The paper addresses the difficulties encountered in the restaging and critical editing of electronic and mixed music by Luigi Nono. Through several significative examples (Y entonces comprendió, La fabbrica illuminata, Al gran sole carico d’amore), it discusses the different issues encountered by the team at the MIRAGE Lab, University of Udine (Italy) within a multiannual project for the preservation, restoration and critical edition of Nono’s works using magnetic tape.
