Most followers of electro-acoustic music recognize the contributions both Bruno Maderna and Luciano Berio have made to the field, mainly due to their collaborative work Ritratto di Citta, which established the Studio de Fonologia in 1955. Fewer, however, are familiar with their individual projects from the late '50s and early '60s that clearly set them apart from their counterparts in Cologne. Berio and Maderna were both obsessed by the human voice as a basis and endpoint in electro-acoustic music…
Maderna was a well-loved, respected creator composer conductor.Boulez's orchestral "Rituel" is dedicated to his memory.
He initiated, instigated much in the early years in Italy,the cultural backward freeze in contemporary expression around Venice then Milan, founding with Luciano Berio, Italy's first electronic music studio.
With this disc, German label Neos takes on an enterprising project, Bruno Maderna: Complete Works for Orchestra, Vol. 1. Outside of Italy, Maderna is recognized as a significant figure within Italian avant-garde associated with Nono and Berio, but his music is not is well known as theirs, apart from his fanciful and hip Serenata per un satellite (1969). Within Italy, Maderna is remembered as one of her greatest conductors, although he is worshipped to such extent in that role that his compositions have been overlooked. Such a series, hopefully, would serve to redress the balance; Maderna's experience as conductor helped inform his compositions, and by having access to his orchestral pieces one might be able to determine to what extent his composing impacted his work as a conductor.
Presented on this release are four pieces commissioned by the Philadelphia-based Network for New Music Ensemble. All prove to be worthy listens by composers of much ability…
L'uomo, non come quantità, come massa, ma come singolo deve lottare per un mondo ideale, dove ci sia posto per il veggente, anche per il precursore, e poco importa se è un anarchico (Man, not in quantity, as in mass, but as an individual, alone, must strive for his ideal world, where there is place for the seer, as for the precursor, and little does it matter ìf he be an anarchist)Bruno Maderna
The problem of what 'interpret' means is particularly fascinating for the music of the sixties and seventies, with those "open" works which permit a creative contribution on the part of the performer. The concept of interpretation itself is in itself open to "opening up": it changes with time, and how much more the conditions change between the moment of conception and that of performance of a work.C. Ambrosini, from the attached booklet