Pranam II for ensemble
Livia Mazzanti organo
ENSEMBLE 2E2M
To the master for cello and piano
Aldo Orvieto pianoforte
Carlo Teodoro violoncello
Wo Ma
Nicholas Ischerwood basso
Rotativa for ensemble
ARS LUDI percussion ensemble
Marco Marzocchi pianoforte
Cristina Biagini pianoforte
Trio per vibrafono marimba e percussione
MUSICATEATROENSEMBLE
Preghiera per un'ombra (1954) per clarinetto
Veronique Fevre clarinetto
Chukrum
Data di pubblicazione: 31-10-2007
Numero di catalogo: STR 33802
Etichetta: STRADIVARIUS - Italia
Quartetto per archi n.2 (1961)
Quartetto di Torino
I funerali di Alessandro Magno (1962)
Musicateatroensemble
Quattro illustrazioni (1953) metamorfosi di Vishnu
Fabrizio Ottaviucci pianoforte
I funerali di Carlo Magno (A.D. 814) (1976)
Fulvia Ricevuto percussioni
Francesco Dillon violoncello
Data di pubblicazione: 04-07-2007
Numero di catalogo: STR 33801
Etichetta: STRADIVARIUS - Italia
Esecutore: Claudia Giottoli flute, Raffaele D’Aniello piano, Paolo Puliti oboe, Leonardo Ramadori percussions, Natalia Benedetti clarinet
Etichetta: Brillant Classic
Codice: 95039BR
Scelsi:
Hyxos
Suite
Rucke di Guck
Ko-Lho
Tetratkys (1959) for flute
Krishna e Radha
Quattro Pezzi (su una nota sola) (1959) (16:54)
for 25 musicians
Peter Rundel, conductor
1st Movement (2:56)
2nd Movement (4:49)
3rd Movement (4:27)
4th Movement (4:41)
Uaxuctum-The Legend of the Mayan City which they themselves destroyed for religious reasons (1966) (21:14)
for ondes Martenot, seven percussionists, timpanist, chorus and 23 musicians
Peter Rundel, conductor
1st Movement (6:13)
2nd Movement (3:59)
3rd Movement (3:43)
4th Movement (3:12)
5th Movement (4:07)
Concentus Vocalis, Chorusmaster: Herbert Böck
La nascita del Verbo (1946-48) (31:58)
for chorus and large orchestra
Johannes Kalitzke, conductor
1st Movement (6:34)
2nd Movement (6:00)
3rd Movement (8:09)
4th Movement (11:15)
Wiener Kammerchor, Chorusmaster: Michael Grohotolsky
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!