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

Total Page:16

File Type:pdf, Size:1020Kb

Exploring Salvatore Sciarrino's Style Through L'opera Per Flauto 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...........................................................................................
Recommended publications
  • Written and Recorded Preparation Guides: Selected Repertoire from the University Interscholastic League Prescribed List for Flute and Piano
    Written and Recorded Preparation Guides: Selected Repertoire from the University Interscholastic League Prescribed List for Flute and Piano by Maria Payan, M.M., B.M. A Thesis In Music Performance Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved Dr. Lisa Garner Santa Chair of Committee Dr. Keith Dye Dr. David Shea Dominick Casadonte Interim Dean of the Graduate School May 2013 Copyright 2013, Maria Payan Texas Tech University, Maria Payan, May 2013 ACKNOWLEDGEMENTS This project could not have started without the extraordinary help and encouragement of Dr. Lisa Garner Santa. The education, time, and support she gave me during my studies at Texas Tech University convey her devotion to her job. I have no words to express my gratitude towards her. In addition, this project could not have been finished without the immense help and patience of Dr. Keith Dye. For his generosity in helping me organize and edit this project, I thank him greatly. Finally, I would like to give my dearest gratitude to Donna Hogan. Without her endless advice and editing, this project would not have been at the level it is today. ii Texas Tech University, Maria Payan, May 2013 TABLE OF CONTENTS ACKNOWLEDGEMENTS .................................................................................. ii LIST OF FIGURES .............................................................................................. v 1. INTRODUCTION ............................................................................................
    [Show full text]
  • TURANDOT Cast Biographies
    TURANDOT Cast Biographies Soprano Martina Serafin (Turandot) made her San Francisco Opera debut as the Marshallin in Der Rosenkavalier in 2007. Born in Vienna, she studied at the Vienna Conservatory and between 1995 and 2000 she was a member of the ensemble at Graz Opera. Guest appearances soon led her to the world´s premier opera stages, including at the Vienna State Opera where she has been a regular performer since 2005. Serafin´s repertoire includes the role of Lisa in Pique Dame, Sieglinde in Die Walküre, Elisabeth in Tannhäuser, the title role of Manon Lescaut, Lady Macbeth in Macbeth, Maddalena in Andrea Chénier, and Donna Elvira in Don Giovanni. Upcoming engagements include Elsa von Brabant in Lohengrin at the Opéra National de Paris and Abigaille in Nabucco at Milan’s Teatro alla Scala. Dramatic soprano Nina Stemme (Turandot) made her San Francisco Opera debut in 2004 as Senta in Der Fliegende Holländer, and has since returned to the Company in acclaimed performances as Brünnhilde in 2010’s Die Walküre and in 2011’s Ring cycle. Since her 1989 professional debut as Cherubino in Cortona, Italy, Stemme’s repertoire has included Rosalinde in Die Fledermaus, Mimi in La Bohème, Cio-Cio-San in Madama Butterfly, the title role of Manon Lescaut, Tatiana in Eugene Onegin, the title role of Suor Angelica, Euridice in Orfeo ed Euridice, Katerina in Lady Macbeth of Mtsensk, the Countess in Le Nozze di Figaro, Marguerite in Faust, Agathe in Der Freischütz, Marie in Wozzeck, the title role of Jenůfa, Eva in Die Meistersinger von Nürnberg, Elsa in Lohengrin, Amelia in Un Ballo in Machera, Leonora in La Forza del Destino, and the title role of Aida.
