Object, Space, and Fragility in Luigi Nono's "Das atmende Klarsein"

Object, Space, and Fragility in Luigi nono's Das atmende Klarsein Peter Ivan Edwards Luigi Noncs Das atmende Klarsein for bass flute, small choir, and live electronics isone of his lateworks, written from 1980-83.1 As is common inmany lateworks byNono, it is the result of an intense col laboration with a performer colleague, in this case Roberto Fabbriciani, at the Heinrich-Strobel-Stiftung Experimental Electronic Studio in Freiburg, Germany. Fabbriciani's article, "Walking with Gigi" describes his work with Nono. It offers an illuminating entry intoNono's world and a provoca tive starting point for this investigation. Fabbriciani describes the working relationship as one in which "[l]osing the fear of taking a wrong path allows error to become a further stimulus in the search for new horizons."2 Often, after days of research in the studio, theywould dismiss everything and start off in a new direction. Fabbriciani's article 226 PerspectivesofNew Music paints Nono's approach to composition as necessarily collaborative and continually dedicated to a freedom that saw possibility in uncertainty. Only this uncertainty can lead to discovery of possibility's every corner and the depths of a selected universe. This is a prominent and necessary quality ofNono's lateworks. The approach is embodied in amotto that Nono discovered in amonastery inToledo and used in various forms as tides for some of his laterworks?"No hay caminos, hay que caminar" (There are no roads, just go). To manifest his aesthetic stance of traveling for the purpose of discov ery in Das atmende Klarsein, I believe Nono establishes objects for musical investigation. Unlike themusical subject, which is generally lim ited to amelodic and/or rhythmic entity, themusical object has amuch broader scope. It can be formed from a chord, an interval, a timbre, a texture, or a relationship between these elements. These musical objects exist to provide an entity inwhich exploration is pursued via composi tional methods that expose itspossibilities. Nono uses musical object in a variety ofways, each suitable to the compositional situation he faces.3 Nono creates two distinct worlds of exploration and discovery inDas atmende Klarsein?one of choir and the other of bass flute.The compo sition is divided into eight sections, presented alternately. The choir begins thework and has four sections, separated by solo bass flute sec tions. The final section is an improvisation by the bass flutist along with pre-recorded excerpts from the previous bass flute sections. Although there are some overlaps created by held notes at the end of a section, the flute and the choir never perform together. The material and texture of the choir is very similar among its sections. The flute material differs profoundly between sections. Nono's employment of electronics rein forces his differing approaches to material and texture in the choir and flute sections. The choir engages with the live electronics in a consistent fashion in each section, largely using spatialized amplification of varying degrees of loudness, though one section includes the use of harmonizer to "thicken" the sound. The flute's engagement with the live electronics is unique in each section. In the firstflute section, Nono incorporates theHalaphon, a spatialization program designed by Hans Peter Haller of the Freiburg Experimental Studio. The second flute section employs two delays. In the final flute section, Nono uses two harmonizers, approximately one quarter tone above and below the performed pitch. Additionally, the depths of each of these respective worlds is explored via different means. The foundation of these differences stems from Nono's use of choir as a timbrally limited instrument and the flute as timbrally rich. Nono employs air-to-tone ratios, multiphonics, vibrato, and tremolo, among other techniques with the flute writing. Some of Object, Space, and Fragility 227 these techniques, which are easily transferable to voices?most obviously the use of air and vibrato?are not employed in the choir part. Instead, Nono limits the timbral palette to the four voice ranges and the timbral shadings that result from registral limitations.4 In both instances, how ever,Nono relies on the establishment ofmusical objects and the use of timbre among other elements as tools for exploration of both the object itselfand the respective...