Articles tagged 'Scelsi'

In 1908…

In 1908 Mahler (48) made his Metropolitan Opera debut in New York with Wagner’s Tristan und Isolde (Jan. 1), wrote Das Lied von der Erde, and premiered his Seventh in Prague (Sep. 19).

In 1908…

In 1908 Mahler (48) made his Metropolitan Opera debut in New York with Wagner’s Tristan und Isolde (Jan. 1), wrote Das Lied von der Erde, and premiered his Seventh in Prague (Sep. 19).

String Theory 21: Mostly Viola(s)

Royer is an inspired Scelsi performer. He plays as if improvising, easing into Scelsi’s languid microtones with grace notes flicked away like involuntary twitches.

String Theory 21: Mostly Viola(s)

Royer is an inspired Scelsi performer. He plays as if improvising, easing into Scelsi’s languid microtones with grace notes flicked away like involuntary twitches.

Italian Vacation 14.

To say Aldo Clementi uses canons, is like saying Wagner wrote operas or that Beethoven was good at variations.

Italian Vacation 14.

To say Aldo Clementi uses canons, is like saying Wagner wrote operas or that Beethoven was good at variations.

String Theory 11: Cellos Mostly

Monteverdi and Scelsi are well paired. Both could infuse a line, vocal or otherwise, with mysticism or elemental passion and create impetuous and visceral statements.

String Theory 11: Cellos Mostly

Monteverdi and Scelsi are well paired. Both could infuse a line, vocal or otherwise, with mysticism or elemental passion and create impetuous and visceral statements.

Maestro di Suoni e Silenzi:
Necessary Nono 4.

Cuckson and Burns offer the first 5.1 surround sound release of La lontananza. Given the violinist moves through space, this format makes perfect sense.

Maestro di Suoni e Silenzi:
Necessary Nono 4.

Cuckson and Burns offer the first 5.1 surround sound release of La lontananza. Given the violinist moves through space, this format makes perfect sense.

Armchair Operas 8.

A week spent in Stockholm put me near the Raoul Wallenberg memorial, sited within view of the capitol’s water and synagogue. Easy to miss at first, the granite sphere soon becomes a landmark.

Armchair Operas 8.

A week spent in Stockholm put me near the Raoul Wallenberg memorial, sited within view of the capitol’s water and synagogue. Easy to miss at first, the granite sphere soon becomes a landmark.

Piano Factory 9.

Shepherding the work’s first if not best-documented performance, Cage took Satie’s ludicrous directions seriously and stabled a team of pianists to crank out Vexations’ 840 required repetitions.

Piano Factory 9.

Shepherding the work’s first if not best-documented performance, Cage took Satie’s ludicrous directions seriously and stabled a team of pianists to crank out Vexations’ 840 required repetitions.

Visiting Scelsi

In ancient times, Via di San Teodoro was called Vicus Tuscus, “Etruscan Street,” consisting of booksellers and shops with offerings of rare perfumes and Chinese silks. The modern street faces the ruins of the Palatine Hill, just southeast of the Roman Forum’s remains. Giacinto Scelsi lived at number 8.

Visiting Scelsi

In ancient times, Via di San Teodoro was called Vicus Tuscus, “Etruscan Street,” consisting of booksellers and shops with offerings of rare perfumes and Chinese silks. The modern street faces the ruins of the Palatine Hill, just southeast of the Roman Forum’s remains. Giacinto Scelsi lived at number 8.

Italian Vacation 6.

Sani’s elemental dreamscapes — one each for water, wind, earth and fire — blanket their soloists with live electronics and tape.

Italian Vacation 6.

Sani’s elemental dreamscapes — one each for water, wind, earth and fire — blanket their soloists with live electronics and tape.

“Come io passo l’estate”: Italian Vacation 3.

A crisp division separates Castiglioni’s silvery Cangianti (Changes) from his other piano works. The 11-minute fingerbuster parallels other contemporaneous mid-century work, except that Castiglioni was more given to cantabile gestures than his Darmstadt pals.

“Come io passo l’estate”: Italian Vacation 3.

A crisp division separates Castiglioni’s silvery Cangianti (Changes) from his other piano works. The 11-minute fingerbuster parallels other contemporaneous mid-century work, except that Castiglioni was more given to cantabile gestures than his Darmstadt pals.