ABSTRACT
During his visits to Milan through 1978, Luigi Nono had begun to discuss musical ideas with the flautist Roberto Fabbriciani, then playing at La Scala. They had met after a performance of Camillo Togni’s Blaubart, in which the solo flute has a dramatic role on stage – an anticipation of their subsequent collaboration. Nono’s compositional practice embodies his theoretical vision: multiple paths through a vast imaginative space that together allow the listener to perceive aspects of its many dimensions. In its dual, parallel paths, Das atmende Klarsein embodies Nono’s conscious rejection of synthesis, of resolution, and provides a clue as to the continuing political consciousness of his music. Nono’s intense engagement with new theory, models and techniques reconfigures the space of his own thought, adds to the repertoire of mechanisms for its navigation and permits the emergence of new musical concepts.
