Luigi Nono

An insurance man, a rocker, a partisan, a deportee, a bandoneonist.... What can such different figures have in common? Very little, you might say, apart from the fact that they are among the main protagonists of "contemporary music", a world from which people generally prefer to keep away because it seems distant, complicated and incomprehensible. But is it really so?
The exciting story proposed in the book intends to bring contemporary music closer to its potential listeners through the stories of people such as Stockhausen, Gershwin, Berio, Xenakis, Takemitsu, Piazzolla or Sofija Gubajdulina who, in their variety, give an idea of the exceptional richness of the musical languages of the 20th and 21st centuries and their closeness to the human condition of our time.

The role of music listeners has been downplayed in the twenthieth century.  This is due, mostly, to the way in which vanguard music has been studied and framed within the “compositive intention” and the poiesis approaches.  New conceptual and methodological tools that belong to ars rhetorica – focused on the effects that music has on listeners – can help us to emphasize the role of the listener by way of stimulating new interpretations which question the meaning and function the listenr ascribes to music.  In this paper the tools of ars rhetorica will be used to read the different functions (rhetorical and structural) that citations have in some works by Luigi Nono and Bruno Maderna that specifically employ pre-existing music.

"Intolleranza 1960" (1960-61), dedicated to Arnold Schoenberg, is the first theatrical work by Luigi Nono. The designation ‘Scenic Action’ not only refers to the renunciation of a narrative form of music theatre, but also to the objective of this composition: it is an appeal to take action and to create a self-determined structure in society.
This new revised and corrected edition, conducted on a critical basis by the editor, follows archival researches lasting more than fourteen years and conducted on all existing sources.

Analisi de "La fabbrica Illuminata" di Luigi Nono, con un'introduzione alla situazione storico-culturale legata all'autore. Tesina per l'esame del corso di Storia e analisi del repertorio elettroacustico, tenuto da Marco Ligabue presso il Conservatorio Luigi Cherubini di Firenze.

All’interno del circuito del “Marzo Donna” promosso dal Comune di Venezia, presso il Palazzo della Provvederia di Mestre  l’associazione ArteCultura Veneta presenta la mostra “Omaggio alla Donna: Soggetti femminili nella pittura veneta tra Otto e Novecento” a cura di Marco Dolfin e Luca Sperandio.
il filo conduttore dell’esposizione è la molteplicità di rappresentazione del genere femminile nella pittura veneta a cavallo tra la seconda metà del Ottocento e i primi decenni del Novecento. Si potranno dunque ammirare svariate raffigurazioni delle tipiche popolane veneziane, spesso colte nel momento dei loro lavori all’aperto per le rive o i campielli; immagini che divennero così rappresentative della città lagunare che vennero diffusamente stampate nelle cartoline d’inizio Novecento. Nell’entroterra veneto, l’immagine della popolana veneziana lascia spazio a soggetti femminili agresti, giovani contadinelle, altrettanto affascinanti, sospese in un suggestivo clima pastorale-bucolico come vediamo in alcune delle opere esposte di Noè Bordignon (1841 – 1920). La mostra prosegue poi con una serie di dipinti dedicati ad un modello femminile non più popolaresco, ma al contrario borghese; donne che sfoggiando eleganti abiti e preziosi gioielli diventano raffinate interpreti della moda del loro tempo. Tra queste troviamo la bellissima donna con ventaglio di Egisto Lancerotto (1847 – 1916), dipinto inedito dell’autore, e il capolavoro di Pietro Pajetta (1845 – 1911) Il ventaglio bianco.
Una ventina le opere esposte, molte delle quali inedite e dunque esposte al pubblico per la prima volta concesse in prestito da collezioni private e Gallerie d’arte. Tra gli artisti rappresentati Noè Bordignon, Eugenio de Blaas, Luigi Nono, Egisto Lancerotto, Luigi Serena, Alessandro Milesi, Alessandro Zezzos, Pietro Pajetta, Cesare Laurenti, Umberto Zini, Vittorio e Romolo Tessari, Napoleone Girotto ed altri.

