Franco Sciannameo - Music as Dream: Essays on Giacinto Scelsi

Gianmario Borio earned his Ph.D. in musicology studying under Carl Dahlhaus at the Technische Universitt Berlin and is now professor of musicology at the University of Pavia and director of the Institute of Music at the Fondazione Giorgio Cini in Venice. His numerous publications deal with several aspects of composition in the twentieth century, music theory, and aesthetics. He is currently working on a book project on German theory of musical form in the nineteenth and early twentieth centuries.

Simone Caputo completed his Ph.D. in music history at the Sapienza University of Rome with his dissertation The Requiem Mass in the Musical Intonations from the Sixteenth to the Nineteenth Centuries. He collaborates with the Fondazione Isabella Scelsi (Quaderni dellArchivio Scelsi) and Nuova Consonanza. Caputo is research fellow at the Centro di Musica Antica, Fondazione Piet de Turchini, in Naples.

Friedrich Jaecker studied composition with Gyrgy Ligeti at the Hamburg Conservatory of Music and Musicology, University of Hamburg. Author of several prizewinning compositions and numerous essays on contemporary music, and Scelsi in particular, Jaecker is professor of composition at the Hochschule fr Muzik und Tanz Kln.

Michelle Biget-Mainfroy , pianist and musicologist, is author of La geste pianistique: Essai sur l criture du piano entre 1800 et 1930 (1987) and Le r ve et la fureur: Les critures musicales romantiques (2002). Biget-Mainfroy is professor of musicology at the Universit Franois-Rebelais in Tours.

Sandro Marrocu graduated in piano performance from the Conservatory of Turin and in musicology from the University of Turin. In 2009 he obtained a scholarship to pursue a Ph.D. in musicology at the University of Rome Tor Vergata. His research project, under the direction of professors Mario Baroni and Giorgio Sanguinetti, focuses on the creative relationship between Giacinto Scelsi and Vieri Tosatti.

Luciano Martinis , artist, painter, and sculptor, has been Giacinto Scelsis friend and confidant for many years. In publishing Scelsis writings and drawings in Le parole gelate , Martinis became a pioneer in his field. He is currently senior vice president of the Fondazione Isabella Scelsi and editor-in-chief of its periodical, i suoni, le onde .

Alessandra Montali obtained a diploma in piano performance and a Ph.D. in musicology from the University of Bologna with her thesis on The Time Perception in Music. Active as lecturer in composition techniques at the conservatories of Bari, Bergamo, and Pesaro, she has published various essays and the volume Ascoltare il tempo (2008).

Alessandra Carlotta Pellegrini , one of Italys foremost musicologists and twentieth-century-music specialists, has written on Casella, Nono, Petrassi, and Scelsi, among others. She has edited both Italian and French editions of Giacinto Scelsis autobiography Il sogno 101 (both published in 2010). Pellegrini is scientific director of the Fondazione Isabella Scelsi in Rome.

Franco Sciannameo is professor and associate dean at the College of Fine Arts, Carnegie Mellon University, in Pittsburgh. He is author of Nino Rota, Federico Fellini and the Making of an Italian Cinematic Folk Opera: Amarcord (2005); Giuseppe Mazzinis Philosophy of Music: Envisioning a Social Opera (1836) (2005); Nino Rotas The Godfather Trilogy (2010), and Phil Trajetta (17771854), Patriot, Musician, Immigrant (2010).

Guido Zaccagnini is professor of music history at the Conservatorio di Musica in Perugia. He has translated into Italian Charles Rosens The Romantic Generation (1997) and Maynard Solomons Beethoven (1998), in addition to writing a monograph on Berlioz, Hector en Italie (2002). As a pianist he has performed and recorded the complete piano music of Friedrich Nietzsche.

W e extend our heartfelt thanks to each of the chapter authors for their masterful work and to the individuals, institutions of higher learning, organizations, and places of business listed below.

First and foremost we express our most sincere thanks to Nicola Sani, president of the Fondazione Isabella Scelsi, for his stalwart and enlightened advocacy on behalf of the music of our time and of Giacinto Scelsi in particular. We salute Luciano Martinis, senior vice president of the Fondazione Isabella Scelsi, for his generous availability as an ironclad reference for scholars and followers of Scelsi; Mauro Tosti Croce, who as superintendent of archives for Italys Italian Ministero per i Beni e le Attivit Culturali and coordinator of historical archives at the Fondazione Isabella Scelsi, has become the indispensable anchor for those embarking upon archival work; Nelly Qurol, directeur gnral of Editions Salabert, Paris, for fostering a propitious collaboration between scientific research and practical musical editions; Colette Jousse Wilkins and Donald Wilkins for dedicating their precious time to the revision of the translations from French to English; Alison DAddieco for her invaluable assistance in formatting and editing; Nathan Hall for setting the numerous musical examples in chapters 2 and 6; Simone Caputo for compiling the index; the staff and colleagues of the College of Fine Arts at Carnegie Mellon University for their constant support; John Shepard, director of the Jean Gray Hargrove Music Library of the University of CaliforniaBerkeley, for granting permission to publish the Scelsi/Klein correspondence; and Editions Salabert, Paris, for permission to quote from Scelsis works.

Furthermore, we thank all those who in various capacities have worked at the newly created Archivio Scelsi. Their prismatic research methodologies and the opportunities they offered for discussion have constantly inspired and enriched our work.

Finally, we offer thanks to Bennett Graff, senior acquisitions editor at Scarecrow Press, for spearheading the realization of this volume and for the exemplary professionalism with which he has guided us throughout the publication process.

T he discography of Giacinto Scelsi is divided in two sections: Dedicated Recordings and Collections. The former presents the music albums entirely dedicated to works by Scelsi, while the latter lists miscellaneous music collections containing just one or more works by Scelsi. The records are arranged following an ascending chronological order, according to the criteria formerly adopted for the essays in this book. The titles of the works are reported as indicated on each music album. The main sources used to compile the discography follow.

• ArchiviodellaFondazioneIsabellaScelsi
• I suoni, le onde : Rivista della Fondazione Scelsi
• Giacinto Scelsi 19051988 (catalogue des ditions Salabert, 2005), discography edited by Sharon Kanach and Fabio Carboni
• Scelsi: Discography , edited by Todd M. McComb, http://www.medieval.org/music/modern/scelsi/discs.html
• onlinecatalogsofrecordlabels,discographicdatabases

H / Khoom / Pranam

Michiko Hirayama

Ananda LP 1978, n. 3

Giacinto Scelsi, Michiko Hirayama: Sauh, Taiagar, Canti del Capricorno

Michiko Hirayama

Ananda, n. 5, LP, Album, 1980, Italy

Giacinto Scelsi: Quattro Pezzi, Pranam II, Okanagon, Kya

Ensemble 2E2M, Luca Pfaff

FY, FY 103, LP, 1982, France

Giacinto Scelsi: Paralipomena 2, Quartets and Duos

The Arditti String Quartet

Fore, FORE 80/THIRTEEN FOURTEEN, 2xLP, 1983, Italy

Giacinto Scelsi: Musique Sacre

Groupe Vocal de France, John Patrick Thomas, Eric Lundquist

FY, FY 119, LP, 1985, France