ABSTRACT
Early in 1985 Luigi Nono was back in Freiburg reflecting on Prometeo, preparing a new version for the La Scala performances scheduled for September. Two major architecture-mediated encounters inform Nono’s development. If the second was the cultural–political debate centred on the Istituto Universitario di Architettura di Venezia (IUAV) through the 1970s, the first was his early friendship with Carlo Scarpa also a professor at the IUAV. The artisan approach to shaping materials so important to Scarpa can be traced through the evolving morphology of Nono’s score. A second plan amplifies the contrast between long and short sections and enhances a sense of formal development. The placement of double-tempo sections makes correspondences with the initial plan clear, and shows how in the final score. In many respects, Risonanze erranti is the most successful work of the post-Prometeo moment.
