For some reason, Sciarrino seems obsessed with the music of Ravel. De la nuit fiddles in a deconstructive sort of way with bits of the French master's Gaspard. Analysis of Due Notturni Crudeli by Salvatore Sciarrino Felipe Pinto d'Aguiar . pieces (for example 'De la nuit'), which explore a Ravel-Debussy-like super. Share on Facebook, opens a new window; Share on Twitter, opens a new window; Share on LinkedIn.
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I have taken some perspectives from this text in order to complement my analysis as well as contextualizing the piece I chose in relation with the major piano works by the composer.
De la nuit, for piano
In the first pages of this sciarrino de la nuit, I introduce a framework where I describe the work of Sciarrino and his contributions to the avant-garde scene. Then, I set a context for the piece in discussion, by describing stylistic considerations of his keyboard music.
Regarding the analytical approach, different parameters are discussed independently, and then I attempt to establish a few generalizations sciarrino de la nuit interrelations.
Additionally, a number of particularities or exceptions that defy the internal rules of the piece are discussed.
Pitch and harmony are examined at the end because the piece seems to be primarily determined by other sciarrino de la nuit than frequencies. My guess is that almost the same piece could have been written with many other arrangements of the pitch material.
Salvatore Sciarrino - De la nuit, for piano - Classical Archives
The main purpose of this analysis will be to show sciarrino de la nuit form is determined by an organized structure, and how this fundamental foundation experiment random changes at certain points. The composer has shown his deliberated intention to create music that resists all analysis, so any attempt undertaken here is nothing, but a vague approximation to some of the mysteries that govern this music.
- Salvatore Sciarrino (Musical Analysis) | Felipe Pinto d'Aguiar -
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Finally, sciarrino de la nuit diagrams are included throughout the document to support the ideas in discussion. The Music of Salvatore Sciarrino Sciarrino has described himself as a self-taught composer.
No matter the fact that he actually received some formal education, his originality is extraordinary and it has kept him sciarrino de la nuit from any school or current. It is particularly interesting to consider that Sciarrino acknowledged the contributions of the Darmstadt scene, but took a conscious exploration in the opposite direction from Stockhausen.
For more information about the career of the composer, his personal website can be a useful resource. His contribution in the domain of developing instrumental and vocal techniques is enormous.
Sciarrino: De la nuit (page 1 of 1) | Presto Classical
With some antecedents in Luciano Berio, one could say that certain instruments like the flute have a before and an after Sciarrino. One of his main contributions has been the de-naturalization of traditional organology.
However these extended techniques are not used for the sake of novelty, but always in the search for new sonorities and even more important, new expressive gestures. On sciarrino de la nuit, there are not just coloration of traditional material, but imaginative sonic objects, which are musical entities that usually does not allow pitch or rhythm reductions.
The music of Salvatore Sciarrino comprises a large catalogue of various instrumental forces and during his development he has developed very particular and defined styles for sciarrino de la nuit instrumental combinations.
We can identify the vocal style, the keyboard style and the general instrumental style including chamber and orchestral works.
The vocal style is characterized by the exploration of breathing, restrained lyric lines almost like singing for the sciarrino de la nuit of the body and the use of special phonemes.
The keyboard music is normally more active, continuous and sonorous. Heavy attacks are abundant and he plays with saturation and intricate resonances.
Finally, the general instrumental style is characterized by the exploitation of the limits of audibility very soft soundsthe principle of permanence a very idiosyncratic use of repetition sciarrino de la nuit variation and the inclusion of distinctive gestures such as trills and glissandi.
Sciarrino, Salvatore - De La Nuit
These categorizations are not excluding and we can find approximations to the vocal style into the instrumental domain and vice versa. This exchangeable property is not about incorporating traditional cantabile sections on instrumental music, but about instruments borrowing the corporality of the sound production characteristic sciarrino de la nuit the voice for example the inclusion of breathing sounds on instruments.
The keyboard music style seems to be more isolated though, possibly due to the nature of the instruments themselves. More determinant than the way he builds and delivers his musical ideas is the way in which he restrains and doses the musical flux.
In other words, he is able to communicate his music with the minimum amount of elaboration, too few elaboration someone could say. It tends to be more continuous, louder, more rhythmic, sciarrino de la nuit piercing, at least in the musical surface.