Giacinto Scelsi was an Italian composer who also wrote surrealist poetry in French. He is best . Quattro Pezzi – Anahit – Uaxuctum, 3. Hurqualia – Hymnos. In , he completed the ferocious, tormented, complex Uaxuctum. The myths and mysteries of this Mayan city is reflected in Scelsi’s compositional process. Shop for Vinyl, CDs and more from Giacinto Scelsi at the Discogs , Giacinto Scelsi – Quattro Pezzi Per Orchestra – Anahit – Uaxuctum album art.

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Giacinto Scelsi – Wikipedia

Uaxuctum writhes in the presence of death, its wailing ondes Martenot a stern sibyl. Scored for an odd trio of mistuned and amplified harp, bass and tam-tam, Okanagon clings to uaxictum nether regions recalling Mahler’s ” Der Abschied “‘s lugubrious halting opening.

This composition remains his most famous work and one of the few performed to significant recognition during his lifetime. What came after his recovery was something totally different from gjacinto rather earnest neoclassicism of that work, and couched in its own, personal musical terms. This first recording of La nascita del Verbo suggests truculence. The orchestral disc is the most varied of the three, and offers perhaps the best introduction to Scelsi’s strange, quasi-mystical world.

Scelsi: La Nascita del Verbo; Quattro Pezzi; Uaxuctum

There really are no proper words to describe this amazing piece, which presents Scelsi at his most daring and innovative. It was first premiered in Festival di Como, and recorded on Fore records Raretone with Scelsi in the studio and later for Etcetera Records.

Inhe completed the ferocious, tormented, complex Uaxuctum. His chorus, divided into 12 parts, uses a range of extended vocal techniques as varied and demanding as those found in the song cycle Canti del Capricorno — trills, tremolos, microtonal oscillations, nasal sounds, breathing noises — but often they are such inherently quiet sounds that the legion of ghostly voices becomes a diffuse sonic envelope in which the other sounds are enfolded, a kind of populated silence.

Also by Giacinto Scelsi on Mode Records: From to he wrote the extensive song cycle Canti del Capricorno directly for her in view of her special and unique vocal range.


One of the most famous of that committed group of musicians has been the singer Michiko Hirayama and her performance of the 20 Canti di Capricorno, which Scelsi composed for her between and Also available on surround-sound DVD. The chorus is written in ten and twelve parts, incorporating all variety of microtonal manipulations, as well as breathing and other guttural and nasal sounds.

The orchestral disc is scelzi most varied of the three, and offers perhaps the best introduction to Scelsi’s strange, quasi-mystical world. On the surface, the works’ short lengths suggest miniatures, and yet, because Scelsi abandoned traditional forms and edged closer to improvisation, his works are expansive despite their brevity.

Webern’s Klangfarbenmelodie may have arrived there first, however Scelsi went to an extreme by devoting entire movements to a single pitch. Unearthly and immense, Uaxuctum is 20 minutes of the best orchestral music of the last century and it needs no program. AllMusic relies heavily on JavaScript. The fifth movement returns to the opening mood, and gives a dim recollection of the preceding uaxjctum which have now been told, in abstract form, to our time and civilization.

A central tapping episode reinforces Scelsi’s “heartbeat of the earth. The impact caused by the late discovery of Scelsi’s works was described by Belgian musicologist Harry Halbreich: One of the earliest interpreters Scelsi closely worked with was the singer Michiko Hirayamawhom he met in in Rome.

Alvin Curran recalled that: 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. At the same time, there is something undeniably powerful about the best of his music when seclsi hear it performed with the devotional fervour he seemed to demand of his interpreters. Anyone with a taste for the dark stuff of poetry — the feeling that each sensation is the tip of an iceberg of significance — will be moved by Uaxuctum.

He waved from a distance, beautiful sparking eyes and smile that he always had, and that’s the last time I saw him” Ross, Composed init was the last score Scelsi completed before he suffered a complete mental breakdown.

His improvisations were recorded on tape and later transcribed by collaborators under his guidance. The anguished Uaxuctum ‘s subtitle, The Legend of the Mayan City which they themselves destroyed for religious reasonsperpetuates the obsessions.


Beyond the work’s fervency, it’s hard to find the mature Scelsi, suggesting rather that he wasn’t quite all there. All these sounds are used with the most refined sense of instrumental colors, particularly with an aptness for blending them to create unique, scelsj soundscapes that are mountainous, planetary, galactic.

Frances-Marie Uitti, dedicatee of all Scelsi’s cello works, collaborated intensively with him for over 10 years editing and then recording La Trilogia, a massive 3 part work of 45 minutes in length which Morton Feldman called his “autobiography in sound”.

La nascita del Verbo preceded Scelsi’s scelsl collapse in the late s. He first came into contact with non-European music in Egypt in Titled in Sanskrit, both course slowly though quarter- and eighth-tones under precisely usxuctum vibrato.

The first movement, the longest of the five, is a grand overture; it begins in quiet contemplation, only to be interrupted by the violent mystical revelation of the chorus propelling this story into the present from the distant past, and then sinking back into meditative tones with a presentiment of the upcoming adventure. In the s, Scelsi made friends with intellectuals like Jean Cocteau and Virginia Woolfand traveled abroad extensively.

The fourth movement is dominated by the chorus throughout, and presents the wisdom gained by the Mayans as they gradually fade into oblivion. The quintessential Scelsi orchestral masterpiece, Quattro Pezzi su una nota solowhich dates from barely a decade later, is in another galaxy altogether.

If, ggiacinto another great orchestral colorist Hector BerliozScelsi occasionally stumbles in his music with unconvincing, banal gestures, in Uaxuctum he never falters. This fine disc serves as a timely reminder how overwhelmingly emotional his music is.

Grandiose and colorful passages compare with Scriabin and Messiaen, with strange chorus murmurings suggesting B-movie sound effects.