From Wikipedia, the free encyclopedia
Bruno Maderna (21 April 1920 – 13 November
1973) was an Italian conductor and composer.
Maderna was born in Venice.
At the age of four he was taught violin in Chioggia, and his grandfather recognized the
child's brilliance. So
began his career as a child prodigy. He was known in Italy and
abroad as "Brunetto" (Italian for Little Bruno).
He continued his studies in Milan (1935), Venice (1939) and in
Rome (1940), where he finally took his degree in composition and
musicology at the Accademia Nazionale di
Santa Cecilia. At Rome he was instructed by Alessandro Bustini,
but he also took a course of instruction from Antonio
Guarnieri in Siena in 1941,
and he then studied composition with Gian Francesco Malipiero in
Venice in 1942-43.
During World War II he joined the army, the Partisan
the War, 1947-1950, he taught composition at the Venice Conservatory at the invitation of
Malipiero. In those years he taught a large class which included Luigi Nono, who had
previously studied law.
In 1948 (through Malipiero) he met
Scherchen, and Maderna and Luigi Nono both attended a course of
instruction with him at Venice.
Scherchen set Maderna's direction towards dodecaphonic
method. He was
invited to conduct at the (1951) Internationale Ferienkurse für Neue Musik
in Darmstadt, where he took a founding initiative in the
Internationales Kranichsteiner Kammer-Ensemble, a chamber-group
which was newly re-convened every year as an ad-hoc-Ensemble. Here
he met (among others) Boulez, Messiaen, Stockhausen, Cage, Pousseur and the most important
performers of the neue Musik, who inspired him to compose
Maderna was a versatile director, capable of switching between
different musical styles. He directed Purcell's Dido and Aeneas, Wagner's Parsifal, many works by
Debussy and Ravel, classical
and romantic symphonies. Together with Luciano Berio, he founded the Studio di
Fonologia Musicale of the RAI (Radiotelevisione Italiana) in 1955: they
also organized the Incontri Musicali ('Musical
Encounters') music review and concert series.
In 1957-58 he taught dodecaphonic technique at the Milan
Conservatory: in this period he also taught composition
seminars at the Dartington's Summer School of Music (UK).
From 1967 to 1970 he taught conducting at the Salzburg Mozarteum and also at the
Rotterdam Conservatory. He become established at Darmstadt in
He died in 1973 at Darmstadt, when he was about to rehearse
Debussy's Pelléas et Mélisande.
Pierre Boulez wrote his Rituel in Memoriam Bruno
Maderna the following year and Luciano Berio wrote "Calmo"
for voice and orchestra in homage to his friend. His notable
students include Rocco Di Pietro.
Among the early works is the Concerto per due pianoforti e
strumenti (1947-1948), influenced by the music of Bartók, which
has a special approach towards difficult sonorities. In 1948 he
composed his first serial work, the Liriche greche. The
Quartetto per archi in due tempi (of 1955) is an even more
The flautist Severino Gazzelloni inspired Maderna during the Darmstadt experience. In
1961 he composed Honeyreves for flute and piano: this
piece was built on complex flute melodies and on unusual piano
sound effects (clusters, playing on the strings, etc.). In the
Studio di Fonologia Musicale, with the help of sound
technician Marino Zuccheri, he wrote some electroacoustic works:
Musica su due dimensioni (Music on two
dimensions, 1958) for flute and magnetic tape,
Notturno (1956) and Continuo (1958) both for
In 1962-63 Maderna wrote his First Oboe Concerto (Concerto for
Oboe and Chamber Ensemble). In 1967 he wrote his Second Oboe
Concerto, and in 1973 his Third.
One of his works is Quadrivium for four percussionists
and four orchestral groups (played for the first time at the Royan
Festival in 1969). A recording of this work, coupled with the
composer's Aura and Biogramma, was made by the North German Radio
Symphony Orchestra under Giuseppe Sinopoli in 1979 and issued
by Deutsche Grammophon. Among
various other compositions are an electro-acoustic divertimento
Le Rire (1964), a "work in progress" called
Hyperion, and an opera Satyricon.
Maderna was versatile: he also produced scores for five Italian
movies released between 1946 and 1968.
The thread of information in this article appears to be derived
from the article in Italian Wikipedia.
Dalmonte 2001 (New Grove).
IRCAM (Centre Pompidou) Biographie of Maderna (external link):
Short Biography in Madeleine Shapiro's Modernworks website
Stated in the Bach-cantatas Biography (external link).
Ircam Biographie of Luigi Nono (External links).
Sitsky 2002, 329.
Ircam Biographie of Luigi Nono (external links).
