The violinist Miranda Cuckson’s outstanding recording of “La Lontananza Nostalgica Utopica Futura,” by the Italian avant-gardist Luigi Nono, was scheduled for release in the fall. But Hurricane Sandy had other ideas.
A signed, limited-edition version did come out in November, so I was happily able to include it on The New York Times’s list of the best classical music recordings of 2012. But it was not until Friday evening at the Spectrum, a cozily cluttered loft on the Lower East Side that became a new-music space over the summer, that Ms. Cuckson could publicly celebrate.
One of the final products of Nono’s ceaselessly experimental career, “La Lontananza” veers from ethereal near-silence to jagged eruptions. It puts Ms. Cuckson in a series of anxious, eerie confrontations with previously taped material that is manipulated by the composer Christopher Burns, who responds to the violinist in real time by highlighting certain tracks and suppressing others.
Read the full article at the New York Times.