Poland was the first socialist country which Luigi Nono visited and more closely knew in 1958. Some fertile and long-lasting contacts and many friendships derived from that experience, and the artistic and intellectual exchange with Polish music and musicology was so stimulating, that it produced some fundamental effects on Nono’s output (Composizione per orchestra n. 2: Diario polacco ’58, Quando stanno morendo. Diario polacco n. 2 and, indirectly, Ricorda cosa ti hanno fatto in Auschwitz), with works which chronologically lie close to the two major shifts in his stylistic and creative development. Therefore the authors intend to place those trips, reports and Nono’s “Polish” compositions within what might be termed his artistic and political internationalism. The applied methodology is historical-biographical and culturological, as well as – more tightly – musicological. Starting by reading numerous letters from major Polish correspondents, kept at the Archivio Luigi Nono in Venice, and books and articles published by Nono, accompanying and explaining the two major "Polish" works, it is possible to redraw the critical position of a composer, who was both a communist, as well as an always attentive and responsive artist, sensitive to the calls from the real world and from the more enlightened intellectual circles. This non-conformist attitude will finally take him to support totally the vital experience of the Solidarność trade union, rightly perceived by Nono as the truly representative part of the Polish civil society. In this sense, the historical events of post-war Poland, which Nono experienced and relived as a “man and musician” in a personal, intellectual and creative way over more than thirty years, act almost as a litmus test for the whole of his dynamic attitude towards the CentralEastern Europe countries and their social, political and artistic drama.
La Polonia di Luigi Nono, attraverso i viaggi, le composizioni, le lettere inedite e le relazioni artistiche e personali del compositore veneziano dalla prima "svolta" del 1957-58 fino alla morte (1990).
"Jak zapiski w dzienniku". Polska Luigiego Nono / Marinelli, Luigi; Sganga, Michele. - In: MUZYKA. - ISSN 0027-5344. - STAMPA. - 58:231(2013), pp. 3-31.
"Jak zapiski w dzienniku". Polska Luigiego Nono
MARINELLI, Luigi;SGANGA, Michele
2013
Abstract
Poland was the first socialist country which Luigi Nono visited and more closely knew in 1958. Some fertile and long-lasting contacts and many friendships derived from that experience, and the artistic and intellectual exchange with Polish music and musicology was so stimulating, that it produced some fundamental effects on Nono’s output (Composizione per orchestra n. 2: Diario polacco ’58, Quando stanno morendo. Diario polacco n. 2 and, indirectly, Ricorda cosa ti hanno fatto in Auschwitz), with works which chronologically lie close to the two major shifts in his stylistic and creative development. Therefore the authors intend to place those trips, reports and Nono’s “Polish” compositions within what might be termed his artistic and political internationalism. The applied methodology is historical-biographical and culturological, as well as – more tightly – musicological. Starting by reading numerous letters from major Polish correspondents, kept at the Archivio Luigi Nono in Venice, and books and articles published by Nono, accompanying and explaining the two major "Polish" works, it is possible to redraw the critical position of a composer, who was both a communist, as well as an always attentive and responsive artist, sensitive to the calls from the real world and from the more enlightened intellectual circles. This non-conformist attitude will finally take him to support totally the vital experience of the Solidarność trade union, rightly perceived by Nono as the truly representative part of the Polish civil society. In this sense, the historical events of post-war Poland, which Nono experienced and relived as a “man and musician” in a personal, intellectual and creative way over more than thirty years, act almost as a litmus test for the whole of his dynamic attitude towards the CentralEastern Europe countries and their social, political and artistic drama.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.