(1920–1973)
was an Italian composer and conductor, one of the central figures of the European musical avant-garde in the second half of the twentieth century. Among the pioneers of post-war serialism in Italy, he maintained close ties with the circle of composers associated with the Summer Courses for New Music in Darmstadt. He was also one of the first composers to recognise the artistic potential of electronic music and emerging technologies of sound. Born in Venice, Maderna studied composition notably with Gian Francesco Malipiero and conducting with Hermann Scherchen. In the 1950s, together with Luciano Berio, he cofounded the Studio di Fonologia Musicale della RAI in Milan, one of Europe’s leading centres for research into electronic music.
As a composer, Maderna combined the most advanced techniques of his time with an exceptional sensitivity to sonority and a distinctive lyrical impulse. What set him apart from many figures of the Darmstadt School was his openness to widely varied sources of inspiration, and his conscious dialogue with musical tradition. His output includes orchestral and concertante music, pieces for voices and instruments, as well as stage works and compositions involving electronics. A special place within his œuvre is occupied by the Hyperion cycle, the oboe concertos, Quadrivium, Aura, and the opera Satyricon.
Alongside his work as a composer, Maderna pursued an intense international career as a conductor, championing contemporary music across the world. He conducted leading orchestras in Europe and America and gave numerous first performances of works by his contemporaries. His teaching and artistic work had a profound impact on the development of new music after World War II. He died in Darmstadt, leaving an œuvre that remains one of the major points of reference for European contemporary music.
Selected works: Concerto per due pianoforti e strumenti for two pianos, two harps, celesta and percussion (1947–48), Musica su due dimensionifor flute and tape (1958), Quartetto per archi in due tempi for string quartet (1955), Piano Concerto (1958–59), Dimensioni III for orchestra with cadenza for solo flute (1963), Aria for soprano, flute and orchestra (1964), Stele per Diotima for orchestra with cadenzas for solo instruments (1965), Aulodia per Lothar for oboe d’amore and guitar ad libitum (1965), Serenata per un satellite for flute doubling piccolo, oboe doubling oboe d’amore and musette, clarinet, marimba, harp, guitar, mandolin and violin, together or separately (1969), Quadrivium for four percussionists and four orchestral groups (1969), Hyperion, cycle of stage and concert works for voices, instruments, orchestra and electronics (1964–70), Grande Aulodia for flute, oboe and orchestra (1970), Viola (o viola d’amore) for viola / viola d’amore (1971), Y después for ten-string guitar (1971), Solo for one player on musette, oboe, oboe d’amore and cor anglais (1971), Ausstrahlung for female voice, obbligato flute and oboe, large orchestra and magnetic tape (1971), Aura for orchestra (1972), Biogramma for large orchestra (1972), Giardino religioso for small orchestra (1972), Ages, radio invention for voices, chorus, orchestra and electronic processing (1972), Satyricon, chamber opera on one act after Petronius for voices and instrumental ensemble (1971–73), Concerto no. 3 for oboe and orchestra (1973).