Remembering the Future

Overview

In Remembering the Future Luciano Berio shares with us some musical experiences that "invite us to revise or suspend our relation with the past and to rediscover it as part of a future trajectory." His scintillating meditation on music and the ways of experiencing it reflects the composer's profound understanding of the history and contemporary practice of his art.

There is much in this short book that provides insight on Berio's own compositions. Indeed, he comments that ...

See more details below
Hardcover (New Edition)
$33.00
BN.com price
Other sellers (Hardcover)
  • All (6) from $31.47   
  • New (4) from $31.47   
  • Used (2) from $66.74   
Sending request ...

Overview

In Remembering the Future Luciano Berio shares with us some musical experiences that "invite us to revise or suspend our relation with the past and to rediscover it as part of a future trajectory." His scintillating meditation on music and the ways of experiencing it reflects the composer's profound understanding of the history and contemporary practice of his art.

There is much in this short book that provides insight on Berio's own compositions. Indeed, he comments that writing it "led me to formulate thoughts that might otherwise have remained concealed in the folds of my work." He explores themes such as transcription and translation, poetics and analysis, "open work," and music theater. The reader will also find here numerous insights on the work of other composers, past and present, and much more. A figure of formidable intellect, Berio ranges easily among topics such as Schenkerian analysis, the criticism of Carl Dahlhaus and Theodor Adorno, the works of his friends and sometime collaborators Italo Calvino and Umberto Eco. But Berio carries his learning lightly--his tone is conversational, often playful, punctuated by arresting aphorisms: "The best possible commentary on a symphony is another symphony."

Read More Show Less

Editorial Reviews

Musical Times

These texts are a long way from the multilayered, often abrasive allusiveness of Berio's best compositions, yet even he was able to go some way to justifying the claim that a composer can still, occasionally, be the best commentator on his own works.
— Arnold Whittall

Times Literary Supplement

Music, in Berio's view, is palpable and pliable, but also unstable, ready to be altered as more futures intervene in more pasts—just as he, in his own works, intervened in Schubert, in Monteverdi, and in Sicilian folk song. The six lectures nominally move from one topic to another: the nature of music as memory, of musicians as operator in 'an immense library of musical knowledge': the ways in which stretches of musical time can be re-traversed in copies, arrangements, and more distant adaptations; the impossibility of forgetting, and yet also the need for the new; the endless openness of the musical work, always remaining to be completed not only by further performances but also by further compositions that will excite sympathetic vibrations in it; opera as music made visible; and the interpenetrations of poetics and analysis. Yet these are by no means watertight compartments. Tidal swells wash through...Like any great artist, Berio speaks of himself when he speaks of others. A lot of his own music, as much as Stravinsky's, has to do with collecting and copying precious objects—objects which become more precious in the process...Reading Remembering the Future is a valuable adjunct to listening to Berio's music, the two experiences so much resembling each other in their richness of reference. Poignantly, the book even remembers the future of the composer's own output. In an early passage he compares music to 'a huge, protective building, designed by history and constructed over several millennia,' where we may wander through 'the Ars nova room, the Baroque room, the Schubert, Mahler, and Stravinsky rooms,' and so on. Rooms—Stanze—was to be the title of Luciano Berio's last completed composition before his death in 2003.
— Paul Griffiths

Musical Times - Arnold Whittall
These texts are a long way from the multilayered, often abrasive allusiveness of Berio's best compositions, yet even he was able to go some way to justifying the claim that a composer can still, occasionally, be the best commentator on his own works.
Times Literary Supplement - Paul Griffiths
Music, in Berio's view, is palpable and pliable, but also unstable, ready to be altered as more futures intervene in more pasts--just as he, in his own works, intervened in Schubert, in Monteverdi, and in Sicilian folk song. The six lectures nominally move from one topic to another: the nature of music as memory, of musicians as operator in 'an immense library of musical knowledge': the ways in which stretches of musical time can be re-traversed in copies, arrangements, and more distant adaptations; the impossibility of forgetting, and yet also the need for the new; the endless openness of the musical work, always remaining to be completed not only by further performances but also by further compositions that will excite sympathetic vibrations in it; opera as music made visible; and the interpenetrations of poetics and analysis. Yet these are by no means watertight compartments. Tidal swells wash through...Like any great artist, Berio speaks of himself when he speaks of others. A lot of his own music, as much as Stravinsky's, has to do with collecting and copying precious objects--objects which become more precious in the process...Reading Remembering the Future is a valuable adjunct to listening to Berio's music, the two experiences so much resembling each other in their richness of reference. Poignantly, the book even remembers the future of the composer's own output. In an early passage he compares music to 'a huge, protective building, designed by history and constructed over several millennia,' where we may wander through 'the Ars nova room, the Baroque room, the Schubert, Mahler, and Stravinsky rooms,' and so on. Rooms--Stanze--was to be the title of Luciano Berio's last completed composition before his death in 2003.
Read More Show Less

Product Details

  • ISBN-13: 9780674021549
  • Publisher: Harvard University Press
  • Publication date: 5/15/2006
  • Series: Charles Eliot Norton Lectures Series , #1987
  • Edition description: New Edition
  • Pages: 160
  • Product dimensions: 5.80 (w) x 7.10 (h) x 0.90 (d)

Meet the Author

Luciano Berio was one of the dominant composers of the second half of the twentieth century. Remembering the Future is the text of his Charles Eliot Norton Lectures of 1993–94, now made available for the first time.
Read More Show Less

Table of Contents

1. Formations

2. Translating Music

3. Forgetting Music

4. O Alter Duft

5. Seeing Music

6. Poetics of Analysis

Read More Show Less

Customer Reviews

Be the first to write a review
( 0 )
Rating Distribution

5 Star

(0)

4 Star

(0)

3 Star

(0)

2 Star

(0)

1 Star

(0)

Your Rating:

Your Name: Create a Pen Name or

Barnes & Noble.com Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & Noble.com that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & Noble.com does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at BN.com or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation

Reminder:

  • - By submitting a review, you grant to Barnes & Noble.com and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Noble.com Terms of Use.
  • - Barnes & Noble.com reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & Noble.com also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on BN.com. It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

 
Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously

    If you find inappropriate content, please report it to Barnes & Noble
    Why is this product inappropriate?
    Comments (optional)