FRR: 10278 % =; M05-20 ee tie a ¥# Fiz SHANGHAI CONSERVATORY OF MUSIC a 3 fr 6 MASTER DISSERTATION HERWARK REN RRA HERG CH ORADER) BHAA AY BH OPK Te EHEA = it FRG te th HEA 4 th BSE BRIA HE HH 4B eA HYLieSHS ADIOS ARLE A AARERA: MERA TEX, RKAGS ABST, BUT KLARA RR. RPE BEAN ARH, RUEKFSEMHERA RRACARARATHAAE RRR. KAKA ARAH ES ARH DARR th YREKP LGA RB. RAE RE A RR RA ACB. sonxweee. OD SEEM: 5,07 © GAs FICE RAH PLEXES TLE RP RARRE. RAPE KHMER, ALEERERARRE AR BIRMMARARAL. BLADE BR, RE RER OEA, KARL TRE T GEES BR BBS Ba A AK SAB EAT AR 5 FT LARA Dd Ba HS He HR Me FLX. (ABH ELH REM ES RARE) —— ah a FMHXE SBA: ( SMES: eyom: Vl eb nha Seum: rede Ceawe BH BRARH (MORRO) AR = ————__—____1 —. ASP OO a SS _ ST =. ERR 1. ER 2. BUY =. CBDR RZ) MOI A RAR |< 4 Roe (HORRORS OH —— — —————— Ft > $6 86——©@ SA 1, BONE. TERE HE 2. REM. BEM aE SS. RE S10 1. ea 2. BH 3. we WW. iit EECiSrCL 1. Spake 2. BUA AH RR Ri FB BE —§ A HSK PKRERKGROAR _18 RRP ER RE ae sso 1. Adee 11. Be 12. Me eet Ba SHERRATT ee Ese oe RM |= ————— _ ys Wik HARB a HR BY — BEMwe AXE BMI BLE AA IR Giacinto Scelsi # WAFE-dEA PH (1905-1988) #1 {HADI BE HE Ah: CRUG PURSE) Cag6q). AMT 1905 FEF RAM, BSI ECT, 20 ULE go ERP TA. FF EDR ORBHRS), HI RB, OE T ARACEAE ae the BRERA AR, CNR ARNE RE OA. REAR, TAF LF RTT PA YI CSB VUSR AVY ESE) ICME LA AMER ZOHE TE th, HEAT BRR ATA REE, US NY ORE HE, PT LR AL BE AS TT AR AE OAS KUBRHNA, UR AUK RNGS) HERA. ReMCM ATH AF. PEFR AE BARE AY OIE RNB KR. RUPE TT RAR IE AS, ARI HAS A A FRAG A. PARVEZ, CERT HE HA RS BAMA. Kea: BATE CRIRERIIIE) NA AIR WAX Saki Abstract This paper is focusing on Italian composer Giacinto Scelsi (1905-1988) and one of his most important compositions String Quartet No. 4 Scelsi was born in Italy in 1905. He received traditional western education when he was growing up. During the middle of 1940s’, he traveled to Asia and was attracted by eastern religions, and started to build a connection of these philosophical ideas and music. He wrote a great amount of pieces of symphonies, chamber music, vocal pieces, and solo pieces. All those works reflect his unique view of music. As a western composer, Scels’s works were rooted and reflected his view of eastern aesthetics and philosophies. String Quartet No. 4 was written during the period when Scelsi’s unique style has matured. The aesthetics and the unique style shown in this piece can be taken as an epitome of all his achievement. This paper is trying to discover Scelsi’s inspiration of music, composition