Sunday 25 September at 3:00 p.m.
Sala degli Arazzi at the Fondazione G.Cini
Luigi Nono A floresta é jovem e cheja de vida (1966)
First presentation of the 8-channel version with the original performers on support
Curated by Veniero Rizzardi with the assistance of Alberto Bianco
Sound direction Alvise Vidolin
In collaboration with the Fondazione G. Cini – Istituto per la Musica – laboratorioarazzi, Fondazione Archivio Luigi Nono, Conservatorio Statale di Musica “A.Steffani” Castelfranco Veneto
A floresta é jovem e cheja de vida is one of the key works in Nono’s artistic career. It was conceived between 1965 and 1966 with writer Giovanni Pirelli as the hypothesis for a new musical theatre based on documentary texts, in the form of letters, statements, speeches, which in the intent of the authors were meant to reflect the subjective, and often painful or fatal, experience of participating in the anti-Imperialist struggles for liberation of the time (Vietnam, Cuba, Angola, as well as the student revolts and workers’ demonstrations).
A floresta became the model for almost all the works composed by Nono in the ten years that followed and was the work that, as a conductor and sound director, he carried with him longer than any other to festivals and concerts. For various reasons, first and foremost its nature as an experimental composition, it was never set down in a score. It was not until 1998, pressed by the many concert institutions that wished to perform the piece, that the publisher, Ricordi, commissioned a composer – Maurizio Pisati – and a musicologist – Veniero Rizzardi – to reconstruct a text that could be performed based on the ‘stenographic’ parts of the performers, on Nono’s conducting notebooks, and on the many papers, sound and visual documents conserved in the Luigi Nono Archives in Venice. The result was a score sui generis which, faithful to Nono’s dictate and as detailed as possible, makes it possible to convey the work to new generations of performers. A fundamental problem, however, which proved impossible to resolve, was that each new performer must follow a model that was largely the product of improvisation without necessarily being at the centre of the musical experiment, like the original performers were.
This philological reconstruction, starting with the materials used for the 1966 recording, is an experiment that intends to restore A floresta to its original form with all its performers. It would be curious to discover how many and what personalities participated. The magnetic tape was made at the historic Studio di Fonologia musicale at RAI in Milan with the assistance of Marino Zuccheri. These materials record the voices of Liliana Poli, Kadigia Bove, Elena Vicini, Umberto Troni, Franca Piacentini, Enrica Minini and the actors of the Living Theatre. The instrumentalists were William O. Smith on clarinet, and the performers on the copper sheets were directed by Bruno Canino. It also features synthesized sounds.