Ausgehend von den gemeinsam betriebenen Studien von Renaissance-Musik vergleicht der Aufsatz die jeweils unterschiedlichen Rezeptionsstrategien, die sich bei Bruno Maderna und Luigi Nono nachweisen lassen. - Renaissance music is an important source of inspiration in the works of Bruno Maderna and Luigi Nono. In Maderna's case his studies on renaissance music led to some impor­tant arrangements of original compositions in which he tried out compositional means (e.g. instrumentation and counterpoint) for his own works. His strategy of transcription, exam­ined at his arrangement of the "Magnificat quarti toni" of Josquin Despres, serves as back­ground for a source study on the influence of music and music theory of the renaissance on Nonos works. In Nono's case the studies, undertaken together with Maderna and docu­mented in his sketchbooks dating from the late 1940s, founded an analytical understand­ing that became important for the development of his contrapuntal techniques and his or­ganisation of rhythmic structures. Especially some of his latest works suggest that Nono used renaissance music to establish a kind of historical contextuality and continuity.

"Due to his large output of writings and the uniqueness of his idiom, the texts and commentaries of Helmut Lachenmann have played an important role in the reception of his work. With his technique of “musique concrète instrumentale” and his uncompromising aesthetic stance, Lachenmann has become in recent years one of the most influential living composers. The emergence of his mature and unique compositional style is often traced to two early vocal works (a rare medium in his oeuvre): Consolation I (1967), which set a passage from Ernst Toller’s 1919 play, Masse Mensch, and Consolation II (1968), which set the Medieval German Wessobrun Prayer.
But while the writings and commentaries of many contemporary composers may offer invaluable interpretative and analytic insight, they may also leave lingering questions as to what is being omitted from such statements. These two pieces were apparently intended to communicate a sincere message of spiritual and social consolation. However, in the commentary for the second piece of the series, and the subsequent Les Consolations (a work whose themes of alienation and speechlessness foreshadow his later magnum opus, the “Musik mit Bildern,” Das Mädchen mit den Schwefelhölzern), Lachenmann appears suddenly less convinced of the message of existential comfort—perhaps even of its ability to be conveyed at all. What were the possible reasons and significance of this chance of position?
This paper explores the web of relationships that emerges from the writings and works of two older composers and the sketches, scores, and statements of another. Notes and sketches included in the Lachenmann collection at the Paul Sacher Stiftung point largely unnoticed or unremarked links between Lachenmann’s Consolation I and II and important vocal works by his teachers, Stockhausen and Nono. The intertextual connections with Nono and Stockhausen, beyond offering sources for certain compositional procedures in the Consolation pieces, amplify in light of subsequent historical events important shifts in the conception of the composer’s “voice” between the late 1950s and the early 1970s. The political and spiritual messages once offered by Nono and Stockhausen in the 1950s remain, but refracted as literal and figurative “speechless echoes” which point to another social and aesthetic reality."

Краткая история электроакустической музыки, обобщение способы исполнения произведений для сольного фортепиано с живой электроникой, исследование исполнительских особенностей на примере трёх произведений: " ...sofferte onde serene..." Л. Ноно; "Nostalgic Visions" Э. Лиллиоса; "Pluton" Ф. Манури.

The string quartet Fragmente-Stille, an Diotima from 1979 is described as a turning point not only in Luigi Nono’s oeuvre, but also in the history of musical modernism. Often, the reception focuses on the surprise of having these introvert sound fragments and silent Hölderlin quotations presented by a composer who had had a reputation for three decades of producing intense, confrontational music with revolutionary political intentions.
However, Nono’s use of silent Hölderlin quotations in the quartet can be understood as a continuation of an approach to texts and extra-musical meaning which characterises his works in all of his periods, an approach where conveying a text is less important than creating an engaging human context.
And while Nono’s quartet clearly signals a heightened emphasis on musical self-reflection, the overarching context is no less political than before:  it is concerned with the utopian transformation of the act of listening.

This talk juxtaposes two scenes of contemporary music-making with technology: a performance of Luigi Nono’s 1984 Prometeo for live electronics at the 2016 Lucerne Festival and a digital audio workstation (Ableton Live) workshop in Chicago from 2018. These belong to seemingly distant milieus: the world of professional art music and amateur electronic music production. Although addressing them requires different methodologies, I discuss how both scenes of musicking with technology touch on what it means to be a human subject in the twenty-first century. In the case of Prometeo, this involves confronting aspects of the inhuman within post-industrial late modernity; with the Ableton workshop this involves confronting the tangle of genres and of racial, gender, and sexual identities that operate in the spheres of popular music and digital participatory culture today. I describe the relationships between participants within each scene, and I consider questions of access and belonging as it pertains to technologically-aided musicicking and contemporary music education.

