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, music scholars 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 oevre since his death in 1988. Music As Dream opens with the event known as "The Scelsi Case," which erupted shortly after the Scelsi's death in 1988, when composer Vieri Tosatti claimed paternity for his works. This quarrel reached its apogee in the pages of Piano Time's March 1989 issue, musicologist Guido Zaccagnini questioned a group of noted composers, writers and arts managers on whether a composer can claim sole authorship for a work accomplished in collaboration with others. In the essays that follow, French musicologist Michelle Biget-Mainfroy, a specialist in "gestural" piano writing, offers an in-depth look at 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--Scelsi's collaborators until the early 1940s when Vieri Tosatti took sole charge; Alessandra Carlotta Pellegrini elaborates on Scelsi's most important composition of his first period, propounding a tour-de-force of genetic criticism that pieces together the complex story of this composition through research at the newly organized Scelsi Archive at the Fondazione Isabella Scelsi in Rome; Friedrich Jaecker and Sandro Marrocu each also offer essays drawing on research conducted at the archive of Fondazione; and finally, an updated Bibliography and Discography edited by Alessandra Carlotta Pellegrini and Simone Caputo respectively, conclude the volume.
Show moreMusic 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, music scholars 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 oevre since his death in 1988. Music As Dream opens with the event known as "The Scelsi Case," which erupted shortly after the Scelsi's death in 1988, when composer Vieri Tosatti claimed paternity for his works. This quarrel reached its apogee in the pages of Piano Time's March 1989 issue, musicologist Guido Zaccagnini questioned a group of noted composers, writers and arts managers on whether a composer can claim sole authorship for a work accomplished in collaboration with others. In the essays that follow, French musicologist Michelle Biget-Mainfroy, a specialist in "gestural" piano writing, offers an in-depth look at 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--Scelsi's collaborators until the early 1940s when Vieri Tosatti took sole charge; Alessandra Carlotta Pellegrini elaborates on Scelsi's most important composition of his first period, propounding a tour-de-force of genetic criticism that pieces together the complex story of this composition through research at the newly organized Scelsi Archive at the Fondazione Isabella Scelsi in Rome; Friedrich Jaecker and Sandro Marrocu each also offer essays drawing on research conducted at the archive of Fondazione; and finally, an updated Bibliography and Discography edited by Alessandra Carlotta Pellegrini and Simone Caputo respectively, conclude the volume.
Show moreFranco Sciannameo is professor and associate dean at the College of
Fine Arts, Carnegie Mellon University, in Pittsburgh, PA. He is the
author of Nino Rota, Federico Fellini and the Making of an Italian
Cinematic Folk Opera: Amarcord (2005); Giuseppe Mazzini’s
Philosophy of Music: Envisioning a Social Opera (1836) (2005); Nino
Rota’s The Godfather Trilogy (2010), and Phil Trajetta (1777–1854),
Patriot, Musician, Immigrant (2010).
Alessandra Carlotta Pellegrini, one of Italy’s 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 Scelsi’s autobiography
Il sogno 101 (both published in 2010). Pellegrini is the scientific
director of Fondazione Isabella Scelsi in Rome.
This unique essay collection (the first on the composer in English)
documents the evolution of scholarship about the compositions of
Italian composer Giacinto Scelsi (1905-1988) since his death.
Sciannameo (fine arts, Carnegie Mellon U.) and Pellegrini, a
musicologist and twentieth-century music specialist, assemble and
translate 11 essays on his music and philosophy that were
originally published in Italian, German, and French. European
musicologists, performers, and composers, as well as a friend of
Scelsi, analyze gestures in his piano music; his compositional
process; the expressive atonality in his music; his theoretical and
literary writings; the lives of his collaborators, composers
Giacinto Sallustio, Walther Klein, and Richard Falk; his early work
Rotativa; and the improvisations on audio tapes at the Fondazione
Isabella Scelsi archives. Also included is a roundtable discussion
from 1989 that considers debates about the authorship of his
compositions after his death, when Vieri Tosatti claimed
authorship. A comprehensive and detailed discography of recordings
and collections is included.
*Book News, Inc.*
This is doubtlessly a true of the German musicology.
*Info-Netz-Musik*
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