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Giacinto Scelsi Score Pdf Mozart liebte den Gesang, die menschliche Stimme, er benutzte sie als Instrument musikalischer Aussage, sie beherrschte sein kompositorisches Schaffen von Anfang bis. Editing Report The Earle Brown Music Foundation prepared 34 works for publication by Peters Edition. Scelsi - Anahit - Full Orchestral Score - Free download as PDF File (.pdf) or read online for free.
Scelsi: Piano Works (review) Scelsi: Piano Works (review)Note that this text is rather dated and has not beenrevised.Giacinto Scelsi (1905-1988) wrote one of this century's largestsets of piano music. This pianistic output was concentrated intotwo relatively brief periods: 1930-1941 and 1952-1956. At thatpoint, Scelsi's compositional development forced him to largelyabandon keyboard instruments - until then, the piano had been byfar his most-used vehicle for self-expression. Scelsi was a virtuosopianist, and even his most experimental compositions in this genreshow a marked pianistic conception. The place which this outputwill hold in the repertoire remains to be seen - Scelsi wasbasically 'discovered' in the 80s.The first period of piano writing (1930-1941) occurred duringScelsi's early compositional phase in which his language was largelytraditional. Here the greatest influences seem to be Scriabin,Berg & Bartok. This was also when Scelsi wrote his 'rabbits' suchas the extremely impressive String Quartet No.
1 (1944) and thestill un-recorded cantata La Nascita del Verbo (1948). Theearly piano output includes four sonatas as well as the first sevensuites. Some of these are lost, and the others will no doubt berecorded at some point.After 1948, Scelsi abandoned composing for a few years only toemerge with his new style in 1952. The beginning of this periodis again concerned almost exclusively with the piano, the followingpieces being written at that time: Suite No. 8 (1952), FourIllustrations (1953), Five Incantations (1953), SuiteNo.
9 (1953), Suite No. 10 (1954), Action Music (1955), andSuite No. The intended purpose of this article is asa review of Werner Bartschi's recording of Suites Nos. Unfortunately, Ihave been largely unsuccessful at obtaining scores of these pieces,so my knowledge is not as large as I would hope.The Suite No. 8 ' Bot-Ba (Tibet)' is subtitled: 'Evocationof Tibet with its monasteries on high mountain summits - Tibetanrituals - Prayers and Dances.' Though it is described as less(!)violent than the Suite No. 6, the Suite No.
8 makes much use oftoccata-style movements largely based on clusters. These alternatewith slower meditative sections based on slow chord ostinatos, withstill a hint of Schoenberg in the connecting sections. This Suiteis immediately attractive for any barbarians who might like clustertoccatas and percussive devices, as it is still largely concernedwith aggressive motion, despite the title. However, it is stillsuccessful at evoking Tibet - or at least the recorded Tibetanmusic I have heard, which is more than a little dissonant. Thesuite is in six movements with the 'center' in the third based onthe golden section.
This is followed by an extremely dissonantmovement, then the slowest movement of the suite, and then thecomplex Bartokian finale. Bartschi's playing is admirable,particularly in the extremely virtuosic finale.The Four Illustrations and Five Incantations arerecorded by Suzanne Fournier on. These works are much shorter than the Suites 8 & 9,and the Four Illustrations in particular is more concentratedin form. This piece is in four movements describing four avatarsof Vishnu, and might be said to correspond roughly to a sonata -in particular the Four Illustrations occupy the same positionin Scelsi's middle output with respect to the piano sonata as doesthe massive orchestral work Aion with respect to the symphony.Both conclude with slow, fading resolutions. The FourIllustrations is charged with a variety of ideas, and is apiece I continue to find fascinating after more than a hundredhearings - I have little doubt that it is Scelsi's finest pianopiece. For the most part it is a slow work based on murky passage-workin the middle registers and subtle interactions between the movements;the violent Varaha Avatar (as scherzo) is the exception. TheFour Illustrations begins Scelsi's concentration on slowand static music.
The Five Incantations are much simplerin conception - though quite virtuosic pianistically, each isbasically independent with a clearly identifiable theme. Theymight be described as rhapsodies, or possibly etudes.The Suite No. 9 ' Ttai (Peace)' is subtitled: 'A successionof episodes which alternatively express Time - or more precisely,Time in motion, and Man as symbolized by cathedrals or monasteries,with the sound of the sacred Om,' along with the comment: 'ThisSuite should be listened to and played with the greatest interiorcalm. Restless people should keep away.' This rambling piece isin nine movement, all clearly restrained and predominately quietand slow. Though Halbreich repeats his comparison between Scelsiand Bruckner when discussing this piece in the CD notes, it isparticularly here that the limits of this comparison are seen. Ifind that there is always a sense of striving (an idea which issurely inseparable from the 19th century) in Bruckner's music, andthis Suite of Scelsi's is nothing but arrival.
Scelsi returns moreextremely to ostinato-based movements, as well as simply slowrepeated chords; it took me several hearings to appreciate thissuite, and it continues to occupy something of a singular position- perhaps a rock on which Scelsi's further explorations duringthe 50s are levered. There are many moments of evocation of variousworld musics, in particular the compressed southeast asian stylepolyphony of the fourth movement, which is something of a resolutionfor the first part of the suite. Another high point is the eighthmovement which is then followed by a slow finale. In this eighthmovement, Scelsi starts a polyphonic style which he was to uselater in his string writing. I also hear something of the styleof Charles Tournemire in his Don Quixote / Vanity movements;whether Scelsi knew Tournemire I do not know, though I think thecomparison is apt as this suite is one of Scelsi's most vainpieces.The Suite No. 9 has also been recorded by Marianne Schroeder onHat Hut CD, along with the Suite No. 10 ' Ka (Essence.)'Though Schroeder's performance is good, Bartschi's is better.
Notonly does he bring a deeper sense to the music, but he plays it10% faster (something which doesn't hurt for this piece.) TheSuite No. 10 is not very successful, in my opinion - the bind inwhich Scelsi finds himself here might have had something to do withhis abandonment of the piano shortly afterward. At the beginning,this suite offers something of an introduction to the earlier pianomusic (and this is something Scelsi was to continue for some years:an incredible new idea emerging like a boulder, followed by somewhateasier pieces which function as something of an explanation forthe first; example: String Quartets Nos.
2 & 3.) The first threemovements use more traditional western figurations in Scelsi's slowostinato style, followed by a fourth movement which combines theseand then three other movements which close the seven movement suite.These last three movements are largely based on quickly arpeggiatedchords in the highest register over slow recitatives in the lowerones. Some of the new sound ideas here do point toward Scelsi'slater output, such as the highly singular world of Pfhat(1974).The Action Music and Suite No. 11 are not yet recorded,though I suspect Accord will be coming out with them soon. I expectthat Action Music returns to the cluster toccatas of BotBa, and that the Suite No. 11 develops further some of the laterideas in Ka - though I would really like to find out howScelsi ends his piano output (not surprisingly at the same time ashe was writing Triphon for solo cello.) In addition tothese pieces, there is a later piano piece Aitsi (1974)which uses electronics to de-temper the decaying resonances.
Thisis similar to Stockhausen's Mantra, though the effect isquite different. The String Quartet No. 5 is based on Aitsi,and the piano piece is arguably more effective - the contrastbetween attack and decay is much more extreme. Here as in most ofScelsi's last music, the language is quite harsh and largely eschewsany traditional development. Aitsi is one six-minutemovement, based on a chord expanded in a style similar to Indianclassical alap (though stacked vertically.)Back to. McComb late 1991.
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