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"Scelsi" vuelve a dirigir aquí. Para el político estadounidense, consulte Joseph Scelsi . Para el modelo italiano, consulte Chiara Scelsi . Para la instalación de transporte en Massachusetts, EE. UU., Consulte Scelsi ITC .
Scelsi c. 1935

Giacinto Scelsi ( pronunciación italiana:  [dʒaˈtʃinto ʃˈʃɛlsi] ; 8 de enero de 1905 - 9 de agosto de 1988) fue un compositor italiano que también escribió poesía surrealista en francés.

Es mejor conocido por haber compuesto música basada en un solo tono , alterada de todas las formas a través de oscilaciones microtonales , alusiones armónicas y cambios en el timbre y la dinámica , como se ejemplifica paradigmáticamente en su Quattro pezzi su una nota sola ("Cuatro piezas en un solo nota ", 1959). [1] Esta composición sigue siendo su obra más famosa y una de las pocas interpretadas con un reconocimiento significativo durante su vida. Su producción musical, que abarcó todos los géneros clásicos occidentales excepto la música escénica, permaneció en gran parte sin descubrir incluso dentro de los círculos musicales contemporáneos durante la mayor parte de su vida. Hoy en día, parte de su música ha ganado popularidad en ciertospostmodern composition circles, with pieces like his "Anahit" and his String Quartets rising to increased prominence.

Scelsi collaborated with American composers including John Cage, Morton Feldman, and Earle Brown, as well as being a friend and a mentor to Alvin Curran. His work was a source of inspiration to Ennio Morricone's Gruppo di Improvvisazione di Nuova Consonanza, and his music influenced composers like Tristan Murail and Solange Ancona.

Life[edit]

Nacido en el pueblo de Pitelli cerca de La Spezia , Scelsi pasó la mayor parte de su tiempo en el antiguo castillo de su madre, donde recibió educación de un tutor privado que le enseñó latín, ajedrez y esgrima. Más tarde, su familia se mudó a Roma y su talento musical se vio alentado por lecciones privadas con Giacinto Sallustio. En Viena, estudió con Walther Klein, alumno de Arnold Schoenberg . Se convirtió en el primer exponente de la dodecafonía en Italia, aunque no siguió utilizando este sistema.

In the 1920s, Scelsi made friends with intellectuals like Jean Cocteau and Virginia Woolf, and traveled abroad extensively. He first came into contact with non-European music in Egypt in 1927. His first composition was Chemin du coeur (1929). Then followed Rotativa, first conducted by Pierre Monteux at Salle Pleyel, Paris, on 20 December 1931.

En 1937, organizó una serie de conciertos de obras contemporáneas, presentando la música de (entre otros) Paul Hindemith , Schoenberg , Igor Stravinsky , Dmitri Shostakovich y Sergei Prokofiev a una audiencia italiana por primera vez. Debido a la aplicación de las leyes raciales bajo el régimen fascista de Benito Mussolini , que impidió la interpretación de obras de compositores judíos, estos conciertos no continuaron por mucho tiempo. Scelsi se negó a obedecer y gradualmente se distanció de Italia. En 1940, cuando Italia entró en guerra, Scelsi estaba en Suiza., where he remained until the end of the conflict, composing and honing his conception of music. He married Dorothy Kate Ramsden, a divorced Englishwoman.

Back in Rome after the war, his wife left him (eventually inspiring Elegia per Ty), and he underwent a profound psychological crisis that eventually led him to the discovery of Eastern spirituality, and also to a radical transformation of his view of music. In this so-called second period, he rejected the notions of composition and authorship in favour of sheer improvisation. His improvisations were recorded on tape and later transcribed by collaborators under his guidance. They were then orchestrated and filled out by his meticulous performance instructions, or adjusted from time to time in close collaboration with the performers.

Scelsi llegó a concebir la creación artística como un medio para comunicar una realidad superior y trascendente al oyente. Desde este punto de vista, el artista se considera un mero intermediario. Por esta razón, Scelsi nunca permitió que su imagen se mostrara en conexión con su música; en cambio, prefirió identificarse por una línea debajo de un círculo, como símbolo de procedencia oriental. Han surgido algunas fotografías de Scelsi desde su muerte.

