Reviewed by:

• Routledge Handbook to Luigi Nono and Musical Thought by Jonathan Impett
• Robert Adlington

The annoying stuff first. It would be irresponsible to review this book without commenting on the eye-watering price, which will challenge many hard-pressed academic libraries, let alone individual readers. And what makes this volume—which is monographic in content and authorship—a 'Routledge Handbook'? If both price and titular branding simply reflect the exigencies of British academic publishing, they [End Page 375] nonetheless seem especially incongruous in the context of a composer so suspicious of profit-oriented commerce and so concerned to engage with wider social inequalities. Some measure of justification for each of these aspects of this publication can nonetheless be found. It is a truly monumental publication, comprising 500 pages of close-set type; it would be nearer 1,000 in a more standard font. There is certainly bang for your library's buck. And the 'handbook' moniker does at least correspond to a central claim for this book's significance, namely, as the first study in any language to offer detailed examination of the entirety of Nono's compositional output. From this perspective alone, Impett's is an essential contribution. It joins a recent, sudden flourishing of English-language publications on Nono, a very welcome complement to Carola Nielinger-Vakil's elegant monograph Luigi Nono: A Composer in Context (Cambridge: Cambridge University Press, 2015), which is more selective in its coverage, and the English edition of Nono's writings Nostalgia for the Future(Berkeley: University of California Press, 2018).

Proceeding strictly chronologically through Nono's career, Impett addresses each work in turn, the shorter works being grouped under shared concerns ('Song'; 'New spaces'; etc.), the larger works (Il canto sospeso; Intolleranza 1960; Al gran sole carico d'amore; Prometeo) given chapters of their own. Lightly-sketched biographical details are offered throughout, but the focus is unashamedly on compositional process and structure. Impett is fearless in his engagement with the inner workings of each score, offering accounts that reconstruct in detail the processes documented in Nono's sketches. The book is unusually generous in its reproductions and transcriptions of the sketches themselves, even if sometimes one wishes for more in order to follow the fine detail of Impett's account.

A question about readership immediately springs to mind, as one immerses oneself in Impett's discussion. At one level, the approach is introductory. Impett's notes and bibliography are testament to his comprehensive grasp of the existing Nono literature, which is particularly extensive in Italian and German. However, this learning is worn lightly: Impett is not pursuing a grand thesis or revisionary perspective, and largely refrains from extended debate with the arguments of other writers, preferring instead passing references to their key findings. Nor is there any real engagement with the preoccupations of contemporary musicology. His preference is always to reach first for the primary materials.

This works best for the music that, in the U.K. at least, is least well known. How wonderful, for instance, to have, finally, detailed accounts of the militant works from the 1960s and early 1970s, which up to now have been almost entirely neglected in English-language publications, and little studied in other literatures. The richly textured accounts of Nono's last works, which are not considered by Nielinger-Vakil, are also greatly welcome. Impett's nuts-and-bolts approach is a little less compelling for works that have enjoyed a long history of close scholarly attention. The chapters on Il canto sospesoand Intolleranza are disproportionately short, given these works' iconic significance, as if in acknowledgement that the fundamental ground has already been thoroughly trodden. In the chapter on Prometeo, although Impett's discussion of the work's philosophical background is substantial—demonstrating once again the remarkable spell that this piece tends to cast over its exegetes—there is a good deal of duplication with Nielinger-Vakil's discussion, and hers proves the more satisfyinglydetailed when it comes...

审核人：

• 乔纳森·因佩特（Jonathan Impett）的《路易吉·诺诺（Ruigi Nono）和音乐思想的Routledge手册》
• 罗伯特·阿德林顿

首先是烦人的东西。对此书不加评论地评论价格是不负责任的，这将挑战许多苦苦学习的学术图书馆，更不用说个别读者了。是什么使这本书的内容和作者身份统一成为“ Routledge手册”？如果价格和名义品牌都简单地反映了英国学术出版的迫切需求，那么它们[结束页375]但是，在作曲家对以利润为导向的商业持怀疑态度并因此担心与更广泛的社会不平等现象联系在一起的作曲家看来，这显得格格不入。尽管如此，仍可以找到针对该出版物的每个方面的合理性度量。它是一本真正的纪念性出版物，包括500页的紧版书籍。如果使用更标准的字体，则将接近1,000。您的图书馆的费用肯定有很大的增长。“手册”这个绰号至少与该书的重要性相呼应，即作为第一种以任何语言提供对诺诺全部作曲作品的详细检查的研究。仅从这个角度来看，Impett's是必不可少的贡献。它加入了最近在诺诺（Nono）上的英语出版物的蓬勃发展，Luigi Nono：情境中的作曲家（剑桥：剑桥大学出版社，2015），其报道的选择性更强，以及Nono的著作《对未来的怀旧》的英文版（伯克利：加州大学出版社，2018）。

Impett从诺诺的职业生涯开始，严格按照时间顺序进行，依次处理每件作品，较短的作品归类于共同关注的主题（“歌曲”；“新空间”等），较大的作品（Il canto sospeso； Intolleranza 1960； Al gran sole） carico d'amore; Prometeo）给出了自己的章节。整个过程中都提供了简短的传记详细信息，但重点始终放在组成过程和结构上。Impett毫不畏惧地参与每个乐谱的内部工作，提供详细重构Nono草图中记录的过程的说明。这本书在草图的复制和抄写方面非常慷慨，即使有时为了遵循Impett的详细说明而希望获得更多。

当人们沉浸在Impett的讨论中时，马上就会想到一个关于读者群的问题。一方面，该方法是介绍性的。Impett的笔记和参考书目证明了他对现有Nono文学的全面掌握，尤其是意大利语和德语。但是，这种学习方法很容易：Impett并不追求宏大的论文或修订版的观点，并且很大程度上避免了与其他作者的论证进行长时间的辩论，而是转而引用他们的主要发现。对当代音乐学的关注也没有任何真正的参与。他的首选始终是首先获得主要材料。

至少在英国，这种音乐最不为人所知。例如，最终详细描述1960年代和1970年代初期的好战分子作品真是太好了，到目前为止，这些出版物在英语出版物中几乎被完全忽略，而在其他文献中却很少研究。诺琳·瓦基尔（Nielinger-Vakil）并没有考虑诺诺（Nono）的最后作品的丰富纹理，也受到了极大欢迎。对于长期以来一直受到学术界高度关注的作品，Impett的精确定位方法并不那么引人注目。关于Il canto sospeso和Intolleranza的章节考虑到这些作品的标志性意义，它们显得格外短，仿佛在承认基本面已经被彻底践踏了。在上篇PROMETEO，虽然工作的哲学背景的Impett的讨论是实质性的，表明再次显着咒语，这块倾向于投过来的解经，有一个与Nielinger-Vakil的讨论重复的一个很好的协议，和她证明更令人满意的细节...