Pubblicato in un volume che raccoglie gli atti di un convegno internazionale organizzato per la ricorrenza del quinto centenario dall’invenzione della stampa musicale a caratteri mobili, il saggio si concentra sulle riprese novecentesche dell’Odhecaton A, pubblicato da Ottaviano Petrucci nel 1501, per avviare una più ampia riflessione sull’influenza delle tecniche rinascimentali nella musica dei compositori attivi a Venezia intorno alla metà del XX secolo. L’ipotesi che le prime stampe musicali abbiano attirato in quegli anni non solo l’interesse di bibliofili e studiosi, ma anche di importanti artisti, è un luogo comune dell’interpretazione storiografica che tuttavia non è mai stato supportato da un’adeguata ricerca d’archivio. Attraverso l’esame di numerosi documenti conservati presso l’Archivio Nono di Venezia e la Paul Sacher Stiftung di Basilea, il saggio propone una ricostruzione del contesto culturale che ha dato vita a questo fenomeno mettendo in luce il ruolo svolto da Gianfrancesco Malipiero nell’orientare musicisti più giovani, come Bruno Maderna e Luigi Nono, verso la lettura, l’analisi e la trascrizione dei testi antichi. L’effettiva incidenza di queste attività di studio sulla loro esperienza creativa viene verificata attraverso l’analisi di schizzi, abbozzi e materiali preparatori che documentano la genesi di varie opere composte da Nono e Maderna tra gli anni cinquanta e gli anni ottanta; dimostrando, in definitiva, come l’interesse di questi artisti nei confronti delle prime stampe musicali si colloca nell’ambito di una più generale attitudine a valorizzare la memoria storica, reinventando certe tecniche del passato in base alle esigenze del proprio presente estetico.

Il 1968 è stato un anno di svolta per la cultura mondiale. In Europa molte sono state le città teatro di grandi proteste studentesche e operaie che hanno richiesto – e in alcuni casi ottenuto – notevoli cambiamenti sociali. Nemmeno Venezia è rimasta estranea all'agitato clima politico e culturale creatosi in quei mesi: del suo coinvolgimento, in particolare legato alle sue funzioni di centro culturale internazionale, il musicista Luigi Nono, un intellettuale fortemente impegnato nelle lotte politiche e sociali di questi anni, è stato un grande testimone e protagonista. Un’esperienza che si vuole qui ricostruire a partire da una breve cronistoria dei fatti veneziani che occuparono l’estate e l’autunno di quell'anno e delle conseguenze che ebbero negli anni successivi.

Listado de docentes, concursos, becarios, visitantes invitados, biografías, conciertos de los "Seminarios de composición" y de los "Festivales de música contemporánea" que se desarrollaron en el Centro Latinoamericano de Altos Estudios Musicales (CLAEM) del Instituto Torcuato Di Tella. Publicado en: Castiñeira de Dios, José Luis. 2011. La música en el  Di Tella: resonancias de la modernidad, 74-139. Buenos Aires: Secretaría de Cultura de la Presidencia de la Nación.

Die bundesdeutsche Rezeption von Luigi Nonos Komposition »La victoire de Guernica« (1954) macht auf die Verdrängungsmechanismen aufmerksam, die bis in die 1970er Jahre hinein mit der Mitschuld beim Angriff auf die baskische Stadt verbunden waren. Obgleich Nonos politische Ambitionen durch Wahl des Textes von Paul Éluard und durch bestimmte kompositionstechnische Details deutlich werden, werden Uraufführung und Folgeaufführungen durch Kritik und begleitende Programmtexte weitgehend entpolitisiert.

Composed after a period of profound study of Nono's sketches and compositional techniques, Paulo de Assis's _unfolding waves… con luigi nono_ is a reflection on "listening" through the exploration of multiple temporalities, fragmented timbres, indiscernible sounds, and labyrinthine movements of sound in space.

Both Luigi Nono and Morton Feldman use the notion of suspension when speaking about time in their music. The Italian composer speaks of "suspended moments", the American of the "suspension of time". However, both pose two very different ways of time construction, each one of them closely linked to their conceptions of sound. For Nono, sound is woven by multiple, heterogeneous relationships. Listening to each moment means exposing oneself to that network of which the listener is also part and paying attention to a troubled time full of roughness and folds in which past, present and future keep on crossing and disrupting each other. The memory and anticipation of the listener are compromised, trying to appeal to the unexpected. For his part, Feldman seeks to particularly erase that memory and anticipation in the listener. The composer places each sound in a here and now that forges a flat, smooth time, a display of successive presents. Feldman lets each sound be itself, simply sounding without any attack or linking with anything apart from the loss of orientation of the listener. While Nono tries to disengage the time to transform the world, Feldman seeks to let time be apart from human being.