One of the earliest interpreters Scelsi closely worked with was the singer Michiko Hirayama, whom he met in 1957 in Rome. From 1962 to 1972 he wrote the extensive song cycle Canti del Capricorno directly for her in view of her special and unique vocal range. The writing process of the piece set an example for Scelsi's very personal way of working: developing pieces through improvisation, recording, and then making a final transcription.[2]

From the late 1970s, Scelsi met several leading interpreters, such as the Arditti String Quartet, the cellist Frances-Marie Uitti, and the pianists Yvar Mikhashoff and Marianne Schroeder, who have promoted his music all over the world and gradually opened the gates to wider audiences.

Scelsi was a friend and a mentor to Alvin Curran (whose VSTO is a tribute) and other expatriate American composers such as Frederic Rzewski who were residing in Rome during the 1960s (Curran, 2003, in NewMusicBox). Scelsi also collaborated with other American composers including John Cage, Morton Feldman, and Earle Brown (who visited him in Rome).

Frances-Marie Uitti, dedicada a todas las obras para violonchelo de Scelsi, colaboró ​​intensamente con él durante más de 10 años editando y luego grabando La Trilogia, una obra masiva de 3 partes de 45 minutos de duración que Morton Feldman llamó su "autobiografía en sonido". Se estrenó por primera vez en el Festival di Como y se grabó en Fore Records (Raretone) con Scelsi en el estudio y más tarde para Etcetera Records . Una versión aclamada más reciente con varias de las oraciones latinas se encuentra en ECM bajo el título Natura Renovatur. Uitti también transcribió muchas de las obras de cámara para contrabajo, contrabajo y violonchelo, viola y dos improvisaciones basadas en las cintas de ondiolina que se encuentran bajo el título Voyages.

Alvin Curran recalled that: "Scelsi ... came to all my concerts in Rome even right up to the very last one I gave just a few days before he died. This was in the summer time, and he was such a nut about being outdoors. He was there in a fur coat and a fur hat. It was an outdoor concert. He waved from a distance, beautiful sparking eyes and smile that he always had, and that's the last time I saw him" (Ross, 2005).

Scelsi died of a cerebral hemorrhage on 9 August 1988, in Rome.[3]

Music[edit]

Scelsi remained largely unknown for most of his career. A series of concerts in the mid to late 1980s finally premiered many of his pieces to great acclaim, notably his orchestral masterpieces in October 1987 in Cologne, about a quarter of a century after those works had been composed and less than a year before the composer's death. Scelsi was able to attend the premieres and personally supervised the rehearsals. The impact caused by the late discovery of Scelsi's works was described by Belgian musicologist Harry Halbreich:[4]

A whole chapter of recent musical history must be rewritten: the second half of this century is now unthinkable without Scelsi... He has inaugurated a completely new way of making music, hitherto unknown in the West. In the early fifties, there were few alternatives to serialism's strait jacket that did not lead back to the past. Then, toward 1960–61, came the shock of the discovery of Ligeti's Apparitions and Atmosphères. There were few people at the time who knew that Friedrich Cerha, in his orchestral cycle Spiegel, had already reached rather similar results, and nobody knew that there was a composer who had followed the same path even years before, and in a far more radical way: Giacinto Scelsi himself.

Dutch musicologist Henk de Velde, alluding to Adorno speaking of Alban Berg, called Scelsi "the Master of the yet smaller transition,"[citation needed] to which Harry Halbreich added that "in fact, his music is only transition."[citation needed]

Scelsi was also an idol of Ennio Morricone's Gruppo di Improvvisazione di Nuova Consonanza, whose sixteen-minute track 'Omaggio a Giacinto Scelsi' features on their live album 'Musica Su Schemi', released in 1976.[5]

The music of Scelsi was heard by millions in Martin Scorsese's Shutter Island, in which excerpts of his two works Quattro pezzi su una nota sola and Uaxuctum (3rd movement) were featured alongside the music of his contemporaries György Ligeti, Krzysztof Penderecki, John Cage and Morton Feldman.[a]

Scelsi's archives are held at the Isabella Scelsi Foundation.[6]

Works[edit]

See List of compositions by Giacinto Scelsi.

