“… Hay que caminar …”
Luigi Nono’s musical paths between politics and art (2)

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During a two day conference in collaboration with the University of Amsterdam a host of international speakers will discuss the many aspects of Nono’s life and work.
The subjects of these discussions will include the role of Nono’s political views in his music, his use of new musical techniques, his employment of electronics, the role of silence in his work and his visits to the Netherlands. Both days are open to the public. The first day has a more scientific focus whereas day two will deal with the subject matter in more general terms.
Programme Icoon


Moderator: Michel Khalifa


01.00 pm - 01.15 pm welcome word Pierre Audi

01.15 pm - 02.00 pm Nuria Schoenberg-Nono (president Archivio Luigi Nono)

02.00 pm - 02.45 pm Konrad Boehmer (composer)

02.45 pm - 03.15 pm break

03.15 pm - 04.00 pm David Levin (University of Chicago)

04.00 pm - 04.45 pm André Richard (composer)

04.45 pm - 05.00 pm concluding statement


Luigi Nono (1924-1990) began taking lessons in composition from Gian Francesco Malipiero in 1941. Central to these lessons were works from the 16th and 17th century, which left him with a lifelong fascination for polyphony, and for the music of the Second Viennese School, which was banned in Fascist Italy. In acquiescence to the wishes of his family, he went to Padua to study law, graduating in 1946. Meeting Bruno Maderna and the conductor Hermann Scherchen only increased his fascination for the music of Webern and Schönberg, and in 1950 he participated for the first time in the Darmstadt International Summer Courses for New Music. In the 1950s, he attended the courses in Darmstadt regularly, and between 1957 and 1960 also as a teacher; a number of his compositions had their premiere there. At a performance of Schönberg’s opera Moses und Aron in Hamburg, he met Schönberg’s daughter Nuria, whom he married in 1953. Nono joined the Communist Party in 1952 and a great many of his works have a political charge. As of 1960, he taught in Poland and the Soviet Union, among other places.
As his career progressed, he became increasingly interested in electronic music. Along with Boulez and Stockhausen, Nono is considered one of the most important representatives of the Darmstadt School, but unlike his two colleagues, he always took a great deal of freedom in applying the principles of serialism.


in cooperation with
Universiteit van Amsterdam