Britannica Online Encyclopedia, see : Sitsky 2002,
at p. 329: Ircam Biographie of Maderna (external links).
Hans Zender, in
Interview with Roland Diry and Suzanne Laurentius, 'Neue Musik
erwartet Selbstandigkeit,' Ensemble Modern Newsletter no.
24 (01/2007), see external link.
Ircam Biographie (external link), according to which it was in
Britannica Online Encyclopedia article.
Ircam Biographie of Maderna, external link.
(CD catalogue number 423 246-2 GC).
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Listening and Analysis". Musicæ Scientiæ: The Journal of the
European Society for the Cognitive Sciences of Music 7, no. 2
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[Brunetto]". The New Grove Dictionary of Music and
Musicians, edited by Stanley Sadie and John Tyrrell. London:
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Documenti". Milan: Edizioni Suvini Zerboni.
- Dalmonte, Rossana, and Mario Baroni (1989). Studi su Bruno
Maderna. Milan: Edizioni Suvini Zerboni.
- Dalmonte, Rossana, and Marco Russo (2004). Bruno Maderna
Studi e Testimonianze. Lucca: LIM.
- Drees, Stefan (2003). "Renaissance-Musik als Inspirationsquelle
für das Komponieren Bruno Madernas und Luigi Nonos". In The
Past in the Present: Papers Read at the IMS Intercongressional
Symposium and the 10th Meeting of the Cantus Planus, Budapest &
Visegrád, 2000, 2 vols., edited by László Dobszay, 1: 545-558.
Budapest: Liszt Ferenc Zeneművészeti Egyetem. ISBN
- Fearn, Raymond (1990). "Bruno Maderna". [Chur]: Harwood
- Fearn, Raymond (2003). "'Luft von anderem Planeten...': The
presence of the Epitaph of Seikilos in Bruno Maderna's Composizione
no. 2 (1950)". In The Past in the Present: Papers Read at the
IMS Intercongressional Symposium and the 10th Meeting of the Cantus
Planus, Budapest & Visegrád, 2000, 2 vols., edited by
László Dobszay, 1:559–68. Budapest: Liszt Ferenc Zeneművészeti
Egyetem. ISBN 963-7181-34-2
- Luzio, Claudia di (2006). "Traumnahe Welten—weltnahe Träume:
Zum Verhältnis von Traum und Wirklichkeit im Musiktheater von
Luciano Berio und Bruno Maderna". In Traum und Wirklichkeit in
Theater und Musiktheater: Vorträge und Gespräche des Salzburger
Symposions 2004, edited by Peter Csobádi, Gernot Gruber, and
Jürgen Kühnel, 342-356. Wort und Musik: Salzburger akademische
Beiträge 62. Salzburg: Mueller-Speiser. ISBN 3-85145-099-X
- Mathon, Geneviève (2003). "À propos du Satyricon de
Bruno Moderna". In Musique et dramaturgie: Esthétique de la
représentation au XXème siècle, edited by Laurent Feneyrou,
571–93. Esthétique 7. Paris: Publications de la Sorbonne. ISBN
- Mila, Massimo (1999). Maderna musicista europeo, nuova
edizione. Piccola biblioteca Einaudi, nuova serie 17. Turin: Einaudi Editore.
- Neidhofer, Christoph (2005a). "'Blues' through the Serial Lens:
Transformational Process in a Fragment by Bruno Maderna".
Mitteilungen der Paul Sacher Stiftung, no. 18 (March):
- Neidhofer, Christoph (2005b). "Bruno Madernas flexibler
Materialbegriff: Eine Analyse des Divertimento in due tempi
(1953)". Musik & Ästhetik 9, no. 33 (January):
- Neidhofer, Christoph (2007). "Bruno Maderna's Serial
Arrays". Music Theory Online 13, no. 1 (March).
- Poel, Piet Hein van de (2003). "Bruno Maderna sur le
Satyricon: Pop art en musique". In Musique et
dramaturgie: Esthétique de la représentation au XXème siècle,
edited by Laurent Feneyrou, 599–601. Paris: Publications de la
- Sitsky, Larry (Ed.) (2002). Music of the Twentieth-Century
Avant-Garde: A Biographical Sourcebook (Greenwood Press,
Westport Connecticut and London).
- Suvini-Hand, Vivienne (2006). 'Bruno Maderna's
Ausstrahlung,' in Sweet thunder: music and libretti in
1960s Italy Legenda Italian Perspectives Vol. 16 (Modern
Humanities Research Association and Maney Publishing, London), p.
151-178. ISBN 1904350607, 9781904350606 (See extracts at )
- Verzina, Nicola (2003). Bruno Maderna: Etude historique et
critique. Paris: L'Harmattan. ISBN 2747544095