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Exploring Salvatore Sciarrino's Style Through L'opera Per Flauto

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UNLV Theses, Dissertations, Professional Papers, and Capstones 12-2010 Silence: Exploring Salvatore Sciarrino’s style through L’opera per flauto Megan R. Lanz University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Music Commons, and the Performance Studies Commons Repository Citation Lanz, Megan R., "Silence: Exploring Salvatore Sciarrino’s style through L’opera per flauto" (2010). UNLV Theses, Dissertations, Professional Papers, and Capstones. 730. http://dx.doi.org/10.34917/2002067 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. SILENCE: AN EXPLORATION OF SALVATORE SCIARRINO’S STYLE THROUGH L’OPERA PER FLAUTO by Megan Re Lanz Bachelor of Music University of North Texas 2004 Master of Music University of Nevada, Las Vegas 2006 A doctoral document submitted in partial fulfillment of the requirements for the Doctor of Musical Arts Degree Department of Music College of Fine Arts Graduate College University of Nevada, Las Vegas December 2010 Copyright by Megan Re Lanz 2011 All Rights Reserved THE GRADUATE COLLEGE We recommend the doctoral document prepared under our supervision by Megan Lanz entitled Silence: Exploring Salvatore Sciarrino’s Style through L’opera per flauto be accepted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Department of Music Jennifer Grim, Committee Chair Janis McKay, Committee Member Cheryl Taranto, Committee Member Marina Sturm, Committee Member Margo Mink Colbert, Graduate Faculty Representative Ronald Smith, Ph. D., Vice President for Research and Graduate Studies and Dean of the Graduate College December 2010 ii ABSTRACT Silence: An Exploration of Salvatore Sciarrino’s Style Through L’opera per flauto by Megan Lanz Dr. Jennifer Grim, Examination Committee Chair Assistant Professor of Flute University of Nevada, Las Vegas The purpose of this paper is to examine the works in Salvatore Sciarrino’s (b. 1947) collection L’opera per flauto written for solo flute and to examine Sciarrino’s compositional style, focusing on his characteristic markings, creative sonorities, and other pertinent facts about pieces in the collection. The first chapter in this paper discusses the value of silence in music and how Sciarrino provides the illusion of perceived silence. Chapter Two discusses elements of Sciarrino’s compositional style and the presence of complex notation. The final chapter provides flutists with a technical guide to the seven pieces in his L’opera per flauto collection. This document is intended to inform composers and performers about these techniques and Sciarrino’s philosophy behind them. The performer’s guide is intended to assist performers in the execution of various techniques found throughout his pieces, as encountered in the collection. Although unique and intriguing, Sciarrino’s music is rarely considered to be part of today’s standard flute repertoire. Few flutists are aware of his work, and his music is typically performed in small venues by ensembles that specialize in avant-garde music. It is the author’s intention that flutists become more acquainted with L’opera per flauto and Sciarrino’s style so that they may elect to explore and program his works more frequently. iii ACKNOWLEDGEMENTS I discovered Salvatore Sciarrino’s music in 2009 while looking into new repertoire with Dr. Jennifer Grim, my advisor and committee chair. I was immediately fascinated with Sciarrino’s music and the way it made me lean forward in my chair to try to hear the sounds more clearly. It always seemed to make time stop. I am indebted to Dr. Grim for introducing me to Sciarrino, and thank her for her creative ideas and artistic discussion throughout the time it took me to learn these pieces. I would also like to extend my thanks to Dr. Cheryl Taranto, Dr. Janis McKay, Dr. Marina Sturm, Professor Louis Kavouras, and Professor Margot Mink Colbert, who graciously served on my committee. Their honesty during the editing process and their patience with scheduling showed academic expertise and professionalism. I have without a doubt finished this document because I have received so much unconditional support from my family. I extend my sincerest appreciation to all of them. Their shared belief in me has helped me get through the toughest times during this undertaking. I am especially thankful to my wife Sara, who has been a pillar of strength and encouragement to me, and who has always found a way to make me laugh when I thought it wasn’t possible. Finally, I am thankful to our wonderful daughter Jordan for teaching me what is truly most important in life. The sense of perspective you have given me since you arrived has given my life a renewed purpose. Thank you for making our family (and my life) feel whole. iv TABLE OF CONTENTS ABSTRACT.......................................................................................................................iii ACKNOWLEDGEMENTS............................................................................................... iv LIST OF FIGURES ........................................................................................................... vi INTRODUCTION .............................................................................................................. 1 CHAPTER 1 VARIOUS ROLES OF SILENCE IN MUSIC ...................................... 4 Silence in Sciarrino’s Music .......................................................................................... 7 CHAPTER 2 SCIARRINO’S COMPOSITIONAL STYLE ...................................... 19 Analyzing Sciarrino’s Music ....................................................................................... 25 Sciarrino’s Complex Notational Style ......................................................................... 26 CHAPTER 3 A PERFORMER’S GUIDE TO L’OPERA PER FLAUTO.................. 32 All’aure in una lontananza .......................................................................................... 33 Hermes ......................................................................................................................... 41 Come vengono prodotti gli incantesimi? ..................................................................... 45 Canzona di ringraziamento ......................................................................................... 50 Venere che le Grazie la fioriscono............................................................................... 54 L’orizzonte luminoso di Aton....................................................................................... 58 Fra i testi dedicati alle nubi......................................................................................... 60 Conclusion ................................................................................................................... 65 APPENDIX I GUIDE TO SCIARRINO’S NOTATIONAL SYMBOLS.................. 67 APPENDIX II LIST OF SCIARRINO’S WORKS CONTAINING FLUTE ............. 68 APPENDIX III PUBLISHER CONTACT INFORMATION ...................................... 76 BIBLIOGRAPHY............................................................................................................. 77 VITA................................................................................................................................. 81 v LIST OF FIGURES Figure 1 Ludwig van Beethoven, Piano Sonata No. 26, Op. 81a “Les Adieux” ....... 5 Figure 2 Franz Joseph Haydn, Die Schöpfung............................................................ 5 Figure 3 Niente crescendo/diminuendo ...................................................................... 9 Figure 4 George Crumb, Apparition......................................................................... 10 Figure 5 György Ligeti, Requiem ............................................................................. 10 Figure 6 Luigi Nono, Polifonica – Monodia – Ritmica............................................ 11 Figure 7 Gerard Grisey, Partiels pour 18 musiciens ................................................ 12 Figure 8 Tristan Murail, Unanswered Questions pour flûte..................................... 12 Figure 9 Morton Feldman, Projection 2 ................................................................... 15 Figure 10 Salvatore Sciarrino, Aspern Suite............................................................... 15 Figure 11 John Cage, Branches .................................................................................. 17 Figure 12 Salvatore Sciarrino, L’orizzonte luminoso di Aton..................................... 18 Figure 13 Salvatore Sciarrino’s abstract imitation, Canzona di ringraziamento........ 24 Figure 14 Notational complexity ................................................................................ 27 Figure 15 Multiple staves...........................................................................................
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