Ο Προμηθέας αποτελεί μυθολογική παρακαταθήκη του αρχαίου κόσμου στις σύγχρονες κοινωνίες, συμβολίζοντας το σύνολο των ανθρώπινων κατακτήσεων, τον αγώνα για την αναζήτηση της επιστημονικής γνώσης, την θυσία και την εξέγερση απέναντι σε κάθε τι που περιορίζει τον Άνθρωπο. Στην εισήγηση διερευνάται η παρουσία του Προμηθέα στην μουσική του 20ου αιώνα, εστιάζοντας σε δύο χαρακτηριστικές περιπτώσεις και ταυτόχρονα εντελώς διαφορετικές προσεγγίσεις τόσο από μουσικής όσο και από ιδεολογικής άποψης: η ακουσματική όπερα «Prometeo: Tragedia dell'ascolto» [Προμηθέας – Μία τραγωδία της ακρόασης] (1984) του Ιταλού Luigi Nono (1924-1990) και η μουσική σύνθεση του Γιάννη Χρήστου (1926-1970) για την παράσταση «Προμηθεύς Δεσμώτης» του Εθνικού Θεάτρου (1963).
Στo έργο του Nono έχει καταργηθεί κάθε αφηγηματικό, σκηνικό και οπτικό στοιχείο, και η δραματουργία προκύπτει από την ακρόαση, σε έναν ειδικά διαμορφωμένο χώρο και διάταξη ηχείων. Γνωστός για την ριζοσπαστική πολιτική στράτευσή του, ο συνθέτης εδώ φέρνει τον Άνθρωπο στο προσκήνιο του έργου, υπερβαίνοντας τις πολιτικές διακηρύξεις: ο προμηθεϊκός μύθος συνιστά το κατ’εξοχήν αρχέτυπο της προσφοράς του ανθρώπου στους ανθρώπους, και ταυτόχρονα της θυσίας του, με την ηχητική του Nono να αποτυπώνει δομικά και λειτουργικά το δράμα του σύγχρονου περιπλανώμενου Προμηθέα.
Στον αντίποδα, η μουσική του Χρήστου για τον Προμηθέα δεν αποτελεί μία αυτοτελή σύνθεση, αλλά το ηχητικό μέρος μιας συνολικότερης, θεατρικής εμπειρίας. Για τον συνθέτη, συνιστά την πρώτη εφαρμογή ηλεκτρονικών μέσων στην δημιουργία του και το μεταίχμιο εξερεύνησης μίας νέας μουσικής γλώσσας. Πρόθεσή του είναι να προσφέρει μία μουσική αναπαράσταση της κοσμολογικής σύγκρουσης, της «τρομερής εξέγερσης ενάντια στην κοσμική τάξη», ενώ η αντιμετώπισή του έχει ως οδηγό τον ρυθμικό τονισμό της ελληνικής γλώσσας, αλλά και τις σύγχρονες κατακτήσεις της μουσικής τεχνολογίας.

Luigi Dallapiccola (1904–75)—a pioneering figure as serialist, composer of protest music, and trailblazer for the avant-garde—wrote his Greek Lyrics song cycle (1942–5) as an apparent escape from wartime anxiety. I locate the Lyrics in a context of engagement through a nexus of technique, text setting, and ethical meanings. That complex resonated with the younger composers Berio, Nono, and Maderna; each responded in the postwar with settings from the same collection, Quasimodo’s 1940 free translation of classic Greek lyrics. I examine Quasimodo’s ethics, placing the poetry and Dallapiccola’s settings within Gramsci’s notions of language, modernism, and justice.

The revolution of sound recording, analogue synthesis and the birth of computer music, caused the emergence of a new professional profile, the Musical Assistant – someone who collaborates with composers in the phase of researching, writing, creating new sounds, recording and/or performing live during concerts – whose presence remains hidden most of the time. How can we find traces of this collaboration in analysing electroacoutic music? I propose a unified methodology at the intersection of Music Analysis based on electronic and computer sources and instruments; the ethnographic research, being collaboration based on oral traditions and activities; the philology of music and source criticism. The article focuses on three Musical Assistants: Marino Zuccheri (1950s), Alvise Vidolin (1980s), Carl Faia (2000s). The choice is motivated by the significance of their work with composers such as Luciano Berio and John Cage (Zuccheri), Luigi Nono and Salvatore Sciarrino (Vidolin), Philippe Leroux and Jonathan Harvey (Faia). The collaboration I discuss here does have many facets and is rarely the same from author to author, from project to project. There are however several aspects that emerge such as diachronic versus synchronic collaboration, the mode of thoughts emerging from material and oral sources, intentions, actions, and constraints, psychology and authorship.

