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Varianti

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Audio CD, May 6, 2008
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Frequently Bought Together

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Track Listings

Disc: 1

  1. Variazoni canoniche sulla serie dell'Op.41 di Arnold Schoenberg, for orchestra: Largo vagamente
  2. Variazoni canoniche sulla serie dell'Op.41 di Arnold Schoenberg, for orchestra: Andante moderato
  3. Variazoni canoniche sulla serie dell'Op.41 di Arnold Schoenberg, for orchestra: Allegro violento
  4. Variazoni canoniche sulla serie dell'Op.41 di Arnold Schoenberg, for orchestra: Lento
  5. Varianti, for solo violin, strings & woodwinds
  6. No hay caminos, hay que caminar. . . Andrei Tarkovski, for orchestra in 7 groups
  7. Incontri, for 24 instruments


Product Details

  • Performer: Mark Kaplan
  • Orchestra: Sinfonieorchester Basel
  • Conductor: Mario Venzago
  • Composer: Luigi Nono
  • Audio CD (May 6, 2008)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Col Legno
  • ASIN: B00005UONF
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #303,725 in Music (See Top 100 in Music)

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Top Customer Reviews

This Collegno CD features four orchestral pieces by Luigi Nono. Mario Venzago conducts the Sinfonieorchester Basel. Three of the pieces date from Nono's early career in the 1950s, while with the last we skip over several decades to one of his very last works. Nonetheless, they present a unified aesthetic. What is missing is the revolutionary Marxist zeal that Nono sought to express during the 1960s and 1970s.

I should say from the start that this CD features some of the best liner notes I've ever read. Jurg Stenzl briefly informs us when these pieces were written and in what contexts. Then, Mario Venzago offers a list of things to listen for in Nono's music under the headings Tonal space and polyphony, Serial organization and procedures, The single pitch, Mixtures, The new virtuosity, Acoustic space, and Order. Even for longtime fans, these comments can open up new perspectives, and neophytes with little knowledge of Nono's work will find them friendly and accessible.

The "Variazioni canoniche" (1950) takes as its point of departure the 12-tone row of Arnold Schoenberg's "Ode to Napoleon Bonaparte" op. 41, subjecting it to a serial procedure so arcane that even the composer himself could not reconstruct decades later how exactly he built up the piece. But regardless of method, the result sounds eerily hieratic, invariably at low dynamic, slowly progressing through long held notes and drumbeats, and the last of its four movements is lightly dusted with piano notes to poignant effect. While it may not win over anyone who doesn't care for serialism, for fans of modernism this is a meditative ritual that is easy to get caught up in.

"Incontri" (1954) has a greater mix of tranquility and aggression.
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