Your cart (0 item)

SCELSI, GIACINTO - The Orchestral Works 2

Format: CD Label & Cat.Number: Mode Records mode 176 Release Year: 2006 Note: Quattro Pezzi (su una nota sola) (1959), Uaxuctum (1966), La nascita del Verbo (1946-48), program notes in English, German & French. This is SCELSI at his most dark & dramatic, using large orchestra with choirs. Recordings of these pieces made 2005 live at Festival "Wien Modern" at Konzerthaus Vienna Price (incl. 19% VAT): €16.00 Warning: Currently we do not have this album in stock! More Info Drei seiner wohl bekannesten Kompositionen für Orchester: intensiver Klang, mit der Intention erschaffen, den Hörer selbst in Klang zu verwandeln: das dunkel-schwelend-mysteriöse "Quattro Pezzi (su una nota sola) von 1959, beim dem jedes der vier Stücke nur aus einer Tonhöhe besteht, die aber Mikro-Fluktuationen des Klangs (die Klangfarbe des Orchesters in der Gesamtheit) hörbar machen sollen; "Uaxuctum" (1966), mit mächtigem Choral- & Perkussionseinsatz und unter Verwendung neuartiger vokaler Techniken entstanden (Atemgeräusche, nasale & kehlige Laute) und so schwierig aufzuführen, dass es erst 1987 zur Uraufführung in Köln kam; und das grandiose "La nascita del Verbo" (1946-48) ("Die Geburt des Wortes"), ein erdrückend intensives Monument von Klang, an dem sich SCELSI so aufrieb dass er danach mehrere Jahre lang nichts mehr schreiben konnte. Liner notes ("Gigantische flüssige Momente") im Booklet auf Englisch, Deutsch, Französisch! Alle hier enthaltenden Aufnahmen entstanden im November 2005, eingespielt durch das Wiener Radio-Symphonieorchester und den Wiener Kammerchor. [Drone Records info 2007] "Volume 6 in Mode's Giacinto Scelsi Edition. "Quattro Pezzi (su una nota sola) (1959) for 25 musicians. Uaxuctum-The Legend of the Mayan City which they themselves destroyed for religious reasons (1966) for ondes Martenot, seven percussionists, timpanist, chorus and 23 musicians. La nascita del Verbo (1946-48) for chorus and large orchestra. Vienna Radio Symphony Orchestra. The first recording of his 32-minute grand cantata La nascita del Verbo. Steeped in chromaticism, with hints of Scriabin and a sea of percussion, Nascita boasts a vast double fugue (one of the most imposing in the history of music) and a forty-seven voice canon in twelve keys. This work, truly written in blood, left Scelsi in a deplorable state, afterwards he stopped composing for several years. One of Scelsi's infamous pieces is the Quattro Pezzi (su una nota sola). Each piece is limited to one pitch with micro-fluctuations of sound (vibratos, slurs, spectral changes, tremolos...). Because of the nearly total abandonment of harmonics, the listener concentrates on new sonorous subtleties, on the orchestra's timbre as a whole. In 1966, he completed the ferocious, tormented, complex Uaxuctum. The myths and mysteries of this Mayan city is reflected in Scelsi's compositional process: new instrumental and vocal techniques (breathing noises, nasal sounds, muted or inhaled gutturals...), rhythmic incantations, a petrified flow of time. Few woodwinds, a string section consisting of six double basses, lots of brass, and, in addition to a timpanist, no less than seven percussionists!"[from the liner notes] www.moderecords.com