Bibliography[edit]

  • Le Poids net et l'Ordre de ma vie, Vevey, 1945
  • Sommet du feu, Rome, 1947
  • Le Poids net, éditions GLM (Guy Levis Mano), 1949
  • L'Archipel Nocturne, éditions GLM, 1954
  • La conscience aiguë, éditions GLM, 1962
  • Cercles, Éditions Le parole gelate, Rome, 1986
  • Il Sogno 101 (Dream 101), an autobiographical book. Macerata: Quodlibet, 2010.[7]

The French company Actes Sud published writings of Giacinto Scelsi in three volumes, the majority of which are now out of print:

  • L'homme du son, poetry edited and with commentary by Luciano Martinis, with collaboration from Sharon Kanach. Actes Sud 2006,
  • Les anges sont ailleurs, writings on Scelsi's life, music and art. Actes Sud, 2006.
  • Il Sogno 101, an autobiography. Actes Sud.

Selected discography[edit]

Accord/Universal-Musidisc[edit]

  • Œuvre intégrale pour choeur et orchestre symphonique (1. Aion – Pfhat – Konx-Om-Pax, 2. Quattro Pezzi – Anahit – Uaxuctum, 3. Hurqualia – Hymnos – Chukrum). Orchestre et chœur de la Radio-Télévision Polonaise de Cracovie, conducted by Jürg Wyttenbach [de] (recorded 1988, 1989 and 1990; ref. 201692, 1992, 3 CDs: 1. ref. 200402, 1988 2. ref. 200612, 1989 3. ref. 201112, 1990; re-released by Universal-Musidisc in 2002)
  • Scelsi collection, vol. 3: Aion, Hymnos, Four pieces for Orchestra, Ballata. RAI Symphony Orchestra, Francesco Dillon [it] (cello), conducted by Tito Ceccherini (recorded 2007). released by Stradivarius 2009 (STR33803)
  • Elegia per Ty – Divertimento nº3 pour violon – L’Âme ailée – L’Âme ouverte – Coelocanth – Trio à cordes. Zimansky, violin; Schiller, viola; Demenga, cello (ref. 200611, 1989)
  • Quattro illustrazioni – Xnoybis – Cinque incantesimi – Duo pour violon et violoncelle. Suzanne Fournier, piano; Carmen Fournier, violin; David Simpson, cello (ref. 200742, 1990)
  • Suite No.8 (Bot-Ba) – Suite No.9 (Ttai). Werner Bärtschi, piano (ref. 200802, 1990)
  • Intégrale des œuvres chorales (Sauh III & IV – TKRDG – 3 Canti populari – 3 Canti sacri – 3 Latin Prayers – Yliam). New London Chamber Choir, Percussive Rotterdam, conducted by James Wood (ref. 206812)
  • Scelsi collection, vol. 7: Suite N. 6, Divertimento N. 1, L'Âme Ailée / L'Âme Ouverte, Xnoybis. Marco Fusi (violinist), Anna D'Errico, piano. released by Stradivarius 2017 (STR 33807).

CPO[edit]

  • Chamber Works for Flute and Piano (CPO 999340-2) played by Carin Levine, flutes; Kristi Becker, piano; Peter Veale, oboe; Edith Salmen, percussion; and Giacinto Scelsi, piano
  • The Complete Works for Clarinet (CPO 999266-2) played by the Ensemble Avance conducted by Zsolt Nagy, with David Smeyers, clarinets; and Susanne Mohr, flute

Kairos[edit]

  • Yamaon; Anahit; I presagi; Tre Pezzi; Okanagon (Kairos 1203) the Klangforum Wien conducted by Hans Zender
  • Streichquartett Nr. 4; Elohim; Duo; Anagamin; Maknongan; Natura renovatur (Kairos 1216) the Klangforum Wien conducted by Hans Zender
  • Action Music, Suite No 8 "bot-ba" (Kairos 1231) played on piano by Bernhard Wambach [de]

Mode[edit]

