Bruno Maderna: Concerto per oboe e orchestra No.1 (1962/1963)

Bruno Maderna (1920-1973): Concerto per oboe e orchestra No.1 (1962/1963).
Heinz Holliger, oboe
Kölner Rundfunk-Sinfonieorchester diretta da Gary Bertini.
Cover image: painting by Eugenio Carmi.
****
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to KZbin, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.

[@salgoudsamoht]

sobresaliente . . . destacada . . . maravillosa . . . descanse por favor en la paz el Maestro Maderna. muchas gracias a Wellsz & Co. y saludos desde Tokio.

[@MrInterestingthings]

Familiar wih Berio and Nono but hadn't heard any of maderna and now this and the composition no.2 come as a revelation .The first piano concerto is a different style altogether but here his love of the oboe and free floating lyricism is a wonder in itself nothing like what I imagine he might have hear in early Darmstadt!

[@stueystuey1962]

The Piano Concerto came much earlier. The few great composers, the ones we still listen to, "invented" Darmstadt, not the other way around.

[@BrianJosephMorgan]

Lovely.

[@artistnd2819]

SUBLIME

[@krantiyatri2107]

Nel finale c'è una certa assonanza con la musica free di John Coltrame

[@gerardbegni2806]

Bruno Maderna seems to have loved the oboe. This is perhaps due to the influence of Heinz Holliger. This concerto has nothing to do with the classical or romantic form of concerto. Obviously, there is a soloist and an orchestra, but the material is very tiny as most often in Maderna's work. It is demanding from the listener, since every single note plays a key role in the composition.

[@riversandstones1644]

Thanks for the info. Is this work written with twelve tone techniques?

[@gerardbegni2806]

I think so, yes, but with all the reforms that the Darmstadt school brought to it in the 5à's.

[@paulamrod537]

Somewhat like Webern, But you luckily did not mention this because Maderna was a genius in relation.

[@steveegallo3384]

@@paulamrod537 -- Strange that you consider “Maderna a genius in relation to Webern”? Building upon such influences as Malipiero and even Guarnieri and Scherchen who taught him to conduct Kranichsteiner Kammerensemble ‘hits,’ hearing Earle Brown’s ‘Centering,’ dedicated to Maderna’s memory belies the assertion !

[@steveegallo3384]

Maderna may have built upon such influences as Malipiero and even Guarnieri and Scherchen who taught him to conduct Kranichsteiner Kammerensemble ‘hits’ back in the day, hearing Earle Brown’s ‘Centering,’ dedicated to Maderna’s memory belies your theory!

[@averysax6429]

The new music Tonal Scale is as thus: 12 7 5 2 3 : 1 4 5 9 14 Not 12 with 7 & 5 BUT 14 with 9 & 5 [2^(1/14)] These are the Tonal Scales growing from f (by cycles of fifths): All Scales build from the first mode: equivalent to Lydian f White keys are = & Black keys are | 12 with 7 & 5 [2^(1/12)] =|=|=|==|=|= {1,8,3,10,5,12,7,2,9,4,11,6} 1thru7are= 8thru12are| 7 with 5 & 2 [2^(1/7)] ===|==| {1,3,5,7,2,4,6} 1thru5are= 6&7are| 5 with 2 & 3 [2^(1/5)] =||=| {1,3,5,2,4} 1&2are= 3thru5are| Now evolving up the other end 5 with 4 & 1 [2^(1/5)] ==|== {1,3,5,2,4} 1thru4are= 5is| 9 with 5 & 4 [2^(1/9)] =|=|=|==| {1,8,3,7,5,9,2,4,6} 1thru5are= 6thru9are| 14 with 9 & 5 [2^(1/14)] =|=|===|=|===| {1,12,3,14,5,7,9,11,2,13,4,6,8,10} 1thru9are= 10thru14are| Joseph Yasser is the actual originator of the realization, that scales develop by cycles of fifths. www.seraph.it/blog_files/623ba37cafa0d91db51fa87296693fff-175.html www.academia.edu/4163545/A_Theory_of_Evolving_Tonality_by_Joseph_Yasser www.musanim.com/Yasser/ The chromatic scale we use today is divided by 2^(1/12) twelfth root of two Instead of moving to the next higher: the 19 tone scale 2^(1/19) nineteenth root of two I decided to go all the way down and back up the other end: So 12 - 7 is 5 & 7 - 5 is 2 & 5 - 2 is 3 Now we enter to the other side: 2 - 3 is (-1)* & 3 - (-1) is 4* & (-1) - 4 is (-5)* & 4 - (-5) is 9* & (-5) - 9 is (-14)* ignoring the negatives we have * 1 4 5 9 14 Just follow the cycles how each scale is weaved together, as shown above. Each scale has its own division within the frequency doubling, therefore the 14 tone scale is 2^(1/14) fourteenth root of two

[@joshsussman9432]

Beautiful and delicate piece. Is this a three-movement work? If I remember correctly from years ago having read about it, I believe it is. Cannot possibly agree with the sentiment below that this is superior to Webern, but hey.

[@stueystuey1962]

Superior as in better on so many levels it can't be denied. No probably not. But peer to Webern and a few others - absolutely. He is a first rank genius; one of the goat's of 20th century serialism.

[@valterricci589]

come la "Corazzata Potemkin"...è una cagata pazzesca !!