Bruno Maderna


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(b Venice, 1920; d Darmstadt, 1973).

It. composer and conductor, among leaders (with Berio) of the It. avant‐garde. After service in World War II, was encouraged by Virgil Thomson and met Boulez. Taught at Venice Cons. 1947–50 and at Darmstadt summer courses (from 1951). With Berio, founded EMS of It. Radio at Milan, 1955, later becoming mus. dir. Milan Radio. Brilliant cond. of 20th‐cent. mus. Cond. many modern operas in Europe. Visited USA 1965 to conduct Nono's Intolleranza at Boston and sym. concerts in Chicago and NY. Salzburg Fest. 1973. His early works were influenced by Bartók and Stravinsky. He adopted serialism in 1951 and Webernian features entered his work. He also used elec. media, usually in combination with live perf. However complex his mus., his native It. lyricism was always present. Prin. works:

theatre piece:

HyperionDimensioni IIIAria da Hyperion

(Venice 1964), composite work i.e. + + 2‐track tape;

Hyperion IIDimensioni IIIAria da Hyperion

( + cadenza for fl. + );

Hyperion IIIHyperionStele per Diotima

( + );

Dimensioni IVDimensioni IIIStele per Diotima

( + );





for 11 instr. (1946, rev. 1954);

Introduzione e Passacaglia



(1948); Conc. for 2 pf. and chamber orch. (1948);

Studi per ‘Il Processo’ di Kafka

, for reciter, sop., and small orch. (1949); fl. conc. (1954);

Composizione in 3 tempi


Serenata IIad lib

for 11 instr. (1957); pf. conc. (1959); vn. conc. (1969); conc. for ob., chamber ens., tape (1962, rev. 1965);

Dimensioni III

for sop., fl., and orch. (1963);

Aria da Hyperion

for sop., fl., and orch. (1964);

Stele per Diotima

(1965); ob. conc. (1967);

Music of Gaiety

(based on virginals pieces by Byrd, Farnaby, Dowland, and Philips) (1969);

Juilliard Serenade (Free Time I)


Venetian Journal

for ten. and chamber orch. (1971);

Giardino Religioso







Musica su 2 dimensioni

, fl. and 2‐track tape (1952, rev. 1958);




(2‐track) (1957);



Dimensioni II

(2‐track) (1960);

Tempo libero I




chamber music:

str. qt. (1955);

Aulodia per Lothar

, ob. d'amore, guitar ad lib (1965);


for vn. (1967);




, 2 fl., recorder, ob. (1972);

Y después

, guitar (1972).

Subjects: Music.

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