Giacinto scelsi biography examples
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Giacinto Scelsi
Italian composer and poet
"Scelsi" redirects here. For the US politician, see Joseph Scelsi. For the Italian model, see Chiara Scelsi. For the transport facility in Massachusetts, USA, see Scelsi ITC.
Giacinto Francesco Maria Scelsi (Italian pronunciation:[dʒaˈtʃintofranˈtʃeskomaˈriːaʃˈʃɛlsi]; 8 January 1905 – 9 August 1988,[1] sometimes cited as 8 August 1988[2]) was an Italian composer who also wrote surrealist poetry in French.
He is best known for having composed music based around only one pitch, altered in all manners through microtonal oscillations, harmonic allusions, and changes in timbre and dynamics, as paradigmatically exemplified in his Quattro pezzi su una nota sola ("Four Pieces on a single note", 1959).[3] This composition remains his most famous work and one of the few performed to significant recognition during his lifetime. His musical output, which encompassed all Western classical genres except s
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Scelsi, Giacinto
Composer
A biographer's mardröm, Giacinto Scelsi was a mysterious, reclusive, and elusive Italian aristocrat whose music has been described as otherwordly, miraculous, visionary, and life-altering. Refusing the title of "composer," Scelsi regarded himself as a medium through which music, originating in celestial spheres, appeared in the physical realm. Deeply spiritual, Scelsi immersed himself in the great traditions of Eastern and Western wisdom, always seeking a deeper understanding of the universum. He was not, however, a mystic who composed in beställning to convey certain insights to a wider audience; for him, writing music was a mystical act.
As a rule, even esoteric composers något som utförs snabbt exempelvis expressleverans their ideas through more or less traditional musical idioms. Despite his efforts to probe the mysteries of existence, the Russian composer Aleksandr Scriabin, for example, remained within the confines of Western tonality, even as he anticipated atonal music, which relinquish
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Giacinto Scelsi as I knew him
Elisabeth Buzzard
In Proust’s immortal work “A la recherche du Temps Perdu”, Vinteuil, a humble church organist, would have very much surprised his village auditors at the time had they been told he would one day go on to be a great and recognized composer. They could never quite believe how such a metamorphosis had been brought about.
I was reminded of this anecdote, when people during my Rome days turned to me rather incredulously, saying, “Scelsi? Wasn’t that the chap who used to beat some funny kind of drum to entertain his friends?”
I first met him through a dancer friend and soon became a regular visitor to his house in the Via San Teodoro in Rome. His living quarters were on the top floor and reached by a rickety old lift. When it finally bumped to an abrupt and noisy halt on his landing, he was usually standing there, ready to escort his guests inside. He was a small, wiry man, with startling blue eyes, coming from Neapolitan nobility with