SCELSI FRANCES-MARIE UITTI Paralipomenia 1 1982 It.LP M
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Description
ARTIST: GIACINTO SCELSI
FRANCES-MARIE UITTI, violincello
TITLE: PARALIPOMENA 1
TRILOGIA
KO-THA
LABEL + YEAR: Fore FORE SIX; 1982 Italian Press
CONDITION VINYL: Mint
CONDITION SLEEVE: Near Mint with Original Card Inner, Mint
DESCRIPTION:
GIACINTO SCELSI
PARALIPOMENA 1
FRANCES-MARIE UITTI violincello solo
Side 1:
TRILOGIA (for violincello)
‘The Three Ages of Man’
(1957) TRIPHON (Youth – Energy – Drama) three movements 13.20
(1957) DITHOME (Maturity Energy Thought) one movement 13.10
Side 2:
TRILOGIA
(1961) YGGHUR (Old-age Memories Catharsis) three movements 13.48
KO-THA (Version for violincello with six strings, 1978) 6.45
(1967) A DANCE OF SHIVA
Giacinto Scelsi (Italian pronunciation: Count of Ayala Valva (La Spezia, January 8, 1905 – Rome, August 9, 1988) was an Italian composer who also wrote surrealist poetry in French.
He is best known for writing 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 revolutionary Quattro Pezzi su una nota sola ["Four Pieces on a single note"] (1959). His musical output, which encompassed all Western classical genres except scenic music, remained largely undiscovered even within contemporary musical circles during most of his life. A series of concerts in the mid to late 1980s finally premièred 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 premières and personally supervised the rehearsals. The impact caused by the late discovery of Scelsi's works was described by Belgian musicologist Harry Halbreich
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," to which Harry Halbreich added that "in fact, his music is only transition."
The music of Scelsi was heard by millions in Martin Scorsese's Shutter Island in which excerpts of his two pieces "Quattro pezzi su una nota sola" (which does not appear on the soundtrack of the film) and "Uaxuctum: The Legend Of The Mayan City Which They Themselves Destroyed For Religious Reasons – 3rd Movement" were featured in the film alongside the music of his contemporaries György Ligeti, Krzysztof Penderecki, John Cage and Morton Feldman
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