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Luigi Nono: A Composer in Context by Carola Nielinger-Vakil. Cambridge University Press, 2015. £74.99

Published online by Cambridge University Press:  10 June 2016

Harriet Boyd-Bennett
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BOOKS
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Tempo , Volume 70 , Issue 277 , July 2016 , pp. 107 - 108
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Copyright © Cambridge University Press 2016 

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References

1 Earle, Ben, ‘The Politics of the New Music’, Music & Letters, 94 (2013), pp. 664–71CrossRefGoogle Scholar.

2 In addition to the healthy performance schedules many of Nono's works now enjoy, there has also been, for example, a festival devoted to Nono's music at London's Southbank Centre (‘Luigi Nono: Fragments of Venice’, 2007–08), as well as a fascinating and perhaps more unexpected reincarnation in performance art. For more on the latter see Boyd-Bennett, Harriet, ‘Modernist Mise-en-scène: Luigi Nono and the Politics of Staging’, Journal of the Royal Musical Association, 140/1 (2015), pp. 225–35CrossRefGoogle Scholar.

3 ‘Utopian Listening. The Late Electroacoustic Music of Luigi Nono: Technologies, Aesthetics, Histories, Futures’ (23–26 March 2016; Tufts University, Medford, MA).

4 Nielinger-Vakil continually refers to Nono's contemporary significance and future importance: of Prometeo, for example, she argues that ‘this masterpiece may serve as a “musical-aesthetic manifesto” for generations to come’ (p. xvi).

5 Taruskin, , ‘Review: Speed Bumps’, 19th-Century Music, 29/2 (Fall 2005), pp. 185–295CrossRefGoogle Scholar.