‘The Song Unsung’: Luigi Nono's Il canto sospeso

Abstract

Taking into account the sources now available at the Archivio Luigi Nono in Venice, this article first looks at Nono's serial masterpiece Il canto sospeso (1955–6) in its historical context, both in Germany and in Italy. Having outlined the political circumstances and aesthetic premisses, the article goes on to provide a detailed analysis of the serial technique employed. Particular attention is paid to a technique of pitch permutation that explains the pitch structures of several movements, hitherto not fully understood. Each of the nine movements is examined in view of a better understanding of the work's expressive qualities and in order to show the underlying formal and compositional relationships.

Additional information

Notes on contributors

Carola Nielinger

Carola Nielinger-Vakil ([email protected]) has lectured on twentieth-century music at Trinity College of Music London and Goldsmiths College, and is currently working on a book on Luigi Nono.