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For the second time in a row, the Konzerthausorchester and chief conductor Joana Mallwitz will be guests at the Musikfest. The solo parts in both works on the programme will be sung by the French-Cypriot soprano Sarah Aristidou, who has made a name for herself particularly in the field of contemporary music. In 1971, composer Luigi Nono met with artists and politicians in Chile, including Luciano Cruz Aguayo, one of the leaders of the Revolutionary Left. Back in Italy, he learnt of the young man's accidental death. Nono then composed a kind of ‘secular requiem’ for the activist, which was intended not only to convey grief but also the motivation to continue his social struggle. To this end, the composer set a memorial poem by Julio Huasi to Luciano, which was also given the title ‘Como una ola de fuerza y luz’ (Like a wave of strength and light). Among Mahler's symphonies, No. 4 is comparatively straightforward in terms of instrumentation and length. There is ‘much laughter’ in it, the composer assured us in a letter after its completion in 1901. However, the feeling that hilarity and horror exist side by side and that the idyll is not to be trusted creeps in as soon as the retuned solo violin plays in the second movement. And if you listen very carefully to the text of the ambiguous Wunderhorn song ‘Das himmlische Leben’, you will learn that, at least for the ox and lamb, heaven in the land of milk and honey is not full of violins, as a German saying goes.
Italia noir: the orchestra of the Deutsche Oper presents a sultry evening of Italian music. In the acoustic equivalent of cinemascope, Ottorino Respighi transports the orchestra to the bloodthristy arena of ancient Rome, Luigi Nono counters the horrors of the present with life and love. And Giuseppe Verdi’s “Otello” is one of the most tragic of operas – here we hear the finale.
Under conductor Ingo Metzmacher, the Gustav Mahler Jugendorchester combines microtonal orchestral music with cosmic late Romanticism – and, in Anton Bruckner, Richard Wagner and Luigi Nono, three of the most headstrong characters in musical history.
Luigi Nono always saw himself as a political person and composer. But rather than composing musical manifestos against social injustice, he believed in the power of music to educate and enlighten. As in 1956, when he – in his large-scale cantata »Il canto sospeso« – translated farewell letters by members of the resistance that had been sentenced to death into a stirring and highly poetic tonal language. The German-American conductor and Nono specialist Jonathan Stockhammer now presents this »suspended song« in the Grand Hall. Luigi Nono’s musical credo was to »awaken the ear, the eyes, human thought« with his works. This aspiration is reflected in the »Canto sospeso«, which was premiered in Cologne in 1956 and which – with its orchestra parts, a-cappella chorales and arias – also underlines Nono’s affinity for Italian madrigal and operatic art. Yet in its musical recollection, this »song« exudes a blazing presence.
In his late work, Luigi Nono always also transformed the music into moving ambient sound. To achieve that, he regularly worked with the legendary SWR Experimentalstudio. One example is his vocal and instrumental work »Diario polacco No. 2«, in which electronic sounds permeate the hall. His work »›Hay que caminar‹ sognando«, in contrast, features two violinists wandering from one music desk to the next. Under conductor Léo Warynski, the Les Métaboles vocal ensemble and the SWR Experimentalstudio remember Nono the political man. When martial law was introduced in Poland in 1981 he wrote »Quando stanno morendo / Diario polacco No. 2« and dedicated it to persecuted Polish friends and comrades. Nono composed »›Hay que caminar‹ sognando« in 1989, one year before his death. With its »choreographic« arrangement, it epitomises an inscription, seen on a monastery wall, that had fascinated Nono: »Wanderer, there is no path. All that matters is the walking.«
Formed in 1996, Quatuor Diotima from France is a familiar name in the field of New Music. Because with »Fragmente – Stille, An Diotima« of 1980, Luigi Nono composed one of the epochal works of contemporary music. And because Nono also refers to Beethoven’s equally innovative, late String Quartet Op. 132 in his work, Quatuor Diotima now combines these two compositions for an evening of great string quartet music. Luigi Nono described his string quartet, which was premiered at the Bonn Beethovenfest in 1980, as »transcendental music«. Nono wove a number of quotations into the fine soundscape that oscillates between silence and non-silence, including from Verdi’s »Ave Maria«. Reference is also made to the slow, transcendentally beautiful movement »Heilige Dankgesang eines Genesenen an die Gottheit« from Beethoven’s final official String Quartet Op. 132.