Como Una Ola De Fuerza Y Luz 
 1 	Beginning 	2:33
 2 	I. Interno Dolce 	1:47
 3 	II. Duro Deciso 	2:14
 4 	Piano Entry 	6:55
 5 	III. Dolcissimo Sereno 	2:11
 6 	Orchestra Entry 	10:02
 7 	Orchestra And Piano Entry 	4:20

8 	....Sofferte Onde Serene.... 	13:58
9 	Contrappunto Dialettico Alla Mente 	19:51

Slavka Taskova (soprano)
Maurizio Pollini (piano)
Symphonie-Orchester des Bayerischen Rundfunks
Claudio Abbado (conductor)

Liliana Poli (soprano) (tracks: 9) 
Berliner Philharmoniker (tracks: 9)
Coro Da Camera Della RAI, Roma (tracks: 9) 
Giuseppe Sinopoli (conductor) 

'Como Una Ola De Fuerza Y Luz' for soprano, piano, orchestra and tape, composed in 1971-1972
'...Sofferte Onde Serene...' for piano and tape, composed in 1976.
'Contrappunto Dialettico Alla Mente' for 2-channel tape, composed in 1968. 

Luigi Nono began Como una ola de fuerza y luz (Like a wave of strength and light) as a piece for piano and orchestra in 1971, at the instigation of Maurizio Pollini. While the composition was in progress, Nono learned of the death of a young Chilean revolutionary and recast the work in his memory, with added parts for soprano soloist and tape. The resulting half hour work is clearly a lament, encompassing various expressions of grief, from stunned sorrow to anguish to the fiercest rage. As a kind of requiem, the work is deeply expressive and deeply moving. Claudio Abbado leads the Symphonieorchester des Bayerischen Rundfunks in an overwhelming performance, made soon after the work's premiere. Soprano Slavka Taskova and Pollini sing and play with great passion and commitment.

Scored for piano and tape, ...sofferte onde serene (...serene waves suffered, 1976) was also written for Pollini. Like Como una ola de fuerza y luz, it has the character of a lament, but is more subdued, without the larger work's anguished outcry. The piece commemorates deaths of relatives of the composer's and the pianist's, and its overall mood of serene resignation is punctuated with clangorous clusters reminiscent of the tolling of bells. A third piece for tape, Contrappunto dialettico alla mente (1968), takes as its sound sources voices singing, speaking, and shouting, using texts by revolutionary poets and an American anti-war pamphlet. The composer describes the work as being inspired by a madrigal comedy written in 1608 by Adriano Banchieri, but it's difficult to discern any clear connection to musical conventions of the early Baroque. Instead, it's a spookily evocative indictment of the political injustices Nono deplored. The strong performances make the disc a fine introduction to some of Nono's most expressive and impassioned work. ---Stephen Eddins, AllMusic Review

...In Como una ola defuerzay luz (1971-72), the engineering is still more intricate and inventive. Indeed it's the very substance of the piece, for in the traditional sense there is little enough 'composing' involved: the tensions which sustain the affair arise from juxtapositions of blocks of sound much more than from patterns of notes. Maurizio Pollini dispatches the piano part—much hammering of repeated notes—with great rhetorical flair, which is all that it requires. (It does at least do something to disguise the rhythmic invertebracy of the whole piece.) Both Pollini's contribution and that of the soprano soloist, Slavka Taskova, are subjected to various electronic transformations and fed back into the score. After several hearings, I find that the sheer sumptuousness of the sound still compels admiration. Musically there is scarcely anything that demands one's attention, but I can imagine that on a suitable occasion either piece might make rather a splendid, decadent effect. --- Gramophone, arkivmusic.com

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CD1
1. No. 1. Prologo 
2. No. 2. Isola No. 1 	
3. No. 3. Isola No. 2 / No. 3a. 
4. No. 3b. Hölderlin                 play

CD2
1. No. 3c. Stasimo No. 1 
2. No. 4. Interludio No. 1           play
3. No. 5. Tre Voci a 
4. No. 6. Isola No. 3 - No. 4 - 
5. No. 7. Tre Voci b 
6. No. 8. Interludio No. 2 
7. No. 9. Stasimo No. 2

Performer: 
Ensemble Recherche, 
SWR Baden-Baden and Freiburg Symphony Orchestra, 
Solistenensemble des Philharmonischen Orchesters Freiburg, 
Monika Bair-Ivenz, Petra Hoffmann, et al.
Conductor: Kwame Ryan, Peter Hirsch

Luigi Nono was a composer heavily influenced musically by early modern period composers, especially 12-tone/atonal composers such as Schoenberg, and influenced philosophically (principally) by Marxism. Luigi Nono had come into his own by the 80s, however, and this work can easily be considered a triumph of opera in the 20th century, both in content and in music, and the culmination of Nono's career. Enjoy.

Both the composition and the recording of this "tragedy of listening" took some years to complete. Luigi Nono kept rewriting large parts before and after the 1984 premiere and worked extensively with many of the people that participated on this recording and surround mix of Prometeo. It is based largely on a text by Massimo Cacciari that concerns the basics of human culture and consequently contains a lot of quotes from ancient Greek mythology, like those concerning Prometeo, a pivotal figure in freeing humans from the Gods and sparking off their culture.

