Giacinto
Scelsi Piano Music 1952/1953 Quattro
illustrazioni " Four Illustrations
on the Metamorphosis of Vishnu" Markus Hinterhauser (piano) col legno WWE 20068 [54 mins]
Giacinto Scelsi (1905-1988) is one of the most individual and elusive of composers; he was given to secrecy and mischievous misinformation. I had been bowled over by hearing a piano Suite and the Third String Quartet of Scelsi on BBC Radio 3, bought all the music I could find, and went on to write one of the first articles about his piano music for Piano Journal. Over the next years I studied all Scelsi's piano music at the keyboard, and visited him in Rome, where I found him friendly but disconcertingly unwilling to discuss details of the music and its notation. That remains open to question and a minefield for music writers; col legno's commentator writes about the 'great rhythmic precision' of the notation, but it is probably the case that some of that is apparent, resulting from attempts to notate taped recordings of the composer's improvisations. Here is a well chosen selection of Scelsi's later piano music, which belongs to the early 1950s, and listeners will be surprised at its originality for that time. The performances are scrupulous and the recording quality superb; Scelsi is a composer who has come into his own with digital recording. The major work Bot - Ba is a half-hour ritualistic sequence of major statements inspired by monasteries and mountains of Tibet, depicted with spacious solemnity, several of the movements culminating in dizzying dances which demand transcendental pianistic virtuosity, well served by Markus Hinterhauser. I offer readers a copy of my 1986 article, and also some extracts from Todd M. McComb's website, a valuable listings source, with a page about this favourite composer of mine and his. Lastly, an extract from an important lecture at Goldsmiths College in which the violinist/violist Mieko Kanno tackled the vexed question of uncertainties in Scelsi's published scores. I hope readers will be encouraged to purchase this newly released CD. Peter Grahame Woolf DISCOVERING SCELSI
(Piano Journal 7/21: 1986) His is a strange story. He
travelled widely in Europe and the East, got married in London
and was received at Buckingham Palace. Eventually he settled in
Rome. where he has lived for more than thirty years. He has published
poetry in France but has never engaged in promotion of his very
numerous musical compositions, which have remained mostly unpublished
until recently. Very little has been written about Scelsi until
now and this may be a first article for a British journal. Scelsi ceased writing for the piano in 1955 because of the limitations of the tempered chromatic scale. However, a new catalogue from United Music Publishers includes some twenty substantial piano compositions from 1930 onwards. All this music is strikingly original, and ahead of its time. Scelsl has a unique voice, which remains recognisable from the earlier piano music right through until his later works after he had abandoned the keyboard. Eight Suites are now available,
as are three Sonatas and several other sets of pieces, Suite No.2
(1930) The Twelve Minor Prophets lasts over three quarters
of an hour and is expansive and richly expressive, sometimes reminiscent
of early Bartok or of Skalkottas. Its gestures are those of a confident
young composer claiming attention. Suite No. 5 (1935) Il Circa
includes some attractively witty pieces which become outrageous
harmonically and revel in building up the tension towards vigorous
scrunching final cadences, I have found them marvellous studies
for developing keyboard facility, Suite 8 (1952) Bot Ba
evokes solemn Tibetan rituals, prayers and dances. Suite 10 (1954)
Ka is a fine example of Scelsi's later piano style. with
procedures which anticipate recent music by composers such as Ligeti
and Berio. There is a fascinating paradox inherent
in such music. The harmonic subtleties of the fast music can only
be grasped through patient study of the chords and careful listening
at a very reduced tempo. The casual listener to a performance up
to tempo may receive only a general effect and miss its cunning
organisation. On the other hand, the slower pieces, which are deliberately
freed from any familiar metrical framework, need to be heard away
from the distractions of the notated score, which can only interfere
with the spirit of the music. (Suite No.9 Ttai carries a
Scelsi health warning: "This suite should be listened to
and played with the greatest interior calm. Restless people should
keep away".) The composer himself attended three
of the concerts, his first visit to England for forty years, and
Yvar Mikhashoff gave impressive performances of his 4th Piano Sonata
and the Hispania tryptich which were enthusiastically received.
However. most of Giacinto Scelsi's numerous compositions for pianoforte
still await discovery and should not remain ignored during the ninth
decade of this unique 20th Century master who deserves fuller recognition
and appreciation in his remaining years. Dr. P. Grahame Woolf is a consultant psychiatrist and amateur pianist with longstanding interest in contemporary music. He has produced LP records of 20th century songs issued by Unicorn & Turnabout.
Scelsi:
Piano Works (extract from review)
(Todd M. McComb) The Four Illustrations and Five Incantations are recorded by Suzanne Fournier on Accord 200742. These works are much shorter than the Suites 8 & 9, and the Four Illustrations in particular is more concentrated in form. This piece is in four movements describing four avatars of Vishnu, and might be said to correspond roughly to a sonata -- in particular the Four Illustrations occupy the same position in Scelsi's middle output with respect to the piano sonata as does the massive orchestral work Aion with respect to the symphony. Both conclude with slow, fading resolutions. The Four Illustrations is charged with a variety of ideas, and is a piece I continue to find fascinating after more than a hundred hearings -- I have little doubt that it is Scelsi's finest piano piece. For the most part it is a slow work based on murky passage-work in the middle registers and subtle interactions between the movements; the violent Varaha Avatar (as scherzo) is the exception. The Four Illustrations begins Scelsi's concentration on slow and static music. The Five Incantations are much simpler in conception -- though quite virtuosic pianistically, each is basically independent with a clearly identifiable theme. They might be described as rhapsodies, or possibly etudes. - -
- - In the session about performance practice, Mieko Kanno was especially challenging in her examination of notated scores and differing views about how complex rhythms may be treated. She distinguished rhythm from metre, and the conflict between 'accuracy' and expression of underlying meaning, taking the confusions and uncertainties in the published score of Scelsi's Coelocanth for viola solo, which she played in the evening concert, for particular consideration. - -
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