style, and musical genre from researching Scelsi himslef, String Quartet No. 4 and related composition techniques such as pitch, texture, and notation. In addition, this paper is trying to find the crossroads of Scelsi’s life and music in order to discover the relationship between composer's philosophy and his musical language. Key words Giacinto Scelsi_ String Quartet Noq single note Eastern religion Mysticism Div-string notationS-H BRGREK (HORRORS) OAM —. APR ‘WEE BA DE (Giacinto Scelsiig054F1 48H th FAA BLa SpeziafiCitel (9 — REL. EIR A HSL Guido Scelsi SAA NM LH, A554 1Donna Giovanni d’Ayala Valva, Ayala ValvaiX ii EARNER AL —, SARI — PE PES isabella) . SETAE), ARDEA AEA SUM T Count Ayala Valvaiti BES: 87, $710, Het RTP IEA. RF BRAREE ANAS RD, RAE, BATT RCE REESE — BO APH RL, PRAGA SAR. AT I. PEE. Petty FI RTE ee 7B, AAR Ay RR MEAG EAA LN RM SESE IE TSK A A AB TE IA PEE, FARO —AEP, ARH OIE TA. BRANES BH (Dorothy) R-AK, MMINPLERRASRAP AT ALARA IR, BEF AE, TU AE Sa FAT EE AT KH EH Ah CH 6 AWE? (1938-38) Al (Elegia per Ty ——A/MEEMTED (1958/66) IXIME RA H, MAST EFS PANES. SAUTER RE TER OTHER T AEE LD. EAA PEA SRA TE HITE, SAGARA GE AS DAS Sl — TE REELED Z AD, PU RGRROE, ALTA. ERI BTR, OE MTR T ERO ORB AE. 20 182 70 TEARH). BAR EMA. SAAB B. WRBRAB EA, HE 1976 SEA RAPPILT OUI. 2 1980 FH — AMR, SOR THERE IS. aR — A REDS, WB 1988 ttt, #4 83H. SRM, MA PRASEAO RR, FR. BSE 50 ERI Fash OTS I % ¥ tr % 95 Isabella Scelsi Foundation ($6 W2-S ARTUR Ge) HY DLR TERA TRAE RE, KRURTR. ARTE PTA MH Salabert #1 De Santis iif+tiHhi, XCF ih Parole Gelati Hi Me4t WA. AMM 700 SHR HF LARA, CASA MIs, RERAKAA, EEL IE AE. MERZ — RAR ETRE AR A AG BE A RL A RT Re SURGE T 18 TARE), ATE TE RS ER DLE, BBB >A 300 eR EE a.KF BAA ANGMAR. BAA De Santis Hh+t HHA Renato De Santis ABARAT A BAAR, IHRM: “AR RRA A, HHA Ce Fook CBRL. HARA Cie — AAA TAR, RSPR, AL PD DRRAH AHA, ” BRT PEASE EL SE, GAL — 4 A AE REA Bi, BEE — A LS APRA, SARA RIE 1949. 1954 Al 1962 FH FE. ERAVCBAROMRBATARR SSL, CHAO LHAR, URSA PARE. MGT 20 HH RL TN RG. RKASRNGS MTS. 4 20 tthe, SRUBS MAES, RT Es A A ANE Hs IN EE PIERS RES THEM IB. EH, AMMA RES A. =. SRR 1. EL 20 TE 20 FAC, ATES OMT. MISES CRANIAL T CU, AICPA S ACRE (Henri Michaux) MEREEGREL-ik# (Salvador Dali) « IAINMACTEAT Luigi Russolo's Futurist noises (AACE) (AB NIE. PETER BI * Printing presses” WRX HDL ATRIA. ‘Aerog6E 1997460, AR AIZEME LIAM BEWalter Klein’é 5] 0GKe Eo} — Pre. 12 enog6E ONAL GHIA AG, HRI AB. WPSEOLS, SeASBEEE BEACON MME T+ RO, AR, “AE T Me MA Walter Klein AMMAR LEITOPR I... GRARABAN EA, THe, RELA KOR PARL AMEND LM, MAMTA TH A, EOE HAEMERORSWAL... RUHLLATEFOM, RRALAEOTS, * BOG, WORDT TEE AL, BUR SESELWeMe4Rgon Kabler tht. ICI A: CT EEL TP NAB ART RE 19975, SARTTLBIY ", Alf ths Gotfredo Petrassi.