{"id":2346,"date":"2015-08-03T11:11:29","date_gmt":"2015-08-03T11:11:29","guid":{"rendered":"http:\/\/carolrobinson.net\/?page_id=2346"},"modified":"2015-08-17T12:45:50","modified_gmt":"2015-08-17T12:45:50","slug":"nono","status":"publish","type":"page","link":"http:\/\/carolrobinson.net\/fr\/recordings\/nono\/","title":{"rendered":"Nono"},"content":{"rendered":"

[vc_row][vc_column width=\u00a0\u00bb1\/2″][vc_single_image image=\u00a0\u00bb1408″ img_size=\u00a0\u00bbfull\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

Voices of Protest<\/strong><\/p>\n

LUIGI NONO<\/p>\n

A Floresta \u00e8 jovem e cheja de vida<\/strong> <\/em>(40:29)
\nDonde estas Hermano<\/strong> <\/em>(5:19)
\nDjamila Boupach\u00e0 <\/strong><\/em>(4:53)<\/p>\n

Carol Robinson – clarinette
\nEnsemble Vox Nova
\nGerard Pape \u2013 conception sonore<\/p>\n

Mode 97 (2000)
\n www.moderecords.com<\/a><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n

Presse<\/strong><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb1\/3″][vc_column_text]Richard Whitehouse<\/a>
\nGramophone<\/strong>
\nD\u00e9cembre 2000[\/vc_column_text][vc_column_text]Andrew Clements<\/a>
\nThe guardian<\/strong>
\n21 juillet 2000[\/vc_column_text][vc_column_text]Hugues Payen<\/a>
\nLe Monde de La Musique<\/strong>[\/vc_column_text][\/vc_column][vc_column width=\u00a0\u00bb1\/3″][vc_column_text]Rahma Khazam<\/a>
\nThe Wire<\/strong>
\nD\u00e9cembre 2000[\/vc_column_text][vc_column_text]Fono Forum<\/a>
\nF\u00e9vrier 2001 NONO<\/span>[\/vc_column_text][vc_column_text]Mario Gamba<\/a>
\nAlias (Il Manifesto)<\/strong>
\n2 Septembre 2000[\/vc_column_text][\/vc_column][vc_column width=\u00a0\u00bb1\/3″][vc_column_text]Benoit Favchet<\/a>
\nDiapason<\/strong>
\nOctobre 2001[\/vc_column_text][vc_column_text]Andy Hamilton<\/a>
\nClassic CD<\/strong>
\nSeptembre 2000[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Richard Whitehouse<\/strong>
\nGramophone
\nD\u00e9cembre 2000<\/p>\n

\u2018Rewarding music from a key figure in post-war European modernism, its impact only enhanced by time\u2019 The spirit of protest breaks through in the Vietnam-inspired ‘A floresta \u00e8 jovem de cheja de vida’ (1965-66). Here, the urge to create music ‘as it happens’ led Nono to a collaborative approach, integrating the layers of activity – vocalists, clarinet and tape – in a process of ‘illuminating’ events and their consequences. In addition to using the published score, Voxnova have evolved their recording from source material and a descriptive outline of the work. The result is a gripping aural odyssey through vocal incantation, instrumental monologue and taped reportage: less a historical document than a timeless, passionate call for action. The previous (cut) studio recording (DG, 6\/79, nla), is quite superseded by this powerful realisation.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Rahma Khazam<\/strong>
\nThe Wire
\nD\u00e9cembre 2000<\/p>\n

Few composers of the post-war generation have addressed political issues with such passion and commitment as Luigi Nono. In ‘La Fabbrica Illuminata’ (1964) he processed recordings of factory noises to convey the alienation and suffering of Italian workers, while ‘Musica Manifesto No 1’ (1968-69) expressed his support for the student uprising of May 1968. Beginning some ten years before his death in 1990, however, the confrontational gestures of his earlier works made way to a more meditative, introspective approach. The \u2018Voices of Protest\u2019 CD comprises pieces from both periods of Nono’s career. It opens with ‘A Floresta e Jovem e Cheja de Vida’ (1965-66), an orally transmitted work with no completed score, which Nono subjected to the constant revisions resulting from the experiments he carried out on it with his performers. Dedicated to the National Front for the Liberation of Vietnam, it comprises texts by the likes of Fidel Castro and Franz Fanon, and a tape section featuring clarinettist William Smith, soprano Liliana Poli and the voices of actors from The Living Theatre. The result is a fascinating, ever changing interplay of music and text, of recorded and live performance, interspersed with dramatic shrieks, violent crashes and eerie, desolate tones. Together with clarinettist Carol Robinson, the Paris-based vocal ensemble Voxnova gives an arresting performance of this harrowing work.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Benoit Fauchet<\/strong>
\nDiapason
\nOctobre 2000<\/p>\n

