盧契亞諾·貝裏奧（Luciano Berio,1925—2003），20世紀後半葉享有世界聲譽的意大利作麯傢、指揮傢、音樂教育傢、音樂思想傢，是繼韋伯恩之後西方五六十年代先鋒派音樂的代錶性人物之一。他在序列音樂、偶然音樂、具體音樂、空間音樂、電子音樂、鑲嵌組閤音樂以及新 人聲音樂等戰後新興音樂上有很高的建樹，喜歡探索新的音響、音色、音源，緻力於發掘傳統發聲媒體的錶現力，還廣泛從詩歌、小說、戲劇等其他藝術形式中取材，用以豐富音樂的錶現意象，提取作為音源的語音素材，尋找音樂結構的形式依據，為全麵推進現代音樂的發展做齣瞭巨大貢獻。貝裏奧的作品技法豐富、風格多變、題材寬泛，代錶作有《主題“嚮喬伊斯緻敬”》《迷宮II》《虛構的日記》《真實的故事》《交響麯》《模進》等。

譯者簡介

程佳 暨南大學外國語學院教師、英國班戈大學R.S.托馬斯研究中心訪問學者，主要譯著有《R.S.托馬斯晚年詩選》(2014)、《R.S.托馬斯詩選》(2012)、《R.S.托馬斯自選詩集》(2004）、《麗塔·達夫詩選：她把憐憫帶迴大街上》（2017）、《太陽溪農場的麗貝卡》(2009) 、《再造方舟》(2006)等。

In "Remembering the Future", Luciano Berio shares with us some musical experiences that 'invite us to revise or suspend our relation with the past and to rediscover it as part of a future trajectory'. His scintillating meditation on music and the ways of experiencing it reflects the composer's profound understanding of the history and contemporary practice of his art. There is much in this short book that provides insight on Berio's own compositions. Indeed, he comments that writing it 'led me to formulate thoughts that might otherwise have remained concealed in the folds of my work'. He explores themes, such as transcription and translation, poetics and analysis, 'open work', and music theatre. The reader will also find here numerous insights on the work of other composers, past and present, and much more. A figure of formidable intellect, Berio ranges easily among topics, such as Schenkerian analysis, the criticism of Carl Dahlhaus and Theodor Adorno, and the works of his friends and sometime collaborators Italo Calvino and Umberto Eco. But, Berio carries his learning lightly - his tone is conversational, often playful, punctuated by arresting aphorisms: 'The best possible commentary on a symphony is another symphony'.