Utopia, Innovation, Tradition – Bruno Maderna′s Cosmos: Paul Sacher Foundation

Introduction Staging And Performing Sounds: A Glance Through The Last Theatrical Work - Angela Ida De Benedictis, delving into Bruno Maderna's Satyricon: the looking glass world of storytelling, performance interference, and authorship - Benedetta Zucconi, "in the beginning was the word": the sung text as a unifying element in the composition of Bruno Maderna's Satyricon Building Sounds: The Composer - Carlo Ciceri, space in Maderna's last orchestral works - Pascal Decroupet, the unity of musical practice: Bruno Maderna and his "shaping form" as composer and performer of experimental orchestral music creating sound: the music beyond/without the stage - Nicola Scaldaferri, "a walk through a musical garden": compositional paths in Maderna's late works - Leo Izzo, narrating with sounds: Bruno Maderna's music for radio and film reinventing sounds: dialogues with music of every epoch and style - Michele Chiappini, the writing of the interpretation: notes on Bruno Maderna's arrangements - Benedetta Zucconi, analysis and synthesis in Bruno Maderna's creative process: Don Giovanni and other Mozart scores - Leo Izzo, Bruno Maderna and his arrangements Across Borders: The Conductor And The Interpreter - Maurizio Romito, "this Bruno looks like Fiorello" Maderna in the U.S.A. (1965-72) - Anne C. Shreffler, Maderna goes to Tanglewood: the role of American networks in the origins and reception of Venetian journal and Satyricon Searching For Roots: The Development Of A Style - Veniero Rizzardi, Venice to Europe: Bruno Maderna before and after 1948 - Christoph Neidhöfer, "la révolution dans la continuité": the presence of the past in Bruno Maderna's creative process (1948-55) Staging And Performing Texts: A Glance Through Early Dramaturgical And Vocal Works - Claudia Vincis, the studi per "il processo" Di Franz Kafka, and their stage sources - Paolo dal Molin, Maderna and the poets, 1938-48 Chronology of Bruno Maderna's works