Contents

pp 5-6

INTRODUCTION

pp 7-8

Introduction

pp 9-16

STAGING AND PERFORMING SOUNDS: A GLANCE THROUGH THE LAST THEATRICAL WORK

pp 17-18

Delving into Bruno Maderna’s Satyricon: The Looking Glass World of Storytelling, Performance Interference, and Authorship

pp 19-58

“In the Beginning Was the Word”: The Sung Text as a Unifying Element in the Composition of Bruno Maderna’s Satyricon

pp 59-84

BUILDING SOUNDS: THE COMPOSER

pp 85-86

Space in Maderna’s Last Orchestral Works

pp 87-114

The Unity of Musical Practice: Bruno Maderna and His “Shaping Form” as Composer and Performer of Experimental Orchestral Music

pp 115-138

CREATING SOUND: THE MUSIC BEYOND/WITHOUT THE STAGE

pp 139-140

“A Walk Through a Musical Garden”: Compositional Paths in Maderna’s Late Works

pp 141-170

Narrating with Sounds: Bruno Maderna’s Music for Radio and Film

pp 171-190

REINVENTING SOUNDS: DIALOGUES WITH MUSIC OF EVERY EPOCH AND STYLE

pp 191-192

The Writing of the Interpretation: Notes on Bruno Maderna’s Arrangements

pp 193-226

Analysis and Synthesis in Bruno Maderna’s Creative Process: Don Giovanni and Other Mozart Scores

pp 227-244

Bruno Maderna and His Arrangements

pp 245-274

ACROSS BORDERS: THE CONDUCTOR AND THE INTERPRETER

pp 275-276

“This Bruno Looks Like Fiorello”: Maderna in the U.S.A. (1965–72)

pp 277-298

Maderna Goes to Tanglewood: The Role of American Networks in the Origins and Reception of Venetian Journal and Satyricon

pp 299-328

SEARCHING FOR ROOTS: THE DEVELOPMENT OF A STYLE

pp 329-330

Venice to Europe: Bruno Maderna Before and After 1948

pp 331-356

“La révolution dans la continuité”: The Presence of the Past in Bruno Maderna’s Creative Process (1948–55)

pp 357-380

STAGING AND PERFORMING TEXTS: A GLANCE THROUGH EARLY DRAMATURGICAL AND VOCAL WORKS

pp 381-382

The Studi per “Il Processo” di Franz Kafka, and Their Stage Sources

pp 383-414

Maderna and the Poets, 1938–48

pp 415-442

Chronology Of Bruno Maderna’s Works

pp 443-450

Selected Bibliography

pp 451-454

Index

pp 455-467