CONTEMPORARY AND TRADITIONAL PATTERNS IN BRUNO MADERNA’S VOCAL WORKS

Ioana BADIU-AVRAM

doi:10.24193/subbmusica.2019.2.04

Authors

Ioana BADIU-AVRAM Associate faculty member (singing teacher within the Module of Performance of Pop Music and Jazz-IMUJ) and PhD student, Gheorghe Dima Music Academy Cluj-Napoca. E-mail: ioanaoliviabadiu@yahoo.com https://orcid.org/0000-0002-6059-5830

DOI:

https://doi.org/10.24193/subbmusica.2019.2.04

Keywords:

20th century music, Darmstadt, singing technique, musical form, Italian songs. Electronic Music, work in progress, opera aperta, improvisation.

Abstract

Bruno Maderna was one of the most appreciated composers and conductors of his time. Maderna's opera covers a wide range of sonorities and combinations of vocal and instrumental groups: piano and voice, chamber orchestra and voice, double orchestra with soloists and chorus, orchestra and piano, orchestra and solo wind instruments, orchestra groups and percussion, violin concerts, orchestra and electronic music, pure orchestral pieces, music for radio, film and ballet. Maderna’s musical language and structure follow the path of his colleagues and involve a complex harmony. However, his vocal idiom has consistency in the melody, clarity in the harmony and uses defined phrases. The vocal score, especially in the lied, presents a relatively simple form, but structured upon the modern musical thought. The lyrical phrase along with the contemporary pattern and the traditional forms are general characteristics of Maderna’s opera.

References

Encyclopedia, dictionaries:

Abbiati, Franco. Storia della musica (History of Music), Milano, Editura Garzanti, 1968. The Book of Modern Composers, Edited by D. Ewen, Alfred A. Knopf, New York, 1956.

Burkholder, J. Peter, Grout, Donald Jay, Palisca, Claude V. A History of Western Music, Norton and Company, New York, 2010.

Dalmonte, Rossana. article: Bruno Maderna, in: The New Grove- Dictionary of Music and Musicians, second edition, edited by Stanley Sadie, Oxford University Press, New York, 2001.

Monographs:

Baroni, Mario, Dalmonte, Rossana. Bruno Maderna documenti (Bruno Maderna documents), Suvini Zerboni, Milano, 1985.

De Benedictis, Angela Ida. Radiodramma e arte radiofonica: storia e funzioni della musica per radio in Italia (Radio drama and Radiophonic Art: history and functions of the radio music in Italy), Ed. EDT, Torino, 2005.

Elliott, Martha. Singing in Style: A Guide to Vocal Performance Practices, Yale University Press, 2007.

Fearn, Raymond. Bruno Maderna, Harwood Academic Publishers, Chur-Switzerland, 1990.

Fearn, Raymond. Italian Opera since 1945, Routledge, New York-London, 2013.

Mâbry, Sharon. Exploring the 20th Century Vocal Music, Oxford University Press, New York, 2002.

Machlis, Joseph. Introduction to Contemporary Music, second edition, Norton& Company, New York, 1979.

Manning, Peter. Electronic and Computer Music, Oxford University Press, 2004.

Mila, Massimo. Maderna musicista europeo (Maderna European musician), Giulio Einaudi Editore, Torino, 1976.

Suvini-Hand, Vivienne. Sweet Thunder: Music and Libretti in 1960s Italy, Legenda, London, 2006.

Articles:

Badiu-Avram, Ioana. Creația vocală a lui Bruno Maderna în contextul noului limbaj muzical al secolului XX (Bruno Maderna’s vocal creation in the context of the new musical language of the 20th century), in: Proceedings of International Musicology Congress ed. III, Eurostampa, 2016, Timișoara, p. 151-160.

Badocco, Daniele. Bi-dimensional inventions. Naming problems for Dimensioni II/Invezione su una voce by Bruno Maderna, in: Cossettini, Luca, Orcalli, Angelo, edited by, Sounds, Voices and Codes from the Twentieth Century, Mirage, Udine, 2017, p. 137-153.

Casadei, Delia. Orality, Invisibility and Laughter: Traces of Milan in Bruno Mdaerna and Virginio Puecher’s Hyperion (1964), in: The Opera Quarterly (Project MUSE), vol. 30, nr. 1, Oxford University Press, 2014, p. 105-134.

