Luigi Nono - "Hay que caminar" soñando (1989) per 2 violini

"Hay que caminar" soñando (1989) per 2 violini
Composer: Luigi Nono (1924 - 1990)
Performers: Irvine Arditti & David Alberman
0:00 I.
6:15 II.
16:54 III.
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“Wayfarer, there is no path. Yet you must walk”, in Spanish: “Caminante, no hay caminos. Hay que caminar.” These words are the contents of an inscription, which Luigi Nono read on the wall of a monastery in Toledo in the middle of the 1980s. They must have affected him most deeply, since in the last three years of his life he made them the basis of the titles of a trio of works. In “Hay que caminar” he surely recognized his own lifelong principle of continual creative restlessness, of perpetually being en route, which guided him from the outset. For a long time this was perhaps unconscious, but during the several years’ incubation of Prometeo it took conscious shape in the presentation of a route-less wayfaring that directs everything. An observation from 1981 is characteristic of this consciousness. For him it was primarily to do with the attempt “to find something, but not something certain.
[...]
Wayfaring, precisely expressed: the search, certainly here even the external aspect of performance. The performers of this barely half-hour long violin duo have to distribute at least eight different music stands in the performance space and at the end should choose a new place to play from two of a total of three parts, “seeking, as one seeks a path”. Each of the two players is positioned spatially distant from the other. A sort of sonic bridge is thus formed in a concert performance, as well as a counter play of call, in the first part, and faint sustained sound picked up in the other part: a divided togetherness ultimately, in actions of the same sort happening at the same time. Nevertheless one wouldn’t want to speak unconditionally of the character of the whole as a dialogue, rather it might present the term “Duo-Monologue”, spatially-expanded, such that as a whole both individual voices add up to a monologue, even if the rhetoric is also punctuated with pauses and fermatas. “Hay que caminar” sognando is Luigi Nono’s final completed composition. Nevertheless it is no farewell. Objectively speaking, there is a late style, which as a rule defines itself through introspection, linguistic “skinning” and spiritual transcendence, often incorporating a tone of resignation as well. Several of these features can be demonstrated in Nono without difficulty since the String Quartet. Yet not the tendency towards resignation, and “Hay que caminar” sognando provides the last evidence for it. The whole disposition of the work can be described as sublimated contemplation and direct attack in undiminished strength near, with and within one other. In this way the epithet “sognando” in the title can be explained: the path should certainly be travelled dreamily, but in the situation of a day dream, mindful of a utopian potential that cannot be lost. Removed from current affairs Luigi Nono remains the politically engaged artist."
~Josef Häusler, translation: Joanna King, John Winbigler
Source: www.kairos-music.com/sites/de...
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[@B-eSCH]

Insanely beatiful, as Nono always is... ❤

[@marcomoreiradasilva7294]

Thank you very much for sharing.

[@paulchristopher2135]

Brilliant, thank you for sharing.

[@wolfgangknuth104]

Grandios!

[@didierschein8515]

Thank you very much for the score.

[@machida5114]

so good...

[@eddyc4603]

Je me suis abonné rien qu'en voyant le nom de la chaîne, avant même que la musique commence. Maintenant qu'elle a démarré... Merci.

[@juanmaMCMLXXXII]

"Caminante, no hay caminos..." I think it's originally a poem by Antonio Machado.

[@thorstentopp3824]

Yes, an important poem for Nono

[@didierschein8515]

Nono saw this sentence wrote on a wall in a monastery in Spain, in Toledo I think.

[@franckmousset4022]

La dernière oeuvre de Luigi Nono.

[@organman52]

This is without question on the same level as Bach and Mozart.

[@juliusseizure591]

How can you even compare Nono with Bach or Mozart? Such different worlds...

[@organman52]

@@juliusseizure591 ever hear of sarcasm???

[@emilianoturazzi]

@@organman52 it wasn't clear - it sounded like a rethorical excess of enthusiasm instead of a rethorical excess of close minded attitude (with all the usual things it usually carries on: a bit of arrogance, a bit of ignorance, a bit of violence...)

[@arvidtom]

Intriguing sound world at first, but then after a few minutes it' becomes boring, expressively uniform and gray - the same 'avant garde' clichés repeated over and over again. The notation is typical of the pretentious old school avant-garde style: overly detailed and totally impractical (how could any human performer meaningfully distinguish between ppppppp and ppppp?)

[@Nessuno777]

Regardless of personal tastes and notational clichés, I don't think we can say that this is the usual “over and over again avant-garde”. One could say this if this were a contemporary piece, but it is a composition from 1989; it’s the culmination of Nono's compositional journey, coherent with what it was from "Polifonica monodia ritmica" until the end. That's Nono, like it or not, he's not an imitation of someone else.

[@Remi-B-Goode]

lol