Luigi Nono (1924 - 1990) - Per Bastiana Tai-Yang Cheng (1967)
The work, whose title means "For Bastiana the Sun Rises," is scored for an orchestra divided into three differing instrumental groups and magnetic tape. Written to celebrate the birth of Nono's daughter Bastiana, it is based (according to a note in the score) on the Chinese folk song "The East in Red Glow." Neither the folksong derivation nor its implied political connotations are evident in the music. The work was commissioned by the Toronto Symphony, which gave the first performances in 1967. The tape, which plays continuously throughout the work, was produced in the Studio di Fonologia, R.A.I., Milan.
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https://youtu.be/cp7oOKgWNcw
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While the instrumental scoring indicates that this is an aleatory work, Nono has left very little to chance. The makeup and arrangement of the three instrumental groups, the seating of each player, the locations of the speakers for the tape, as well as the pitch, duration, and dynamic limits within which each player is to improvise, are all accounted for. The semi-circular
seating arrangement, with speakers dividing the three instrumental wedges, clearly indicates a concern on Nono's part for the stereophonic possibilities of sounds originating in different locations. This spatial concept is basic to the work; part of its point is the variety and contrast possible from a three-dimensional aural approach. For Nono, it would appear, has conceived this as a music of sensation, as an aural, rather than an intellectual or aesthetic, experience. The instrumental parts are predicated on a quarter-tone basis, and every player is instructed to avoid definite chromatic pitches in his improvisatory patterns. To further ensure a quarter-tone texture, and to make it easier for the players to avoid outspoken chromatic pitches, Nono further specifies the tuning for each string player. Everybody tunes in fifths as usual, but the fifths are based on varying fundamentals, a quarter tone above or below the normal 440-A tuning. For the most part, as it works out, the instrumentalists address themselves to sustained tones and smooth legato progressions between those tones. The magnetic tape takes on the responsibilities of the percussion section, which is missing in the live ensemble (by Sheila Keats).
The work, whose title means "For Bastiana the Sun Rises," is scored for an orchestra divided into three differing instrumental groups and magnetic tape. Written to celebrate the birth of Nono's daughter Bastiana, it is based (according to a note in the score) on the Chinese folk song "The East in Red Glow." Neither the folksong derivation nor its implied political connotations are evident in the music. The work was commissioned by the Toronto Symphony, which gave the first performances in 1967. The tape, which plays continuously throughout the work, was produced in the Studio di Fonologia, R.A.I., Milan.
-
https://youtu.be/cp7oOKgWNcw
-
While the instrumental scoring indicates that this is an aleatory work, Nono has left very little to chance. The makeup and arrangement of the three instrumental groups, the seating of each player, the locations of the speakers for the tape, as well as the pitch, duration, and dynamic limits within which each player is to improvise, are all accounted for. The semi-circular
seating arrangement, with speakers dividing the three instrumental wedges, clearly indicates a concern on Nono's part for the stereophonic possibilities of sounds originating in different locations. This spatial concept is basic to the work; part of its point is the variety and contrast possible from a three-dimensional aural approach. For Nono, it would appear, has conceived this as a music of sensation, as an aural, rather than an intellectual or aesthetic, experience. The instrumental parts are predicated on a quarter-tone basis, and every player is instructed to avoid definite chromatic pitches in his improvisatory patterns. To further ensure a quarter-tone texture, and to make it easier for the players to avoid outspoken chromatic pitches, Nono further specifies the tuning for each string player. Everybody tunes in fifths as usual, but the fifths are based on varying fundamentals, a quarter tone above or below the normal 440-A tuning. For the most part, as it works out, the instrumentalists address themselves to sustained tones and smooth legato progressions between those tones. The magnetic tape takes on the responsibilities of the percussion section, which is missing in the live ensemble (by Sheila Keats).
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Эту запись оставил(а) на своей стене Алексей Дурнев