Mode commence une publication de l’\u0153uvre de Nono qui inclura les compositions \u00e9crites et les reconstitutions de ses derni\u00e8res pi\u00e8ces. Son ouvrage, principalement celui du milieu des ann\u00e9es soixante et incluant \u2018A Floresta\u2019, est constitu\u00e9 d’\u0153uvres \u2018int\u00e9ractives\u2019 transmises oralement sans partitions compl\u00e8tes pour la plupart d’entre elles. Il s’agit de musique cr\u00e9\u00e9e, selon la pr\u00e9f\u00e9rence de Nono, avec la participation de musiciens et d’ing\u00e9nieurs du son. Les \u0153uvres vocales de ce programme proviennent de sa production sc\u00e9nique et sont r\u00e9solument porteuses d’id\u00e9es politiques. \u2018A Floresta\u2019 est la fusion de la version originale (avec Liliana Poli, William O. Smith et les voix du Living Theatre) avec les interpr\u00e8tes d’aujourd’hui. Le travail de Voxnova, ensemble fran\u00e7ais, est le r\u00e9sultat d’une \u00e9tude approfondie des esquisses de Nono, et des notes, bandes pr\u00e9paratoires et t\u00e9moignages des interpr\u00e8tes-cr\u00e9ateurs de l’\u0153uvre.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Andrew Clements<\/strong>
\nThe Guardian
\n21 juillet 2000<\/p>\n

[\u2026] That change of emphasis is very well illustrated in this latest pair of discs. Mode’s collection, called ‘Voices of Protest’ and promisingly labelled as the first in a series devoted to Nono, concentrates on three of the political works, the most substantial of them being the spine-tingling ‘A Floresta e Jovem e Cheja de Vida’ (The Forest is Young and Full of Life, 1966), dedicated to the National Front for the Liberation of Vietnam. [\u2026] ‘A Floresta e Jovem’ is a majestic, free-standing work, with an assemblage of texts that celebrate workers’ revolts and revolutionary movements. In it, a solo soprano and three reciters pitch their contributions into a musical maelstrom created by pre-recorded tape collages, a solo clarinet and copper plates. There are some volcanic eruptions, and some impassioned declamation; underneath it all, it seems a work of great seriousness and power.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Fono Forum<\/strong>
\nF\u00e9vrier 2001<\/p>\n

Immer wieder verbl\u00fcffend festzustellen, wie Luigi Nono politisches Engagement und eine kompromisslos avantgardistische Asthetik unter einen Hut brachte. ‘A floresta \u00e8 jovem e cheja de vida’ (1965\/66) ist der Nationalen Befreiungsfront von Vietnam gewidmet und gew\u00e4hrt einen faszinierenden Einblick in seine Werkstatt der 60er Jahre, als er unter verst\u00e4rkter Einbeziehung von Tonb\u00e4ndern und elektronischen Manipulationen konkrete Lebenswirklichkeit in avancierte Klang-prozesse verl\u00f6tete. Die hoch experimentelle Solidarkundgebung verschmilzt in ‘gelenkter Improvisation’ Musik, politische Textfragmente und Realger\u00e4usche zur sozialrevolution\u00e4r gestimmten M\u00e9lange.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Andy Hamilton<\/strong>
\nClassic CD
\nSeptembre 2000<\/p>\n

Verdict: Superb new realisation of a marvellous piece of 1960s avantgardism Of the three leading 1960s avantgardists Stockhausen, Boulez and Nono, the Italian composer remains by far the least known. But then Luigi Nono’s denunciations of the capitalist culture industry weren’t exactly career enhancing. His unlikely synthesis of total serialism and revolutionary Marxism involved performances in factories and workplaces. A floresta… (\u2018The Forest is Young and Full of Life\u2019) is dedicated to the National Front for the Liberation of Vietnam, and features settings of brief texts by Castro, Fanon, Lumumba and ordinary workers. The voices of Voxnova interact with clarinet, bell plates and tape in a strident, dramatic piece with dazzling effects. Nono worked experimentally with the sound engineer and interpreters and no completed appeared; editors at Ricordi, Nono’s publishers, have referred to his notebooks and the recollections of the original performers. Carol Robinson draws on a range of musical traditions in her outstanding clarinet playing, and despite period references the piece emerges as a classic. The disc is completed by two shorter pieces, \u2018Donde estas hermano?\u2019 from 1982 dedicated to Argentina’s Disappeared.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Hugues Payen<\/strong>
\nLe Monde de La Musique
\nNovembre 2000<\/p>\n

