In this paper, we take a closer look at Luciano Berio’s Rendering (1989), a work which was explicitly conceived of as a “restoration” of Schubert’s unfinished Tenth Symphony (Berio 1989: 453). We argue that Berio’s operation on Schubert’s fragments, unconventional as it was from a philological point of view, reflects many principles envisaged by Cesare Brandi in his Theory of Restoration (1963) particularly with regard to the treatment of so-called lacunae. Berio’s analogy between music and painting restoration has interesting musicological implications and impacts on a number of philosophical issues such as originality, creativity and how we can relate authentically with the past.

Giombini, L., Oliva, S. (2020). Resonating lacunae. Berio, Brandi and music restoration. STUDI DI ESTETICA, 17(2), 145-161.

Resonating lacunae. Berio, Brandi and music restoration

Lisa Giombini
;
2020-01-01

Abstract

In this paper, we take a closer look at Luciano Berio’s Rendering (1989), a work which was explicitly conceived of as a “restoration” of Schubert’s unfinished Tenth Symphony (Berio 1989: 453). We argue that Berio’s operation on Schubert’s fragments, unconventional as it was from a philological point of view, reflects many principles envisaged by Cesare Brandi in his Theory of Restoration (1963) particularly with regard to the treatment of so-called lacunae. Berio’s analogy between music and painting restoration has interesting musicological implications and impacts on a number of philosophical issues such as originality, creativity and how we can relate authentically with the past.
Giombini, L., Oliva, S. (2020). Resonating lacunae. Berio, Brandi and music restoration. STUDI DI ESTETICA, 17(2), 145-161.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11590/372012
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