—ie3% T —shaotibse fe HRA, ALARM RL IR TBAT BEI Sew ARETE Sete AAT ELA EE HR EATER ACHE HR, AAGITLEP (Kodaly), CIS2K4 (Hindemith ),Wiffift Schoenberg), SOMA (Stravinsky) ETH IRE HM AEAHE AE (Shostokovich) ANE DFE * A Personal Memoir: Remembering Scelsi;F ranco Sclaunameo; Musical Times - July 2001 “ RBVH-A; Ramole (1885-167 AMBR, (EMR. RAE ERA. 1913 EI ORHZAILAY (The ‘Ast of Noise) F298): “....fE 19 WHERE ERR MBO, RETREAT... ESRC A HER BEA, ‘BUFR Cgurplers). HEEB shatters), SER Chuzzers) QE NU RM Olt LIMA...” 5” “Ich bin kein Komponist: Giacinto Scelsi in Gesprach,” Glaciato Scelai; page65.WSK (Prokofiev) 3, (EAHA — AAR RTT PFA. LEAR ERPS AER T ARE NG» EE AG AS SSR WITT, RAAARALEAT HAG ORDA PERIL DZ A), CMRI, RAAT. HERA RUA EMAAR, RARER OEM RGWRE, HALRAT 20 HAA AHIHENUR SRE. INRA PT FY EME 50 FATEH, PALME. BRANES. EIR, A CMA OREDRT, BHAT HAR FBT, IR IAT IS BT DS Ae. ANNE, STAs Se. 1948719525, EBA FA Mh WR FUME TO RE PS ME I. BR T 19484F HE Ah “LaNascita del Verbo”, #15 F1952°F 0 fF ih (Mi th 8 (Bot-ba)) ZH, Pll4 tek ABH Hh BRS. ig52 1976, MRGIET SikOuHE AL. 2ottitgo tt, Em AAPG M3t T —MNuova Consonanzat it FMR, 1A-MAR ATR AME. REA EELORAA AR. ARAM LE BLE ABER RARE A TIT, HARA T MARE. MK ST DSR SAE Hh PLAT ADRS ABH Ah, MATL ME AR ER A EE Ph. 2. Ae BROOME ALTERS RELI: BRI 1929-2950; —ATH 1952-2059: S8= WB 1959-1969; SEPIBTEL 1970-1976/1988. SHIM 1929-1950. DRAMA ARIE BLE“ MIR™S ERNE, BERR T se Ade eet WET APRONS. OLDE AAO OER AAR. ZED, SEAR PAALPR RL PAPA REP ESO — BR a A SOPRA. ORM 1952-1950. LRA CHE ORES RAC, PRAT BS ALE SERED HE. SREBLN 1950-1969. LRA ROEM RADE. RRMA. ORT R IA. I. EAT RARER. AO 2.9.4 SEROUS HE NTR. FEELEERR NOBLE T RIG RURR EARLS. ART COB TURORDURLSED Jt, SHARE Wi Large Ensemble Works of Giacinto Scelsi and the Influence of Western and Non-Western Traditions: An Analysis of I Presogi”; Charles L. Taylor; 25 February 2005: page 23 » “The Large Ensemble Works of Giacinto Scelsi andthe Influence of Western and Now-Western Traditions: An Analysis of I Presa"; Charles L. Taylor, 25 February 2005: page 13 1 #2 Todd M. McComb; from hita:/worw medieval org/music/modern/aclai/works bul, accessed on 08-03 ve °GUCINTO SCELS", Rlehard Barret" WIRE Magazine; Copyright by Frank Perry 