  • The Piano Works 1 (Mode Records 92) played by Louise Bessette
  • The Orchestral Works 1 (Mode Records 95) Carnegie Mellon Philharmonic & Choir conducted by Juan Pablo Izquierdo [es], with Pauline Vaillancourt, soprano, and Douglas Ahlstedt, tenor
  • Music For High Winds (Mode Records 102) played by Carol Robinson, clarinets, Clara Novakova, flute and piccolo, Cathy Milliken, oboe
  • The Piano Works 2 (Mode Records 143) played by Stephen Clarke
  • The Piano Works 3 (Mode Records 159) played by Aki Takahashi
  • The Orchestral Works 2 (Mode Records 176) Vienna Radio Symphony Orchestra
  • The Works For Double Bass (Mode Records 188) played by Robert Black
  • The Piano Works 4 (Mode Records 227) played by Stephen Clarke
  • The Works for Viola (Mode Records 231) played by Vincent Royer with Séverine Ballon, cello
  • The Works for Violin (Mode Records 256) played by Weiping Lin

Other labels[edit]

  • 5 string quartets, String trio, Khoom. Arditti String Quartet; Michiko Hirayama, voice; et al. (recorded 1988; Salabert Actuels, ref. 2SCD 8904-5; re-released by Montaigne / Naïve, ref. MO 782156, 2002; 2 CDs)
  • Trilogia (Triphon, Dithome, Igghur) – Ko-Tha. Frances-Marie Uitti, cello (Fore 80, No.6 [LP]; Etcetera, KTC 1136 [CD])
  • Intégrale de la musique de chambre pour orchestre a cordes (Natura renovatur, Anagamin, Ohoi, Elohim). Orchestre Royal de Chambre de Wallonie, conducted by Jean-Paul Dessy [fr] (recorded May 1998; Forlane, ref. UCD16800, 2000)
  • Canti del Capricorno. Michiko Hirayama, voice; et al. (recorded 1969 & 1981/1982; Wergo, ref. WER 60127-50, 1988)
  • Complete Works For Flute And Clarinet (Col Legno 200350) played by the Ebony Duo
  • Trilogia (CTH 2480, together with Aşk Havasi by Frangis Ali-Sade) played by Jessica Kuhn, cello
  • Natura renovatur (ECM 1963) Münchener Kammerorchester conducted by Christoph Poppen, Frances-Marie Uitti on violoncello
  • Trilogy: Triphon, Dithome, Ygghur (for cello solo) – 1957-61/65. Arne Deforce, cello on AEON, AECD 0748, 2007.

Notes[edit]

  1. ^ The pieces and composers are listed in the end credits of the film, but only "Uaxuctum" is listed on the soundtrack.

References[edit]

  1. ^ Quattro Pezzi su una nota sola (Four Pieces on Only One Note), for 25 musicians. AllMusic
  2. ^ Liner notes for Wergo 60127 and 66862 (Canti del Capricorno).[full citation needed]
  3. ^ "Giacinto Scelsi, Composer, 83". The New York Times. 1988-08-12. ISSN 0362-4331. Retrieved 2020-01-22.
  4. ^ Harry Halbreich, in the analytic commentaries published accompanying Jürg Wyttenbach's recordings of Scelsi's orchestral integrale by Accord.[full citation needed]
  5. ^ discogs[full citation needed]
  6. ^ PanPot. "Fondazione Isabella Scelsi -". www.scelsi.it. Retrieved 2020-10-01.
  7. ^ Sardo, F., "Giacinto Scelsi, the Count who Invented Drone Music", Pixarthinking, Aug 12, 2016.

Further reading[edit]

  • Alvin Curran (November 26, 2003). "Waking Up to Alvin Curran". NewMusicBox (Interview). Interviewed by Frank J. Oteri (published February 1, 2004).
  • Scelsi Morning After November 15, 2005 by Alex Ross: The Rest Is Noise Articles, a blog, and a book-in-progress by the music critic of The New Yorker
  • Fondazione Isabella Scelsi (in Italian)
  • Durand Salabert Eschig

External links[edit]

  • Biography of Giacinto Scelsi at ClassicalNet
  • CompositionToday – Giacinto Scelsi Article
  • "Giacinto Scelsi biography" (in French). IRCAM.
  • Scelsi discography at Discogs.com
  • Excerpts from sound archives of Scelsi's works.
  • Listen to Scelsi's "Four pieces for orchestra" at Acousmata music blog