Over the course of his career, Luciano Berio (1925–2003) devoted significant attention to transcribing the music of other composers. That this rich repertory of co-authored works has long been accorded a secondary status in assessments of Berio’s output has also meant that little attention has been paid to the question of what compelled him to engage with the music of his forbears in such a sustained fashion and, more specifically, how he approached the task of transcription. Drawing on an array of newly-available primary sources housed in the Paul Sacher Stiftung (Basel), I argue that the richly annotated ‘source scores’ used by Berio as a starting point for his transcriptions of works by a range of nineteenth century composers, including Franz Schubert and Gustav Mahler, offer evidence of how he listened to their music. Indeed, Berio’s own autograph annotations—many of which foreground the role of listening at the earliest stage of the transcription process—make clear that while these transcriptions rely on an intimate knowledge of an original ‘text’, his relationship to these texts has also been shaped by the lingering sonic traces of the performed work as remembered and misremembered over the course of a lifetime of listening.

中文翻译：

---

卢西亚诺·贝里奥 (Luciano Berio) 的 19 世纪

在他的职业生涯中，卢西亚诺·贝里奥（Luciano Berio，1925-2003 年）非常注重转录其他作曲家的音乐。长期以来，这种丰富的合着作品在评估 Berio 的作品时被置于次要地位，这也意味着很少有人关注是什么促使他以这种持续的方式参与前人的音乐。更具体地说，他是如何完成转录任务的。利用保存在 Paul Sacher Stiftung（巴塞尔）中的一系列新可用的原始资料，我认为 Berio 使用的注释丰富的“源乐谱”作为他转录一系列 19 世纪作曲家作品的起点，包括弗朗茨舒伯特和古斯塔夫马勒，提供了他如何听他们的音乐的证据。确实，