Emigracja wewnętrzna Giacinto Scelsiego — studium przypadku

• Authors: Skupin Renata

Title variants

EN

Giacinto Scelsi’s internal emigration — the case study

• Languages of publication: PL

Abstracts

EN

Giacinto Scelsi — actually Count Giacinto Scelsi Francesco Maria d’Ayala Valva — be-longed to this type of artists whose life is inextricably associated with his work. Despite the fact that his countrymen were definitely “alien” to him, he lived and worked the last thirty years of his life in Rome, via di San Teo-doro No. 8, alienated from the Italian musical environment and underestimat-ed as a composer in his homeland. Extremely strict fusion of the life and work of Scelsi allows one to read his artistic decisions materialized in his work and his life choices as a uniform quasi-text. The evolution of his musical language (from the influence of Debussy, the neo-classicism, dode-caphony, machinisme to the highly individual musical poetics inspired by the spiritual and musical cultures of the Orient) closely merged with biographical threads (travels around Europe, real and imaginary internal journeys to the East). Aristocratic origins and privileged social position biased the reception of his work in changing Italian reality (i. a. fascism and communism). The fascination of the Indo-Tibetan tradition of understanding the essence and function of sound led Scelsi to the crystallization of individual musical poetics of Scelsi the composer and at the same time — to the conversion of Scelsi the man to Buddhism, individually conceived and “professed”. The Yoga of Sound practice was treated by composer as a self-therapy and at the same time as his compositional modus operandi, which aimed to explore the third dimension of the sound — its depth in a musi-cal and spiritual sense. Scelsi devoted his personal life to his creativity and “composing” — to the specifically understood transcendence. The role of “the proteus” has initially not been the choice of Scelsi, however, with time and after his life experiences it was deliberately incorporated into his life and creative plan. It can be interpreted as the Scelsian strategy of internal emigration in his own country.

Keywords

EN

Giacinto Scelsi; internal emigration; Italian music; twentieth century music

• Publisher: Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku, Wydział Dyrygentury, Kompozycji i Teorii Muzyki
• Journal: Aspekty Muzyki
• Year: 2014
• Volume: 4
• Pages: 53-65

Contributors

author

Skupin Renata

• Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku, Wydział Dyrygentury, Kompozycji i Teorii Muzyki

References

• Brizzi Aldo, Giacinto Scelsi, compositore che l’Italia non riconosce, „Il Giornale della Musica” 1986, nr 7, s. 13.
• Dautun Jean Pierre, Antoni Eric, Scelsi ou la présence, „Silences” 1986, nr 3, s. 276–287.
• Freeman Robin, Tanmantras. The life and work of Giacinto Scelsi, „Tempo” 1991, nr 176, s. 8–18.
• Hartwig Julia, Gérard de Nerval, Warszawa 1972.
• Jaecker Friederich, Funciona? O non funciona? An Excursion through The Scelsi Archiv, w: Music as Dream: Essays on Giacinto Scelsi, ed. by Franco Sciannameo, Alessandra Carlotta Pellegrini, Plymuth 2013, s. 143–156.
• Kowalczuk Piotr, Claretta i Duce, „Rzeczpospolita” 2009, 24 grudnia, dostępne na: http://www.rp.pl/artykul/33,410363_Claretta__i_Duce.html (dostęp: 18.10.2014).
• Marocu Sandro, The Art of ‘Writing’ Sound, w: Music as Dream: Essays on Giacinto Scelsi, ed. by Franco Sciannameo, Alessandra Carlotta Pellegrini, Plymuth 2013, s. 157–184.
• Martinis Luciano, Art de Musique, „I suoni, le onde... Rivista della Fondazione Isabella Scelsi” 1992, nr 3, s. 3–14.
• Martinis Luciano, Chi è Walt(h)er Klein?, „I suoni, le onde… Rivista della Fondazione Isabella Scelsi” 2006–2007, nr 17–18, s. 3–16.
• Nadrabiamy stracony czas, Krzysztof Kwiatkowski rozmawia z Nicola Sanim o muzyce Giacinto Scelsiego, „Ruch Muzyczny” 2005, nr 17, s. 13.
• Pellegrini Alessandra Carlotta, About and Around Rotativa: A Look at Young Scelsi, w: Music as Dream: Essays on Giacinto Scelsi, ed. by Franco Sciannameo, Alessandra Carlotta Pellegrini, Plymuth 2013, s. 121–141.
• Pellegrini Alessandra Carlotta, Rotativa: le début de Scelsi sur la scène musicale internationale. Referat wygłoszony podczas: Archipel, Festival des musiques d’aujourd’hui. Genève 23 mars–1er avril 2007, dostępny na: http://www.archipel.org/index.php?top=2&sub=3&item=4&main=ScelsiPellegrini (dostęp 18.10.2014).
• Scelsi Giacinto, [bez tytułu], „Musik-Konzepte” 1983, Heft 31, s. 111.
• Scelsi Giacinto, Le sens de la musique, „Suisse Contemporaine” 1944, nr 1.
• Skowron Zbigniew, Teoria i estetyka awangardy muzycznej drugiej połowy XX wieku, Warszawa 1989.
• Spoto Salvatore, Roma porta d’Oriente, Atanor 1997.
• Tortora Daniela, Giacinto Scelsi e l’associazione per la musica contemporanea “Nuova Consonanza”: una liaison imperfetta, „I suoni, le onde… Rivista della Fondazione Isabella Scelsi” 2003, nr 11, s. 3–12.
• Weid Jean-Noël von der, Entretiens avec Giacinto Scelsi, „Dissonance” 1995, nr 43, s. 4–10.
• Wyskiel Wojciech, Wprowadzenie do tematu: literatura i emigracja, w: Pisarz na obczyźnie, red. Tadeusz Bujnicki, Wojciech Wyskiel, Wrocław–Warszawa 1985, s. 7–52.