The music is generally very quiet and austere, long airy phrases on the instruments occasionally mixed with parts of the texts, with most syllables lasting several moments. Sometimes the music accompanies words that are supposed to be just present in the minds of the performers. Here and elsewhere the fine listening score really helps out to make sense of the large array of personae taking part, singing texts in multiple languages. The music has a kind of slow glacial beauty to it but it all sounds very distant so it takes some effort to figure out its dynamics and form which, considering the large number of performers involved, is actually quite uncomplicated.

In all Prometeo is a rather abstruse piece far removed from any daily concerns (which can be a good thing of course), finally the impression one might get is that of a bunch of mad monks wandering around their monastery at the end of times being engaged in unimaginable pursuits. –Ivar de Vries

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1. A Pierre. Dell' azzuro silenzio, inquietum, for bass flute, clainet, double bass & live electronics 
2. Quando stanno morendo. Diario polacco No.2, for 4 female voices, bass flute, cello & live electronics 
3. Post-Prae-ludium No.1 'per Donau', for tuba & live electronics

Performer: Roberto Fabbriciani (flute), Ciro Scarponi (clarinet), 
Ingrid Ade, Monika Bayr-Ivenz, Monika Brustmann (sopranos), Susanne Otto (alto),
 Christine Theus (cello), Giancarlo Schiaffini (tuba) 
Alvise Vidolin, Luigi Nono (live electronics)
Conductor: Roberto Cecconi

Written in 1985 in Baden-Baden; Quando stanno morendo #2 is for four female voices, flute, cello and live electronics. It was written for the Warsaw Music Festival of that year: the festival however never happened, friends of Nono were hiding in exile, were in prison or resisting the so-called Russian invasion that never happened; the first section, reveals a pointillism, slow for Nono had a way of gleaning/bundling anxiety and beauty simultaneously from the most barren horror-struck vocal intervals;then longer tones a capella and sustained winds - There are two sections with three poems . "My faithful tongue, I have served you ... you have been my only home because I lost the other ... because the thistle has covered its land" (Czeslaw Milosz) begins the first section, then amplified basso, penumbral cello strings begin the second section - "Moscow - who are you? Moscow - ancient skull with a blade of stone ... you are orthodox wolves ..." (Velemir Chlebnikov).

Nono thes last ten years, 1980-1990 had worked with particles of timbre, on various ways of utilizing the breath with various similar tones;for FLute and Clarinet,dozens of tones were identified; later, Contrabass Flute, and Contrabass Clarinet were engaged for this work; amplified flute here come to resemble(unintendedly) trains, or horses, gentle breath harmonic sounds return, followed by solo voices accompanied by low electronic ringing sounds; the final chorus sings restrained agony of the beginning - "When they are dying, horses feel relief, when they are dying, shrubs become sad, when they are dying, suns cease to shine, when they are dying, men sing ..." (Velemir Chlebnikov).

Similarly Nono had worked in Freiburg Electronic Studios with the Tuba Player-Trombonist Giancarlo Schiaffini,dedicating the "Post Prealudium per Donau" to him,this is like a sketch from this time the mid-Eighties. The Tuba player plays half-valved tones very high in treble places, multiphonics, (singing one tone into the instrument while playing,(( an eering chord out-of-tune results)), the live electronics propells all this sustaining in a cavernous-like reverb,very primitive sounding, part of his aesathetic at this time, to return to where one began;timbre,klangfarben; the technology back then was rather primitive for Nono, where multiple kinds of microphones and a cumbersome electronic configuration was required to produce the simplist results. The piece is in three sections,(A-B-C)and is about motion,movement, the slow transformations,transmogrifications of timbre the first, there are "pathways" "percorsi" written on the score in interesting red, yellow, blue and green pens, the performer while traversing four lines can break systems and go to another, following the the colours, much like one travels in exile, or in your own land occupied by another "Other", as in the Middle East today. The work is quite eeree and a seminal work for Tuba, the live electronics transforms the Tuba (playing into a microphone)simply into a passive sound producer,like its existence has been suspended and its beauty restrained, the registers exploited are either distorted ones, (half-valved tones, lipped out-of-tune microintervals, or multiphonics), then the final section resides on a loud bombastic Low C-natural,all sustained powerfully with the electronics;, there is also an interesting antiphonal set-up; Nono knew very well the means of structure through discreet compact shapes work; very powerful for a mere 14 minutes.Likewise the piece dedicated to Pierre Boulez, who really didn't approave of his work the latter years; Again pits incredible Contra-bass Flute and Contra-Bass Clarinet with small chorus. This CD is a reissue from recorded over ten years ago,but still the only recording of much of this music.

In October 1981, in the heyday of Solidarity, Nono received a commission for a music festival in Warsaw. On September 13th General Jaruzelski seized power.The festival was cancelled and Luigi Nono lost contact with the friends who had invited him, which only stirred his desire to complete the work - the result was Quando stanno morendo. He dedicated it to 'the Polish friends and comrades who resist in exile, in hiding, in jail, at work - who continue to hope amidst hopelessness, who continue to hope despite their disbelief'.The course of Post-Prae-Ludium per Donau is fixed in all its details, but the score is intended only to be a basic guide for the performer.The technical means of the six-cylinder tuba give the performer freedom to go beyond this guide and create random sound-events.

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