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Giacinto Scelsi (1905-1988), an extraordinary, innovative, and
often controversial moving force in modern music, has been the
subject of a vast amount of literary criticism, philosophical
discussions, and groundbreaking performances. Originally in French,
Scelsi's writings have been included in anthologies of prose,
poetry, and memoires published in French, Italian, and German. For
the first time, this volume brings selected writings into English.
His writings enlighten the creative process and facilitate further
the understanding of his musical message. Franco Sciannameo and
Alessandra Carlotta Pellegrini provide two introductory essays
followed by Scelsi's The Evolution of Harmony, The Evolution of
Rhythm, Art and Satanism, Unity and Equalityof the Arts, Meaning of
Music, Sound and Music, and Art and Knowledge-writings spanning
from the early 1940s to February 1987. Additionally, the editors
place Scelsi's aesthetical writings within a densely contextualized
historical, social, and cultural landscape to provide scholarly yet
approachable critical information. Iconographic plates,
bibliography, discography, videography, websites and a
comprehensive index complete the volume.
Music as Dream: Essays on Giacinto Scelsi showcases recent
scholarly criticism on the music and philosophy of the brilliantly
original composer Giacinto Scelsi. In this collection, Franco
Sciannameo and Alessandra Carlotta Pellegrini select and translate
into English for the first time essays that reflect the evolution
of recent scholarship on Scelsi's musical compositions. Music as
Dream opens with "The Scelsi Case," which erupted shortly after
Scelsi's death in 1988 when composer Vieri Tosatti claimed
ownership of his works. This quarrel reached its zenith in the
pages of PianoTime's March 1989 issue, where musicologist Guido
Zaccagnini questioned a group of noted composers, writers, and arts
managers about whether a composer can claim sole authorship for a
work accomplished in collaboration with others. The essays are
wide-ranging in scope. French musicologist Michelle Biget-Mainfroy,
a specialist in "gestural" piano writing, offers an in-depth study
of Scelsi's complex piano output; Gianmario Borio looks at Scelsi's
"Sound as Compositional Process"; Alessandra Montali examines and
details Scelsi's theoretical and literary writings; Luciano
Martinis and Franco Sciannameo explore the lives and whereabouts of
obscure composers Giacinto Sallustio, Walther Klein, and Richard
Falk, who were Scelsi's collaborators until the early 1940s when
Tosatti took sole charge; Alessandra Carlotta Pellegrini elaborates
on Scelsi's most important composition of his first period,
presenting a tour-de-force that pieces together its complex story
through research at the newly organized Scelsi Archive at the
Fondazione Isabella Scelsi in Rome; and Friedrich Jaecker's and
Sandro Marrocu's essays also draw on research conducted at the
archive of Fondazione. Finally, an updated bibliography and
discography conclude the book
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