Bruno Maderna: Concerto per oboe e orchestra No.3 (1973)

Bruno Maderna (1920-1973): Concerto per oboe e orchestra No.3 (1973).
Heinz Holliger, oboe
Kölner Rundfunk-Sinfonieorchester diretta da Gary Bertini.
Cover image: painting by Eugenio Carmi.
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[@paulamrod537]

I am astounded at how few people know this mastery. I have known his pieces for over 50 years and have cherished this man's contribution to the 20th Century musical fabric. He always exhibited a very individualistically marvelous approach.

[@stueystuey1962]

As a non musicologist or performer my knowledge of the modern masters was limited to what I would see in the store. Of the post WWI composers there was the 2nd Viennese school, numerous Americans like Cage and Carter, some Darmstadt mostly Henze, and of course Stockhausen whose music leaves my ears bleeding. Finally Berio and Ligeti were available in limited quantity. Maderna I now know is one of the all time greats but in the 80's and 90's one just didn't see him represented. YT and the vast array of dedicated uploaders put Maderna on the map. Thank G-d for that.

[@SeanPi314]

Holliger's technique is unbelievable!!!

[@gerardbegni2806]

Bruno Maderna appears to be very sensitive to the oboe, since he wrote three concertos for it - unless he was seduced by the sonority and virtuosity of H. Holliger, a man close to the avant-garde. These concertos exhibit the features that we know in Maderna's music: the rarity of the sound, taht feeling that each note is essential to the architecture of the whole. The technique of Holliger here is astonishing; he gives a soul to this highly abstract music. The three concerti for oboe of Maderna are masterworks.

[@nichelodeonband]

Sublime

[@MrInterestingthings]

This music should be given Messiaens title "...for The End of Time " ! The last 13 minutes dazzle. I must find this score with Salabert !

[@SaccidanandaSadasiva]

Nice.

[@kylegann4005]

Maderna has always been my favorite composer among the Darmstadt crowd. But I've never been able to learn why he had such a peculiar passion for the oboe.

[@matietoh]

"Maderna took from Ancient history the concept of *aulodia*: a clear, sharp, precise, essential monodic line. Here resides the much coveted "absolute melody" of Maderna. Or, which is the same, his poetry devoid of words. The aulodia was singing accompanied by the aulos, the ancestor instrument of the oboe... In Maderna the aulodia becomes an archetypal model, the very idea of singing, or rather of music entirely understood as singing." Adapted from Maderna, o della poesia senza parole [MusicaPoesia / PoesiaMusica #3], website: altremusiche .it

[@brianknapp8645]

Sounds like a description of some incomprehensible alien world.

[@paulamrod537]

I think you should clean your ears out.

[@oldcrowbalthazor]

@@paulamrod537 I think you misunderstood what he meant...to me who has enjoyed this piece for 40 yrs...It is incomprehensible, alien...and more, much, much more. And that's why it's so sublime. But even then...................................

[@alexeiheintz7350]

I learned about Maderna as a perfect conductor of 20th century music. Next step was to try his own music language. This particular piece is very lyrical and sensitive, almost as poetry. It creates (for me) an image of a lone wanderer in this cold world. Merce Cunningham could make a ballet on this music.

[@MrInterestingthings]

Yes . Cunningham could maybe through dance make its special meaning clearer . I like no. 3 the most of the 3 it is lyrical ,poetic one always has the idea the soloist is speaking life and death importance . Nono and even more so Berio have with Maderna made Italian music of this time period important . We need more Maderna !

[@MorganHayes_Composer.Pianist]

@@MrInterestingthings you’re right , there is something very choreographic about this concerto . It made a dazzling impression last night at the Barbican centre with Nicholas Daniel playing the oboe.

[@Orquesta.de.Improvisacion]

9:50 What he said here?

[@stueystuey1962]

Unbelievable.

[@AcidBoy1805]

6:15 - 6:35