Maderna Conducts Maderna
（本篇原文中许多表达译成中文后可能会有些拗口和词不达意，各位最好阅读原文—译者注）
"似乎每个伟大的音乐家一生中都会有一个噩梦般的年份，在这一年里，灵感的流向会萎缩到像冬天霜冻中的山涧一样。 对莫扎特来说，这一年是1790年；对贝多芬来说是1817年。马代尔纳似乎在1968年经历了这种可怕的状况。他的幻想似乎被他糟糕的健康状况和指挥工作压垮了。当灵感在1969年再次开始涌现时，其结果就是所谓“伟大的夏天”：随着小提琴协奏曲和《Quadrivium》的问世，作曲家进入了他最有创造力的季节"（M.Mila-Maderna musicistaeuropeo-Einaudi）。
任何为马代尔纳最伟大作品之一的录音撰写评论的人，都有历史和文化义务以马西莫-米拉的话作为开场白，在1974年马代尔纳英年早逝仅一年后，他就已经大声宣布，马代尔纳不仅是一位一流的指挥家，而且是具有非凡天赋的整整一代前卫音乐家的老师，他是真正伟大的作曲家，其作品具有根本的原创性。今天，马代尔纳的作品得到了应有的尊重和关注，他被列为与20世纪其他伟大的大师同等的地位，特别是与莫扎特并列为马代尔纳最爱的贝尔格。
小提琴协奏曲（1969）的核心是声音的惊异（astonishment of the sound）。独奏者起着决定性的作用，不仅在技巧上，而且也是管弦乐队的挑衅者和敌人，管弦乐队闯入并猛烈地打断了小提琴悲伤的抒情之歌。对听众来说则是进入了一个超现实的梦境世界。传统和创新变得不分彼此。两段长长的尾声，其中第二段是重复几个月前为小提琴独奏而创作的《Widmung》交替出现，呼应的乐句，室内乐乐器在整个管弦乐合奏中频繁地把打击乐部分带到强音的极限，所有这些都是组成马代尔纳的小提琴协奏曲的部分，与贝尔格和勋伯格的协奏曲一起，走上20世纪音乐的不归路。
为长笛、双簧管和管弦乐队而作的《Grande Aulodia》（1970年）也大致如此。这是一场极度紧张的抒情游戏，独奏者无论是单独演奏还是与乐队一起演奏时，都在一个寻找 "绝对旋律 "的管弦乐整体的背景下，开启和结束着完全自由的情节，在这一背景下，我们发现只有思想，而不再需要行动。随着《Hyperion》中渴望的长笛和《Aulodiawe》中狂热乐句的回归，我们发现我们又回到了马代尔纳身边，这个马代尔纳似乎意识到留给他的时间已经不多了，生命太美了，不能在枯燥的技术或学术争论中浪费掉。
有趣的是，当马代尔纳与Gazzelloni和Faber在罗马进行《Grande Aulodia》的世界首演时（1970年2月7日），他同时在达姆施塔特准备制作实验性的戏剧作品《Ato zin》，他在时间和人类精神中寻找语言和交流的真正意义，玩弄字母表中的字母，仿佛它们是真实的人，在言语和对话中结合在一起又分开。对马代尔纳来说，最重要的是声音和思想，综合起来才是真正的人类。
由芝加哥交响乐团委托创作的《光环》（1972年），是马代尔纳作为大型交响乐团作曲家的艺术巅峰。从最简单的声音开始，也就是米拉常说的 "原始声音"，我们参与到一个令人不安的聚合和扩展的演变中，乐团的所有部分都进入了一个伟大的交响梦想中。这也是那种 "绝对旋律"，它经常出现在一个把自己最好的东西献给音乐的人的话语和作品中。一个短暂而痛苦的梦，只持续了15分钟，但其价值不仅仅是一个告别。
Alberto Cantoni
" It seems to be the rule that during the lifetime of every great musician there is nearly always a nightmare year in which the flow of inspiration shrivels to the dimensions of a mountain stream in the grip of winter frost For Mozart, the year was 1790, for Beethoven 1817... Maderna seems to have undergone this dreadful experience in 1968. It looked as if his fantasy was being crushed by his poor health and his conducting commitments When the inspiration began once again to flow in 1969, the result was what is know as the Great Summer: with the Violin Concerto and Quadrivium the composer entered into his creative season.”（ M.Mila-Maderna musicistaeuropeo-Einaudi) Anyone writing the commentary for a recording of one of Maderna's greatest works is under an historical and cultural obligation to open with the words of Massimo Mila who, in 1974-only a year after Maderna's untimely death-was already declaring at the top of his voice that, as well as being a top-class conductor and the extraordinarily gifted teacher of a whole generation of avantguard musicians, Madera was truly great composer and his work of fundamental originality. Today Maderna's work is accorded the respect and attention it deserves, and he is ranked equal to the other great 20th century masters, especially Berg who, together with Mozart, constituted the composer's greatest love.
The core of the Violin Concerto(1969) is the astonishment of the sound. the intellectual freedom and the endless combinations between the various orchestral voices: the soloist plays a decisive role, not only in the virtuosistic sense, but also an agent provocateurand an enemy of the orchestra which breaks in and violently interrupts the sorrowful, lyrical song of the violin. To the listener, entering into a world of surreal dreams. tradition and innovation become indistinguishable. Two lengthy cadenzas the second of which is a repeat of Widmung composed a few months earlier for solo violin alternating, echoing phrases, chamber music instrumentsin an overall orchestral ensemble that frequently takes the percussion section to the limits of fortissimo all these are the ingredients of Maderna' s Violin Concerto that, alongside those of Berg and Schoenberg, form the point of no return of 20th century musIc.
Grande Aulodia( 1970) for flute, oboe and orchestra is more orless on the same lines. A lyrical game of extreme tension in which the soloists, both singly and together, open and close episodes of total freedom, against the background of an orchestral whole that is searchingfor"absolute melody",for the sound beyond which we find only thought,with no more need for action. With the return of the yearning flute of Hyperion and the frenzied phraseology of Aulodiawe findour way back to Maderna, a Maderna who seems almost to beaware that there is little time left to himand that life is too beautiful to be thrown away in arid technique or accademic argument.
It is interesting to note the fact that whilst Maderna was performing the world premier (7th February 1970) of Grande Aulodia in Rome with Gazzelloni and Faber. he was contemporaneously preparing in Darmstadt the production of the experimental work for theatre From Ato zin which he was searching for the true meaning of words and communication both in time and in the human spirit, playing with the letters of the alphabet as if they were real people who joined together and broke apart in both words and dialogue.For Maderna,what matters most was the sound and the thought which in synthesis is what is truly human.
Aura(1972) , commissioned by the Chicago Symphony Orchestra, is the culmination of Maderna's art as a composer for a large orchestra. From the simplest of sounds, the “original sound" as Mila often calls it, we participate in a disturbing evolution of aggregations and expansions in which all sections of the orchestra enter into a great symphonic dream. It is, once again, that “absolute melody" that occurs so often in the words and works of a man who gave the best of himself to music. A brief, painful dream that lasts a mere fifteen minutes. but whose value is more than a mere adieu.
Translation:Emma French
