Venice-based philosopher, Massimo Cacciari Mayor of Venice from — , who began to have an increasing influence on the composer's thought during the s Carvalho The world premiere of the opera was staged in the Church of San Lorenzo , in Venice, on 25 September , conducted by Claudio Abbado , with texts by Massimo Cacciari , lighting by Emilio Vedova , and wooden structures by Renzo Piano.

There, he devised a new approach to composition and technique, frequently involving the contributions of specialist musicians and technicians to realise his aims Fabbriciani The first fruits of these collaborations were Das atmende Klarsein —82 , Diario polacco II —an indictment against Soviet Cold War tyranny—and Guai ai gelidi mostri The new technologies allowed the sound to circulate in space, giving this dimension a role no less important than its emission.

Such innovations became central to a new conception of time and space Pestalozza These highly impressive masterworks were partly preparation for what many regard as his greatest achievement. Prometeo has been described as "one of the best works of the 20th century" Beyst After the theatrical excesses of Al gran sole , which Nono later remarked were a "monster of resources" Stenzl , the composer began to think along the lines of an opera or rather a musica per dramma without any visual, stage dimension.

In short, a drama in music—"the tragedy of listening"—the subtitle a comment on consumerism today. Hence, in the vocal parts the most simple intervalic procedures mainly fourths and fifths resonate amidst a tapestry of harsh, dissonant, microtonal writing for the ensembles. Prometeo is perhaps the ultimate realisation of Nono's "theatre of consciousness"—here, an invisible theatre in which the production of sound and its projection in space become fundamental to the overall dramaturgy.

In Nono's timeless and visionary context, music and sound predominate over the image and the written word to form new dimensions of meaning and "new possibilities" for listening.


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Nono's last pieces, such as Caminantes Nono died in Venice in Perhaps the three most important collections of Nono's writings on music, art, and politics Texte: Studien zu seiner Musik , Ecrits , and Scritti e colloqui , as well as the texts collected in Restagno , have yet to be translated into English. Other admirers include architect Daniel Libeskind and novelist Umberto Eco Das Nonoprojekt , for Nono totally reconstructed music and engaged in the most fundamental issues with regards to its expressivity.

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The Luigi Nono Archives were established in , through the efforts of Nuria Schoenberg Nono, for the purpose of housing and conserving the Luigi Nono legacy. You can also set the time, activate the Sleep timer, and perform a Factory reset, all without having to use the controls on the unit. Control freaks, we have you covered. Some audio products on the market that come with an App often do not also include a remote control. At Como Audio, we recognize there may be times when a dedicated remote can come in handy, so we include one with every Como Audio music system. Our remote strikes the perfect balance between functionality and simplicity and it looks cute, too.

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Color Walnut. The name "Solo" is indeed a paradox. Large TFT color display 3. Also allows control without having to use the app or remote. Remote control: Controls many major functions yet remains compact. Multi-room capable: Allows you to place our products throughout your home and control them all with our app. Bluetooth 4. NFC: Eliminates the need for traditional Bluetooth pairing and connecting using enabled devices. DLNA Version 1. ALAC is important because it is the Apple lossless format.

This USB jack will also trickle charge many smart phones.

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Wirelessly stream music from your computer via your existing WiFi network without the need for separate bridges or modules. Optical hi res input to connect audio from a TV resulting in superior sound over your TV speakers. Class D digital amplifier: 30 watts per channel RMS: Enough power to faithfully reproduce audio and fill a room with beautiful sound.

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Custom Digital Signal Processing: Countless hours were spent listening and measuring the systems using different music genres at various volume levels for the most accurate sound reproduction. Software updates over WiFi: Convenient, fast, and free, keeps your investment up-to-date. Dual independent alarms with scheduling options plus snooze and sleep timer with multiple alarm source options including Internet radio, FM, Auxiliary, etc.

Backlight adjustment Adjustable EQ: Bass, treble, balance, and loudness controls allow you to tailor the sound to your liking.


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