2000-Quattro pezzi su una nota sola (1959) PUM MAHE A “Khoom (1962) LHXFARE CORT EANR SHOR Duol1965) AHF SARE -Konx-Om-Pax (1969) WAP ARURBATU(E. BRT MAMET: LAAT, 2. ERE: 3.215 Om SUH 1970-1976/1988. EAT AKAROA, ORE SY BINA RK, TEER ESA TE. MARL, ERE LT RR SLANT. AEA. REARS AER T AU TR, DAT Set MEAT, AE PRAEE A BI A OTA FATE. Hs -Krishna and Rada (1986) YK AA TOE. -Mantram (1987) 2K SUA HE Krishna i Rada ZEN AEH: Mantram, HES, RAT RMET MRE DER. JKR 1976 ELL, SEAR DUREAR ARAL T DEE, CEL Ae Ai — si ZA HK TT K. MORRO TUR (MAB RR) GT 1985 1, BRACE 76 LURE PLT St, B ORK RAE) K 74 FMEA CAitis—— DRT TED ME FUSER, OT A AE BIE — EO RAMEN, TARERE—AN, MART ACO RL St. BE AYER CORT ANETTA) B45 TRAM RE. fh —-ASEOMET 9 125 ABH. LHR RE A AR ARNE) , ANA TMAM SAR, ROR, RE FMBTER (ADRAOER) HAR RARS TONED, IGE T ARR. CAE LATER, SAT SENSE. CONTRI MTA AEH ENP MRT HE HANES ST, DAT ARR — TORRY IRIE”, HAREM REE anaes”. CAM RAE SF 1964 4, URLWIRE OER, BLL BIRODTEL. CADE RIVED ABSENT 10 SOF, TEAR, JAAS ALE A. RABE EATER ATR PSEA — NA RE RARE Re. CPUS OUI SED NGM IE a AE HEATER AE Tosatti) itt) —— 3 4Sib, RR BAEC. FRR AA ROCHE, BALA] 30 4 POMC ETE, PERE APA HE AR HG TEETER. Quartetto di Nuova Musica JUSS 75 BARA HE, ARAN F 1965 FARK TER TH WU RMD RE. H—-K, HMA RAM _L, Quartetto di Nuova Musica Jk BARA ADF th STS. FEMA Bk RS He PE. PROGADAR DEAR PE. HAS I ER A A ABE AH MOP ARE. HT A WRIA RII CR RRS) MEA A fei Faure CMR) HOR —ABHEdh, opi2i, 1923 EMRE. ARGUE, Ro, wR 1968 4F, HE SURFER T ABE, BE Quartetto d'archi, th tH Quartetto di Nuova Musica 4, (2. TBR RA TAT CEA ES HET. EAB FSE TE ME NO DUSK OY Se EA ATL ET YR. WLC Quartetto di Nuova Musica URSA UM, ATA. SAT — mR RTS (—— 4 tea SHEMRARRA RA), BEL, AKER, MOBS Fe BENS, HA CHERT HELM ARREA. 1965 *F, 49% Goethe Pi —KARSL, RSMO TORT CORE ADRS), WEAN BARA LARS. FAR, fe, REAFRARAHHORE, AMAT MARE. 6 RTFIR CAURROMS) OH ae ERRNH, KBR T—ATRORARA, UR 1/4 RRNA CET KOM SADD, TAMA. HARTA ME, 2. ME. HERA, LRRVAREREN. LRNGARAD ARAMA, AMZ Dione ER. RRR CBE, FR METAR IR, SAAT A Ue RERUN EL. EMOTE POMED, HRT TS ERM, RT — A DER RRM. HAUT MES ER, HAAS TE, tt ATU: “PEATE, BYRNE, WEREMANATAR: PH Aeh. KS+ RB, MAEGRA, AMR, EHHRLAARINTLORES BA, KTARMAR HRA LAK FH (hamonics) HHRSMN—HKA TM, RALKHAHPR, HA RRATHHAS HG, OH RMAMRARMPRREM TEMA. REMI Rie PMRELATR. BARES, RHA HERE. ALSMTKY, REAMNEB RAFRRMERALEM, AHLKS ORE, TRAUMRRAEER LPR (—— WH AME) HTH, CRAKE AP EORRBHERRAY, 7 (AORAOER) HAGB—-DRFRCHRA MRAM C KAM, Rin BRM BRAT TOES TE. TO HE DNGR RARE ppp