Open access link: https://www.cambridge.org/core/journals/twentieth-century-music/article/lachenmanns-silent-voices-and-the-speechless-echoes-of-nono-and-stockhausen/8546573D813CA7BB6D33BC73D3AF6A7C/share/21fa489959327a40cc003cc1e6e02212a4339498

Montowanie ze sobą rozmaitych wielokrotnie zapośredniczonych cytatów brzmieniowych, stosowanie zapętleń, spowolnień, przyspieszeń i zniekształceń lub odtwarzanie mowy od tyłu (co pojawia się na przykład w Kabarecie Kici Koci, kiedy bohaterki modlą się o wielkie nic złego i „ogełz cin”) przypomina techniki, jakimi w połowie XX wieku zaczęli posługiwać się twórcy muzyki konkretnej. Zrezygnowali oni z wymyślania abstrakcyjnej idei, którą, wyrażoną w symbolice zapisu nutowego, ożywiało dopiero wykonanie, na rzecz uczynienia materiałem wyjściowym konkretnych brzmień, precyzyjnie nagrywanych i poddawanych rozmaitym kombinacjom. Białoszewski zdaje się podobnie traktować materię dźwiękową, chociaż podczas swoich magnetofonowych sesji posługuje się wyłącznie własnym głosem. Sposób, w jaki go używa, kojarzyć się może z kolei z rozwijającą się w tym czasie także bardzo intensywnie dzięki możliwościom rejestracji wykonania poezją dźwiękową, jednak eksperymentów Białoszewskiego nie udałoby się jednoznacznie przypisać do żadnego z jej wykształconych na Zachodzie nurtów. Wykorzystywane przez niego żywe „docieki”, zasłyszane fragmenty rzeczywistości, urywki zdań traktowane jak dźwięki, z których lepi on swoje wypowiedzi, włączone zostają do utworów jak szumy otoczenia do nagrania magnetofonowego. Słyszalna staje się w nich sama pulsująca rzeczywistość. Porównując nagrania Dziennika z innymi zarejestrowanymi utworami usłyszeć można wyraźnie, że Chór Wianczarek z Osmędeuszy wzorowany był na szeptach starszych kobiet, które przyszły obejrzeć ciało zmarłej Zofii Nałkowskiej, zaś naśladowane w Porcie Praskim odgłosy żab, napędzających się wzajemnie we wspólnym kumkaniu jak baby na straganie, są niemalże dokładnym powtórzeniem okrzyków pojawiających się w relacji z wizyty na bazarze Różyckiego. „Jedna zaczyna «cy-try-ny, cy- try-ny». Druga «cy-na-mon». Trzecia, czwarta. I «cy-na-mon-cytry-ny-u-bra-nia, cy-namon-ubra-cy-nia-try-ny-cy-bra-cy-try-na-mon... ke-ke-ke... ke-kra-ke»” – tak poeta odtwarza moment, kiedy podsłuchiwane płazy „wpadają w trans”. Skupiając się na brzmieniu tych strzępków słów, powtarzanych coraz szybciej aż do całkowitego rozmycia znaczenia, Białoszewski wyławia z otoczenia unikalne głosy, którymi na co dzień przemawia tętniące życiem ciało społeczne. Miętoszone w ustach bazarowych bab wyrazy zaczynają być odbierane jako natarczywe dźwięki stanowiące wyłom w dyskursie. Jak twierdzi Michel de Certeau, dzięki tym odgłosom, które jak duchy „powracają w codziennym życiu przez dźwiękowe cytaty, trwa pewna tradycja ciała. Można ją usłyszeć, lecz nie można jej dostrzec. Są to właściwie cielesne wspomnienia” ujawniające się w powszednim społecznym użyciu, ale niepozwalające się sprowadzić do żadnego uogólnionego sensu. Należą one, według rozróżnienia wprowadzonego przez Julię Kristevę, nie do fenotekstu, lecz do genotekstu, czyli nie do poziomu skostniałych definicji i konwencjonalnych struktur języka (rejestru symbolicznego), lecz do jego podskórnego rytmu dynamicznych sił popędowych, warunkujących nieustanne wytwarzanie znaczeń (rejestru semiotycznego). Te wciąż przenikające się nawzajem sfery języka w monologu Szpitala z dramatu Białoszewskiego odpowiadałyby kolejno silnie sformalizowanemu, hermetycznemu dyskursowi przedstawicieli instytucji oraz „spypciałej” mowie i fizjologicznym odgłosom dobywającym się z sali chorych. Taśma, której krążenie nieustannie napędza Pani Koch, w przeciwieństwie do ludzkiego ucha rejestruje bez selekcjonowania zarówno oficjalne formuły lekarzy, jak i niewyraźne szmery pacjentów. Zdaniem Kristevej, rola poezji polega na odzyskiwaniu drożności pomiędzy zaskorupiałą powierzchnią języka a jego żywą materialnością pulsująca w głębi ciała. Schemat procesu wytarzania znaczeń jako ciągły przepływ pomiędzy poziomem fenotekstu i genotekstu najlepiej obrazuje właśnie mechanizm działania taśmy magnetofonowej, obrotowym ruchem nawijanej wciąż z jednej szpuli na drugą.

