Luigi Nono

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Nono, Luigi


Born Jan. 29, 1924, in Venice. Italian composer. Fought in the Italian resistance movement.

Nono studied under G. F. Malipiero, the Italian conductor and composer B. Maderna, and the German conductor H. Scherchen. In the 1950’s, Nono, P. Boulez, and K. Stock-hausen were the leaders of the avant-garde in music. An exponent of the tone-row (serial) technique, Nono uses aleatory and electronic music.

Nono’s works, which deal with the most important problems of contemporary life, are a protest against totalitarianism, fascism, and violence against the individual. Among his works are Epitaph to Federico García Lorca (1953), the cantata Interrupted Song (1956; text based on letters of fighters condemned to death for their participation in the European resistance movement), and the orchestral composition Polish Diary 1958 (1959; written after a visit to the death camps). Nono is also the composer of the opera Intolerance 1960 (1961), the cantata On the Bridge of Hiroshima: Songs of Life and Love (1962), and a composition for voice and electronic music (A Specter Haunts the World, 1970). In addition, he has composed lyrical music celebrating the beauty of life.


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
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Among their topics are hypercubes and the generalized Cohn cycle, the Fibonacci sequence as metric suspension in Luigi Nono's Il Canto Sospeso, one note samba: navigating notes and their meanings within modes and exo-modes, theoretical physics and category theory as tools for analyzing musical performance and composition, and examining fixed and relative similarity metrics through jazz melodies.
He also had close connections with several musicians of his time, including Alfredo Casella, Luigi Dallapiccola, and Luigi Nono, among others (1).
In which artistic field was the Italian Luigi Nono noteworthy?
Claudio Abbado, Festival di Sanremo, Italian folk revival, Roberto Leydi, Musica nel nostro tempo, Luigi Nono, Nuovo Canzoniere Italiano, L'Orchestra, Michele L Straniero
He discusses the idea of "German music"; the work of Arnold Schoenberg, Alban Berg, Nikos Skalkottas, Luigi Nono, Olivier Messiaen, Pierre Boulez, Gyorgy Ligeti, Karlheinz Stockhausen, Bernd Alois Zimmermann, Alfred Schnittke, Hanz Werner Henze, and Wolfgang Rihm; the music of postmodern composers; multicultural phenomena in new music; nationalism and folklorism; principles of vocal composition; and the influence of Beethoven on the Schoenberg school.
Luigi Nono, as Maderna's pupil, saw the score at the time of its composition, and remembered how agile fugal writing runs throughout in large parts (Luigi Nono, "Un'auto-biografia dell'autore raccontata da Enzo Restagno," in his Scritti e colloqui, eds Angela Ida De Benedictis and Veniero Rizzardi, 2 vols., La sfere, 35 [Milan: Ricordi; Lucca: LIM, 20011, 2:478).
David Danel will be performing Luigi Nono's monumental piece for violin and electronics La lontananza nostalgica utopica futura at Prague's DOX contemporary art centre on 13 November.
Harvard and Yale educated, and living in Europe on grants to study with Elliott Carter, Luigi Dallapiccola, and Luigi Nono, among others, the core members of MEV were trained at the peak of modernism.
A book that lived up to Suvini-Hand's subtitle would survey a good three dozen works, demonstrating a striking range of verbal and musical forms and styles, from the politically committed avant-gardism of Luigi Nono's Intolleranza 1960 (Venice, 1961) through the high modernist Ulisse to the quirky productions of Gian Francesco Malipiero and the conservative music dramas of Ildebrando Pizzetti.
The Future of Modern Music looks at dramatic recent changes in composition through biographical snapshots of composers such as Iannis Xenakis, Luigi Nono, Julio Estrada and many more, over ninety total; each portrayal examines the new musical ideas that shaped the composer's works.