La lontananza nostalgica utopica futura is the penultimate work published in composer Luigi Nono’s catalog. It is the fruit of a collaboration with violinist Gidon Kremer and is dedicated to his friend Salvatore Sciarrino “caminantes esemplare”. As Grant Chu Covell writes in the online magazine La Folia: “Nono and violinist Gidon Kremer met in 1987. They quickly expressed a desire to work together. In autumn 1988, they organized a performance as part of the Berliner Festwochen. Nono invited Kremer to the experimental studio of the Heinrich Strobel Foundation in Freiburg. For several hours a day between February 15 and 19, 1988, the composer asked the violinist to improvise in front of the microphone. Nono analyzed Kremer’s playing. He then reworked the recorded material, creating a definitive magnetic tape between June 19 and 25 of the same year.”

There are several special features to this composition:
- The violinist has to move around during the performance, moving from one desk to another. It is also possible to arrange additional music stands to create possibilities during the course of the concert.
- The recorded parts are on eight channels, and the sound engineer is called upon to be a true interpreter. He can decide for himself what will appear from the sounds recorded by Gidon Kremer.

Violinist Marco Fusi and composer Pierluigi Billone have been working together for many years. Performing La lontananza is a long-held dream made possible by Ensemble Vide and the ARCOOP building, and the scenographic work is built around the violinist’s movement requirements. The aim is to create a playing space that is as open as possible, to best convey the composer’s desire for wandering and aimlessness.

Artist Martin Rautenstrauch has created a unique scenographic rendering, working in close collaboration with Marco Fusi and Pierluigi Billone, to develop a visual coherent with the music, the musician’s movements and the space of the building.