This essay glosses the political conceptualism of Amelia Rosselli through the lens of her ‘new geometrism’, inflected by the open-field poetics of Charles Olson on the one hand, and by the dialectic between non-intentionality and constraint, freedom and imprisonment explored by practitioners of the New Music on the other. The phrase ‘Disintegratedcantons’ in an early riposte to the neoavanguardia links Rosselli’s formal research with a political aspiration (or trauma) : the dream (or nightmare) of a ‘total’ language, poised to host all possible rhythms, yet ultimately giving rise to the discomposing syntheses of transnational clashes. Atomic metaphors in Pasolini’s readings of Rosselli's first published Italian poems elicit the force of these clashes : Rosselli generates a post-Enlightenment poetics, exposing the violent unreason stemming from the programmatic disenchantment of history.

In our project, a detailed genetic study and a careful examination of a performance of Luigi Nono’s "A Pierre. Dell’azzurro silenzio, inquietum" - for contrabass flute, contrabass clarinet and live electronics (1985) - intertwine to create a new approach to musical analysis intended specifically for music for conventional notation is inadequate.
The purpose of the project is to provide a reliable and stable record of one instantiation of the work. (The performance took place at the Banff Centre (Canada) on 28 February 2009). This information is being examined in conjunction with data gleaned from a study of sources pertaining to the creative process conserved primarily at the Archivio Luigi Nono: sketches, drafts, fair copies, test and experimental recordings, interviews with Nono’s collaborators, records of rehearsals, as well as a careful examination of the equipment used at the time to manage the live electronic component of the composition.

These entries were written , according to the editor’s indications as to their length,  in the early 1970s. That is when  Luciano Berio, Sylvano Bussotti, Franco Donatoni, Bruno Maderna, and Luigi Nono were all in full activity. Maderna died in November 1973, seven years before the publication of the Dictionary, and in subsequent years he was followed by Nono (May 1990), Donatoni (August 200) and Berio  (May 2003).  Thus these dictionary entries are involuntarily the last ones whose author could have personal contacts with all the composers who held the musical scene in Italy after the second half of the twentieth century.

Από τον σπουδαίο μαέστρο Toscanini μέχρι το ριζοσπαστικό συνθέτη Luigi Nono, και από τους «δικούς μας» Σκαλκώτα και Ξενάκη μέχρι τον εκπατρισμένο Γερμανό Hans Werner Henze, η μουσική γλώσσα –στην πιο εκλεπτυσμένη μορφή της μάλιστα– κατόρθωσε να μιλήσει ταξικά, να αντιταχθεί στους σκοτεινούς καιρούς –στον φασισμό και στο τέρας που άφησε παρακαταθήκη– να παρέμβει στην εποχή, να αφήσει εποχή, να αναταράξει τα δεδομένα της τέχνης και της ζωής, προτείνοντας δρόμους σκέψης και μοντέλα ουτοπίας. Η αβίαστη εκχώρησή της στην ελίτ της αστικής τάξης και στον πολιτισμό των ιδρυμάτων αφαιρεί ένα ακόμα εργαλείο μας
από την πάλη για τη χειραφέτηση του ανθρώπου: μέσα από την τέχνη – δηλαδή ό,τι τον ανυψώνει πνευματικά, ό,τι τον ορίζει ηθικά, ό,τι του προσφέρει κουράγιο και δύναμη για το μέλλον.