    [Show full text]
  • Unit 10.2 the Physics of Music Objectives Notes on a Piano
    Unit 10.2 The Physics of Music Teacher: Dr. Van Der Sluys Objectives • The Physics of Music – Strings – Brass and Woodwinds • Tuning - Beats Notes on a Piano Key Note Frquency (Hz) Wavelength (m) 52 C 524 0.637 51 B 494 0.676 50 A# or Bb 466 0.717 49 A 440 0.759 48 G# or Ab 415 0.805 47 G 392 0.852 46 F# or Gb 370 0.903 45 F 349 0.957 44 E 330 1.01 43 D# or Eb 311 1.07 42 D 294 1.14 41 C# or Db 277 1.21 40 C (middle) 262 1.27 http://en.wikipedia.org/wiki/Piano_key_frequencies 1 Vibrating Strings - Fundamental and Overtones A vibration in a string can L = 1/2 λ1 produce a standing wave. L = λ Usually a vibrating string 2 produces a sound whose L = 3/2 λ3 frequency in most cases is constant. Therefore, since L = 2 λ4 frequency characterizes the pitch, the sound produced L = 5/2 λ5 is a constant note. Vibrating L = 3 λ strings are the basis of any 6 string instrument like guitar, L = 7/2 λ7 cello, or piano. For the fundamental, λ = 2 L where Vibration, standing waves in a string, L is the length of the string. The fundamental and the first 6 overtones which form a harmonic series http://en.wikipedia.org/wiki/Vibrating_string Length of Piano Strings The highest key on a piano corresponds to a frequency about 150 times that of the lowest key. If the string for the highest note is 5.0 cm long, how long would the string for the lowest note have to be if it had the same mass per unit length and the same tension? If v = fλ, how are the frequencies and length of strings related? Other String Instruments • All string instruments produce sound from one or more vibrating strings, transferred to the air by the body of the instrument (or by a pickup in the case of electronically- amplified instruments).
    [Show full text]
  • Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and
    [Show full text]
  • Recorder Performance Rubric
    Basics Recorder Recorder Performance Rubric 2 Skill 4 3 Practice, Practice, 1 Standing Ovation Stage Ready Practice Try Again Demonstrates correct Demonstrates some posture with neck and Demonstrates mostly aspects of proper posture Does not demonstrate Posture shoulders relaxed, back proper posture but with but with significant need correct posture straight, chest open, and some inconsistencies for refinement feet flat on the floor Has difficulty Demonstrates low Demonstrates ability Demonstrates demonstrating and deep breath that to breathe deeply and inconsistent air appropriate breathing Breath supports even and control air flow, but stream, occasionally for successful Control appropriate flow of steady air is sometimes overblowing, with some playing—large shoulder air, with no shoulder Technique inconsistent shoulder movement movement, loud breath movement sounds, and overblowing Demonstrates Does not demonstrate Consistently fingers Demonstrates adequate basic knowledge of proper instrumental the notes correctly and Hand dexterity with mostly fingerings but with technique (e.g., incorrect shows ease of dexterity; Position consistent hand position limited dexterity and hand on top, holes displays correct and fingerings inconsistent hand not covered, limited hand position position dexterity) Performs with a steady Performs with Performs all rhythms Does not consistently tempo and the majority occasionally correctly, with correct perform with steady Rhythm of rhythms with accuracy steady tempo but duration, and with a tempo or but
    [Show full text]
  • 110308-10 Bk Lohengrineu 13/01/2005 03:29Pm Page 12
    110308-10 bk LohengrinEU 13/01/2005 03:29pm Page 12 her in his arms, reproaching her for bringing their @ Ortrud comes forward, declaring the swan to be happiness to an end. She begs him to stay, to witness her Elsa’s brother, the heir to Brabant, whom she had repentance, but he is adamant. The men urge him to bewitched with the help of her own pagan gods. WAGNER stay, to lead them into battle, but in vain. He promises, Lohengrin kneels in prayer, and when the white dove of however, that Germany will be victorious, never to be the Holy Grail appears, he unties the swan. As it sinks defeated by the hordes from the East. Shouts announce down, Gottfried emerges. Ortrud sinks down, with a the appearance of the swan. cry, while Gottfried bows to the king and greets Elsa. Lohengrin Lohengrin leaps quickly into the boat, which is drawn ! Lohengrin greets the swan. Sorrowfully he turns away by the white dove. Elsa sees him, as he makes his towards it, telling Elsa that her brother is still alive, and sad departure. She faints into her brother’s arms, as the G WIN would have returned to her a year later. He leaves his knight disappears, sailing away into the distance. AN DG horn, sword, and ring for Gottfried, kisses Elsa, and G A F SS moves towards the boat. L E Keith Anderson O N W Mark Obert-Thorn Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of specialist labels, including Pearl, Biddulph, Romophone and Music & Arts.