HE LBF WAMRHE 1/4 209 C MER. HEAR ERETA—, Wee PR. “eRe POBHE 1/4 fC REMRAENKE, BAM. ARRAS, LTR ALFRED, MARTKNTARR, RATAOR. CRUE, IF Wik. FRET AAA ERE AER, SEAR ALE RE AP PE REAT RR SESE EA KA BAEMRA AAD TM SUR, MUR HE, PERNT SS ARS RTCA. AT ET. BAR. AE. TNE ABOR DURAN, UL — PRESSOR HOE — TA. BES AE. BOR BATA AE ILD, ETE RAGE A he ALA TT 5 AEH “Sound and Music”;Giacinto Seetsi; trans. Gregory Reish in “The Transformation of Giacinto Scelsi's Musical Style and Aesthetic.” (Ph.D. diss, University of Georgia, 2001), 285-6=. SSA CATR RI) ELUATE, SUPER, Sea INTE ARSON. SRP AEIA ABE A PR TR LE A REE A RZ — I, URL FAP Fe RE A S.A. HAE I BRADY T MER TTT, HAA A HE A a A PS TT PERE SB RK — ER TRUBS, BOCHUREIA T HR TE RIED A AEDT AA AS ZH ATER (HORA OBS) EROS RUPERT DH, FER MMIT 167 NS, AS HAS. AK, ERE CORRS) MTR, HS RA—TREA”, CIA EATS RED. ZEB ed Quartetto di Nuova Musica 4i'f—/N¢ A Franco Sciannameo (#!3¢-KNME) FSA. AL {ZB “H-ARLA FAVRE ORK, REARHHR, SHEERS RF BH AML e quie qui (MARL). AM 167+ F, AREA fortissimo HALE MGR ECA MATAR, MNRRBA RG AEA PS AINE RAMA PRAME, PAPERERGEE DIG AH. RAR, ATR T RA LH, BEL-TMERSERGOHLEOHHEGHAN. Luciano (FHLB), bHeF ‘KR, CRAKE, CHALK: AAMEA MAR AHS, * RHERZ WERK: “ARM PH-TTR, AEBAREGREE, TRAM am, * ASP UR MH, CES 148 AT GRA), AIS 201 45 CBA-2). Wl "9 A personal memoir: Remembering Scelsi; Franco Sciannameo; The Muscial Times, 2001 summer ‘A personal memoir: Remembering Scelst; Franco Scianaames; The Muscial Times, 2001 summerWAGER GFE TEA IETHER TF AAm.201-203, —7 SHH MRI» SEL. RAT SRS AMA LEAS LK REE A I HS. KFA TEA, SAAR AS TE os BC HS Ds RO aE (Tamboura) £fPSNMALEROPEREP, EAH PATS EMR, aE T RG ER, REE TE AR PO ST TE EB 1. BOE, TEM HE “thd, Rak, we, REE, AUR, ARE, ARM TR EATER HE AAAS, HT RE PE, TEA A) CSDM UHR SED PA RETEST BL. CBORD RS) ARB, WTA BR. MI—PATEIRA C HFM. RRAR PHM. HTSMBA IH, KALRR TIM Aaah, DT ALM, BEAD MORAM, TREAT E 4 CORRES) P, RRA mT RRS eS WORE F AGTH LIMB. TRA LURK T AMMAR A, TKI tT TET BRE, RARER NER, RAK, HARADA AAT RRR. AVENE IEA, RBA EMA — TAM th. SLE, RHR APRR OTA, MERI © “One-Note Wonder,” Kyle Gama, The Village Voice, 25 February 1997, 58.SEWUIBOREE, DOT, REE, BAAR, NORRIE, BT PRNEAER. 