The desire to study the texts and the compositional process of Découvrir la subversion
(1987) was born from the curiosity to approach a very special case study in order to
understand the nature and history of a work whose destiny is suspended between a
‘poorly defined’ text and specific executive practices that risk not being handed down.
The work was performed only once on 5 October 1987 and its score is not published.
In 1992 the ‘Comitato per l’Edizione delle Opere di Luigi Nono’ denounced infact the
impossibility of reconstructing an ‘incomplete’ text and authorizing new performances
of the piece. The aim of this contribution is therefore to bring the focus back to the
composition, to reopen a discussion on a possible redefinition of the state of his score
and to propose some reflections on the feasibility of imagining new performances,
starting from the reconstruction and ‘reactivation’ of specific performative processes
and schemes.