    [Show full text]
  • Natural Trumpet Music and the Modern Performer A
    NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays.
    [Show full text]
  • A Handbook of Cello Technique for Performers
    CELLO MAP: A HANDBOOK OF CELLO TECHNIQUE FOR PERFORMERS AND COMPOSERS By Ellen Fallowfield A Thesis Submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music College of Arts and Law The University of Birmingham October 2009 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Many new sounds and new instrumental techniques have been introduced into music literature since 1950. The popular approach to support developments in modern instrumental technique is the catalogue or notation guide, which has led to isolated special effects. Several authors of handbooks of technique have pointed to an alternative, strategic, scientific approach to technique as an ideological ideal. I have adopted this approach more fully than before and applied it to the cello for the first time. This handbook provides a structure for further research. In this handbook, new techniques are presented alongside traditional methods and a ‘global technique’ is defined, within which every possible sound-modifying action is considered as a continuous scale, upon which as yet undiscovered techniques can also be slotted.
    [Show full text]
  • Multiphonics of the Grand Piano – Timbral Composition and Performance with Flageolets
    Multiphonics of the Grand Piano – Timbral Composition and Performance with Flageolets Juhani VESIKKALA Written work, Composition MA Department of Classical Music Sibelius Academy / University of the Arts, Helsinki 2016 SIBELIUS-ACADEMY Abstract Kirjallinen työ Title Number of pages Multiphonics of the Grand Piano - Timbral Composition and Performance with Flageolets 86 + appendices Author(s) Term Juhani Topias VESIKKALA Spring 2016 Degree programme Study Line Sävellys ja musiikinteoria Department Klassisen musiikin osasto Abstract The aim of my study is to enable a broader knowledge and compositional use of the piano multiphonics in current music. This corpus of text will benefit pianists and composers alike, and it provides the answers to the questions "what is a piano multiphonic", "what does a multiphonic sound like," and "how to notate a multiphonic sound". New terminology will be defined and inaccuracies in existing terminology will be dealt with. The multiphonic "mode of playing" will be separated from "playing technique" and from flageolets. Moreover, multiphonics in the repertoire are compared from the aspects of composition and notation, and the portability of multiphonics to the sounds of other instruments or to other mobile playing modes of the manipulated grand piano are examined. Composers tend to use multiphonics in a different manner, making for differing notational choices. This study examines notational choices and proposes a notation suitable for most situations, and notates the most commonly produceable multiphonic chords. The existence of piano multiphonics will be verified mathematically, supported by acoustic recordings and camera measurements. In my work, the correspondence of FFT analysis and hearing will be touched on, and by virtue of audio excerpts I offer ways to improve as a listener of multiphonics.