Conti, Luca. Le Tre Liriche greche di Maderna e la prima dodecafonia italiana (Le Tre Liriche greche by Maderna e the first Italian dodecaphony), https://www.academia.edu/35541290/Le_Tre_Liriche_greche_di_Maderna_e_la_prima_dodecafonia_italiana, p. 1-26.

Cossettini, Luca, Towards an electronic ‘global work’. Author’s transcriptions of Dimensioni II/Invenzione su una voce by Bruno Maderna, in: Cossettini, Luca, Orcalli, Angelo, edited by, Sounds, Voices and Codes from the Twentieth Century, Mirage, Udine, 2017, p. 155-170.

De Benedictis, Angela, Ida. Scrittura e supporti nel Novecento: Alcune Riflessioni e un Esempio (Ausstrahlung di Bruno Maderna) (Writing and support in the 20th century: Some Reflexions and an Example (Ausstrahlung by Bruno Maderna)), in: Borio, G, a cura di, La scrittura come rappresentazione del pensiero musicale (edited by, The Writing as representation of the musical thought), ETS, Pisa, 2004, p. 237-291.

De Benedictis, Angela Ida. „Qui forse una cadenza brillante”. Viaggio nel „Venetian Journal” di Bruno Maderna („Here maybe a brilliant cadenza”. Voyage in the „Venetian Journal” by Bruno Maderna), in: Acta Musicologica, vol. 72, nr. 1, International Musicological Society, Basel, 2000, p. 63-105.

De Benedictis, Angela Ida. Materiali parziali o strutture fungibili? (Partial materials or fungible structures) in: Il Saggiatore Musicale, vol. XVIII, nr. 1-2, Leo Olschki Editore, Firenze, 2011, p. 139-171.

De Benedictis, Angela Ida. Opera Prima: Ritratto di Città e gli esordi della musica elletroacustica in Italia (Ritratto di Città and the beginning of electronic music in Italy), in: Benedictis, Angela Ida De, Rizzardi, Veniero, a cura di Nuova Musica alla Radio. Esperienze allo studio di Fonologia della Rai di Milano (edited by, New Music on the Radio. Experiences at the Studio of Phonology in Milan). 1954-1959, Roma, CIDIM-RAI, Roma, 2000, p. 27-56.

De Benedictis, Angela Ida. Opera aperta: teoria e prassi (Opera aperta: theory and practice), in: Borio, Gianmarco, a cura di, Storia dei concetti musicali. Espressione, forma, opera (edited by, History of musical concepts. Expression, form, opera), Carocci, Roma, 2007, p. 317-325.

De Benedictis, Angela Ida. Berio, Maderna e i sottofondi (Berio, Maderna and the background), in: Mitteilungen der Paul Sacher Stiftung, nr. 15, aprilie 2002, p. 28-35.

Neldhöfer, Christoph. Blues through the Serial lens: Transformational Process in a Fragment by Bruno Maderna, in: Mitteilungen der Paul Sacher Stiftung, nr. 18, march 2005, p. 14-20.

Rizzardi, Veniero. The Tone Row: Squared. Bruno Maderna and the Birth of Serial Music in Italy, in: Delaere, Mark, edited by, Rewriting Recent Music Histrory: The Development of Early Serialism: 1947-1957, Peeters, Leuven-Walpole, 2011, p. 45-55.

Rodà, Antonio. Varianti d’autore: Invenzione su una voce di Bruno Maderna (Authors’ Variants: Invenzione su una voce by Bruno Maderna), in: Musica/ Tecnologia, nr. 3, Firenze University Press, 2009, p. 71-97.

Wetters, Brent. Allegorical Erasmus: Bruno Maderna’s Ritratto di Erasmo, in: Cambridge Opera Journal, 24, Cambridge University Press, 2012, p. 159-176.

PhD Thesis:

Badiu-Avram, Ioana. Creația vocală a lui Bruno Maderna în contextul noului limbaj muzical al secolului XX (Bruno Maderna’s Vocal Creation in the Context of the New Musical Language of the 20th Century), AMGD, 2019.

Webography:

http://larevue.conservatoiredeparis.fr/index.php?id=650#ftn12, consulted on 17th December 2018.

Scores:

Maderna, Bruno. Studi per ‘Il Processo’ di F. Kafka, Edizioni Suvini Zerboni, Milano, 2017.