Italian composer Bruno Maderna was one of the most misunderstood and mistreated of the 20th century’s composers — particularly by his peers. His vast body of work, ranging from his early works (at ten) to his later, introspective statements, reveal a man genuinely in touch with the inner wellspring of his own creative language, but also with the defining tonal and timbral capabilities — as well as the idiosyncratic natures — of the instruments he wrote for and their larger role in the articulation of the sound he not only aimed for, but commanded.
1 / Grande Aulodia für Flöte, Oboe und Orchester (1969) / 25:59
2 / Konzert für Oboe und Kammerensemble N.1 (1962) / 19:38
3 / Konzert für Oboe und Orchester N.3 / 15:31