Alors que l’Europe ploie sous les guerres de d\u00e9colonisation, le socialisme gagne nombre de pays d\u00e9stabilis\u00e9s. C’est \u00e0 cette p\u00e9riode – les ann\u00e9es 1960 – que Luigi Nono fait ‘entrer la musique dans les usines’ en utilisant des textes d’ouvriers et de r\u00e9volutionnaires. Le compositeur y cherche une libert\u00e9 nouvelle \u00e9quivalente de celle r\u00e9clam\u00e9e par les pays en guerre. Il se place alors \u00e0 l’avant-garde et, \u00e0 ce titre, a tr\u00e8s souvent recours \u00e0 l’\u00e9lectronique.<\/p>\n

De cette \u00e9poque datent ‘A Floresta jovem…’ (1962) et les ‘Canti di vita’ \u00e0 ‘amore’ ( 1965), dont est tir\u00e9 Djamila Boupacha. La premi\u00e8re \u0153uvre, une fresque de quarante minutes, a pour support textuel des d\u00e9clarations d’ouvriers am\u00e9ricains, de Fidel Castro ou de Patrice Lumumba; la deuxi\u00e8me, longue m\u00e9lop\u00e9e sur un po\u00e8me de Djamila Boupacha, est un message de paix et d’espoir. Les six chanteurs de l\u2019ensemble fran\u00e7ais Voxnova r\u00e9ussissent, en enregistrant ces \u0153uvres dix ans apr\u00e8s la mort de Nono, \u00e0 fixer un mat\u00e9riau music; que le compositeur lui-m\u00eame condamnait \u00e0 n’exister que par tradition orale, avec une transcription possible sur papier. C\u2019est ainsi qu’un double travail sur partition et, essentiellement, sur bande a \u00e9t\u00e9 n\u00e9cessaire pour r\u00e9aliser cet enregistrement. Le r\u00e9sultat, fruit d’une collaboration avec les cr\u00e9ateurs de l’\u0153uvre, est surprenant d’homog\u00e9n\u00e9it\u00e9 et d’expressivit\u00e9, et l’on se prend \u00e0 revivre ces angoisses, mais aussi ces espoirs r\u00e9volutionnaires.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Mario Gamba<\/strong>
\nAlias (Il Manifesto)
\n2 septembre 2000<\/p>\n

Una casa discografica americana presenta una scelta di opere esplicitamente \u2018civili\u2019 del compositore veneziano. \u00c8 in qualche modo una notizia. Proprio perch\u00e9 il cd copertina rossa, una bella foto di Nono giovane (bellissimo), titolo stampato con i caratteri delle scritte di protesta sui muri ha una curiosa aria da pubblicazione \u2018militante\u2019, un genere che da noi non usa pi\u00f9. Ci troviamo \u2018A Floresta \u00e8 Jovem e Cheja de Vida\u2019 (1965-’66), dedicata ai Vietcong, e due estratti: \u2018\u00bfDonde Estas Hermano?\u2019 dal coro finale \u2018di Quando stanno morendo, Diario polacco n. 2\u2019 (1982) e \u2018Djamila Boupach\u00e0 da Canti di vita e d’amore: sul ponte di Hiroshima\u2019 (1962). I due estratti sono ispirati dalle storie dei desaparecidos argentini e dalla storia di una donna algerina impegnata nella guerra di liberazione contro i francesi, torturata sadicamente, divenuta un simbolo per la sinistra dell’epoca. Musica apocalittica e di purissimo lirismo, musica dove si esalta la continua \u2018scoperta della voce\u2019 che Luigi Nono oper\u00f2 per tutta la sua vita. Splendidi interpreti i solisti dell’ensemble Voxnova.<\/p>\n

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Carol Robinson","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"http:\/\/carolrobinson.net\/fr\/recordings\/nono\/","og_locale":"fr_FR","og_type":"article","og_title":"Nono - Carol Robinson","og_description":"[vc_row][vc_column width=\u00a0\u00bb1\/2″][vc_single_image image=\u00a0\u00bb1408″ img_size=\u00a0\u00bbfull\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb1\/2″][vc_column_text] Voices of Protest LUIGI NONO A Floresta \u00e8 jovem e...","og_url":"http:\/\/carolrobinson.net\/fr\/recordings\/nono\/","og_site_name":"Carol Robinson","article_modified_time":"2015-08-17T12:45:50+00:00","twitter_card":"summary_large_image","twitter_misc":{"Dur\u00e9e de lecture estim\u00e9e":"9 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"http:\/\/carolrobinson.net\/fr\/recordings\/nono\/","url":"http:\/\/carolrobinson.net\/fr\/recordings\/nono\/","name":"Nono - 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