2. FEMA, HEME CRD RRS ERR L, TRA AS OR AIR Ak RE AR RK, RAR, HRTEM ARS RL. RTI SEP HEEB AF OR EM TEN, FRET Ae EI SE. KEI UP TE 950 RINE EERE AS LIC AFP, CS m.168 PCE, WHI-3), KIRA RET — FAP MLAUME b PE, TG EL tk a —— MRO T — HEME. Hl-3 + fia So re SMART ARMA. REERAAR RAD. (RATE mi67 Di, PRAMAS ATT. TR A AOI PR. PREFER ROC MIE, HRI RAR RABAT A eB. RAG)WHE BE CPSU DOLE De, WE SALA T FB TG A Ae A TET MER, SHE, HES, MHS, RASS TMS. EBT, RS. S Ri, 2k, WRASSE AMMTT ARMM. CRM CRO) RS f, KARMA NE RAS CHBM—. IR, REA. HR) LIEBE 5) > BIAS KEE 1. EK SSP RANA. HEN e/a /bn/e da; “40 £/a1/da/ta; 4% d/f/dijar; KBA C/G/d/aa. RAIKMERAREBBN T SRM M/E (00H CILAHBI-6). WHS voee 1 fags Viotine 2° = a = Viotoneetto —— 2. BR JPG BITE T ZRII, PBA ROTA. 2BWM a AB m20-22vle3.4;m20-21vil23 m75vil4123De HEMT AMMA m.115 vIT-2.3 cc AEMD AMA — m. 146. vIT-1.2; m. 149 vla-1.2 d. BE m.164viTI-2.3 m.7o via-23 (2 pont, 3 sord) ©. FEA m.154-182 vo-1.2; £. SRW m.191-195 vi I-1.2; m.20-22 ve 1.2 STR MTET, TRAE TS, KE bE ARAB A. PRESHRSZA ADB, THAR S. CR ATA AS WY a — RASS, ENA SE AA EM BR NE SOLE HT SS SALEEM TA AR, LIP BER HE a RT KB Fa BE AE ea. 3. WE ARIMA, EA CE SET, WORT — Aad aa Ae WENA. LAKARRGETHAWRTIRNE, mins. HSMM. SESb, SF AERA BR. PERRET A RFE HLS. A. te Sah PS OB. FR NMBSEMS EH HER, MLS AZ MMR, RATT BE, MS SREARAMRR. WU. iit PEEL RNASE (Tosatti) a. RSMAS BAR, DARRAUEARATAF RRO EL. RRM AR FARA, RIT RARE A AOR, IF EB Pei. ot FT ee AR, UBM. ARTA, FBR. 1. SPR CRA) LARA MS MT. RARE — HR SK BOR, PMA-ATACR, GRAAL RAGE 4 TR, AMMA AA OE 44 MRO T . RERAMAR RM AR, AEA CBNNSK JRE) Fh, CE RM OED. AMAT PE. CSUR RG ESE CATE ER NE, RAE, PPR OOD RRB TA, SIT OOM TRE. FFE AB RI Me TE SSE MAK. EERO RAM 1/4 ROADS, FABCMSR RMAs, RP wsee RRLE AMR! PRT OMEN, FRI TART LAE, TORE UE RAGAOREARMNARAR. BA HREM TEER, RARE RG, PRCRRA KGAA ARMER. CHORES) BRAGA TRANBALAN—TRR. 1K 16 THRMEKOA SEP, KRGT ROKR USER, eA ay aE a LU RESTS SR PE ih TRF BA BD Ge A TAR YG SK TB A FREES — ROSA. SoSH Ea ae A AE dh" Veghur— % *h9e AGRE”; WL R“Natura Renovatur——W 12 RSME, ABET LL LGR A MARE 2. SR PRAM TR, OREN BRA EORTD BE RITE SL. SHE ANTHRO, RT A RUEIRDLS, BATE REM T DUPRE AS PONT,/TAST. 9875 / ABs HLBESE NAT. ERB LEGNO with the back ofbow iA S183 FLAUT. “MRA flutesound — Lit fi-7) 7 "3 tome tower wide vibeato lutthout this dnsleation play aon-vibvats) tthe budgeon the Singertoand POMT.ITAST. wat. tecke < FLaur. rf BLAKE, IAT BARE, ROM, eeNeE Ee 46, $8 m.148-150 — $285, 1.2 TRAE 1/4 FG Bl a/2 MEA LAE EMA, RARS, MARGRHAVRMRA ERR, RAR, RPAH, WI PRMEA a 5 TSE 1/2 Ft F OSB. CILA-8) RRMA TRB, PIT! At, BHM OBE, MAR. NRC RIR. EMER, BUR JEHBIE ppp-fif A. LA RIC T RA Ne. TASH. TR RRNA, BR, EL, ABER HLM TR, So TO LAER. Eee apie | AEROS) we serro | mad ai Cc ma "e “a/4c3¢ viI-4.2;I1-4;Vla.1.2 | ppp | mao » "b; 4/4 vLI-4; Vag p-mf el 