    [Show full text]
  • Exploration of an Adaptable Just Intonation System Jeff Snyder
    Exploration of an Adaptable Just Intonation System Jeff Snyder Submitted in partial fulfillment of the requirements of the degree of Doctor of Musical Arts in the Graduate School of Arts and Sciences Columbia University 2010 ABSTRACT Exploration of an Adaptable Just Intonation System Jeff Snyder In this paper, I describe my recent work, which is primarily focused around a dynamic tuning system, and the construction of new electro-acoustic instruments using this system. I provide an overview of my aesthetic and theoretical influences, in order to give some idea of the path that led me to my current project. I then explain the tuning system itself, which is a type of dynamically tuned just intonation, realized through electronics. The third section of this paper gives details on the design and construction of the instruments I have invented for my own compositional purposes. The final section of this paper gives an analysis of the first large-scale piece to be written for my instruments using my tuning system, Concerning the Nature of Things. Exploration of an Adaptable Just Intonation System Jeff Snyder I. Why Adaptable Just Intonation on Invented Instruments? 1.1 - Influences 1.1.1 - Inspiration from Medieval and Renaissance music 1.1.2 - Inspiration from Harry Partch 1.1.3 - Inspiration from American country music 1.2 - Tuning systems 1.2.1 - Why just? 1.2.1.1 – Non-prescriptive pitch systems 1.2.1.2 – Just pitch systems 1.2.1.3 – Tempered pitch systems 1.2.1.4 – Rationale for choice of Just tunings 1.2.1.4.1 – Consideration of non-prescriptive
    [Show full text]
  • Lohengrin (Richard Wagner). Emma Vetter (Elsa) and Michael Weinius (Lohengrin), Royal Opera, Stockholm, 2012
    Lohengrin (Richard Wagner). Emma Vetter (Elsa) and Michael Weinius (Lohengrin), Royal Opera, Stockholm, 2012. Photographer: Alexander Kenney. Copyright CC-BY-NC-ND, Royal Opera, Stockholm. 2. No Questions Asked: Wagnerian Love Ban in Lohengrin The fascination of operatic art resides in its abundance. Liberated from the constraints of realism and probability, the spectator can sur- render to it or to turn away entirely, and enjoy it like an oyster: either swallowed whole or not at all.1 The critical operagoer, particularly a feminist one, has many challenging positions to negotiate. Will the confrontation lead to a rejection of the entire genre? Susan McClary observes that the aspect of music that is most difficult to account for is its almost frightening ability to make our entire body respond to its rhythms.2 What, then, would opera be without music? What would remain if the music were stripped away and all that were left was the libretto? Could it stand on its own? The text of an opera or musical drama represents a unique genre. Unlike other dramatic texts, an opera’s libretto is made whole only by the musical accompaniment and the events that accompany it on stage. A libretto is generally shorter and more fragmentary than any other type of dramatic text because it takes at least three times longer to sing a piece than to recite it. One needs to leave room for the music: the form demands it.3 Nevertheless, it should be possible to carry out a dispassiona- te reading of a libretto, as we shall here attempt with Richard Wagner’s Lohengrin (1848).
    [Show full text]
  • Salvatore Sciarrino. the Sicilian Alchemist Composer
    Interdisciplinary Studies in Musicology 12,2012 © PTPN & Wydawnictwo Naukowe UAM, Poznań 2012 PIETRO MISURACA The Department of Humanities, Palermo University Salvatore Sciarrino. The Sicilian alchemist composer ABSTRACT: Salvatore Sciarrino (Palermo, 1947) began his career in the fervent climate of the six Settimane Internazionali Nuova Musica. Still very young he attracted the attention of the musical world, with his sonorous invention full of startling innovation that was to make him one of the protago­ nists of the contemporary musical panorama. Sciarrino is today the best-known and most performed Italian composer. His catalogue is a prodigiously large one, and his career is dotted with prestigious prizes and awards. Alchemically transmuting sound, finding new virginity in it has for fifty years been the objective of his music. Timbric experimentation is the goal of his virtuosity. The prevailing use of harmonic sounds and other subversive emission techniques make his sonorous material elusive, incorporeal, particularly close to noise: hence not sounds in the traditional sense, but ghosts and shades of sounds, systematically deprived of the attack and situated in a border zone between the being of the material and its not-being. The sound comes out changed by the osmotic relationship with silence: it is a mysterious epiphany, a “presence” that strives to appear on the surface, living and pulsating almost according to a physiology of its own. Hence it is a music of silences furrowed by minimal sound phenomena, for an “ecology of listening” - an antidote to the noise pollution of consumer society - able to clear perception, to sharpen auditory sensibility and to free the mind of stereotyped stimuli.
    [Show full text]