4 m.14 -3/4d "1/203 -3/4d_ | vii-3.45 mp-mf “+3/4b; : 5 ff m.20-21, a veut m Rod 4a m.25 "ajad s-1/ac;-1/ad_ | via.gs mp-p D m.g5-40 | "-1/4a “-a/4qa;-1/4d | vil fall. mao-44 |" "ed wil-4g; pp m-45 “e “gd via.a; Ppp-P aon maesi__| "-1/4e "ade vis mf mgt "alae ™m.55-57 "43/405 -3/af mf-f-mp-pp E+F m.58 “a/at ‘veut m.59 "a/20 via.35 E(CHA) m.65 41/20 viT-2.3; via.C+D m.66-70 | "-1/2f, +1/2c “+1/20; 1/2f PPP-mp m.70-76 SAAS PIP | wae d Ppp-mp CHE m7 "1/405 -1/20 "41/205-1/28 m.80 "+3/48 “C5 +3/48 PPP-Pp C+D+E m.83-89 = “ce mp-ff-p C+D+E+F m.90-96__| "-1/4f "oa/at mf— m.97 "a C+D+E, ‘m,100-108 Pp-mp-mf D m,109-116 | "41/28 E m,109-116 m.17 "41/40 pp-mf EHF mug "f "ea/ges 41/40 "41/26; c m.120 “i/a_o_+a/at F+G HC | mazz135 | "41/28; +1/4g "41/20; +1/2g | vI-1; vla.3 PPP-mp-pp Gta m.136 "a/ea vIIT-1.2;ve.1 A(+E) m.139-140 | "-1/2e "1/2¢;-1/2a | via.2 magi-ig8 | "+1/4g; +1/2f FE ve.2; vLI-2 mp-ff--— mag8- | "di-1/2e,+1/2f-1/4g | "-1/2d5-14g_ | ve.2; & E16 DH, =164 | "d_ iin vil-3 =m D+F m.164-167 | "-1/qa “a2 ve. p-ff myer PT way mE ff m.168 "oe vla.2, vLI-4 mf-ff FAK mayi-176 *dsea/qg | vita; vila uae wf D mye _ DGF+G) m7 ‘Ba/2e m.180 *a/2a "di-1/2a ve m.181-183 | “+1/2e F-ff-fif-ff m,183-201 | "-1/4_1/2_0e; ~___[m.zo1-205 ag mi/f _| 4FHE@HA) —_| m.206-209 vla.g;v1I-2,vLIL-2;ve. | ff-mf-mp-p m209__(|"B "eg veaviaa | CG m.210 "e "og" via.2;vea fHAc wi | m2n "raat via.2 F+G m,212-215 "6543/48, mp/mf-f Gta m.216-219 | "-3/4a,d "d;-1/2a via.2; vilT-1; mf-fmf A (gw) — | m.219-222 | "4/20 *1/2e;-1/4a | via.2 fff — rr m.223 “alae veaylaa A+G+FGE) — | m.224-226 | "g+1/4g, "est1/4a vLII-2;vlaa ff dim. A+B+C+D+E+F | m.227-229 | “csb;+1/2d Dp A+B+C (2) | m.229-231 vLI-2;vLI1-1,vlaa;vea | pp SEAT PBR a BA a) IRE A> A BETAS Aa OT IT AR HE a. BA: SRR RT EBERLE, UTE GSE, He, HP TSS) LGR RMT. TAT RR, ete BDA +1 / 4s 41/2, 43/4: 1/4: A/a: -3/4 ADAMS, AUR BT, WAAR AIEN. RRA, HTC AMAA AHR, mes SCRA, HATA S BEDS. MAKES ARESH, HSA, BARR WARE, ANERALR, TNERARROMD. HERE. BA DR EU ITA, BITRE. Wee ARBAB: m.148;m.201. 6% HHS A": m.167. . BA: RRERSMORARRO SREP RE REIN. (AE RMR A, SEAN ICOR TRI PRME. “+” ARR R: “-” FRE MEK. (Atl +1/4g RAMA L—AM gH. -3/4g RMS =e w BA: MATH MARTA RE, EE ER ITE Fe APSR A RRS, OTR Rte mL EBA MLB PENE, tn) DM tt 2c AR Sk AS” RA AS. [HAM “1/20; -3/4d" CRA BUR EDF), AIF, mig . B+ Web) eae AH THR 2 — HM c AMMEN LSM d Ziel. HE. ]AT: RRR RANT RAO PEE RAIA. VL RAR — DBE VIAL (RRB MEE Via. #02 PEE Ve. RRA BLE ASS 1.2.3.4 SHR RES LRAT £ PA: WB MARA Aah. PASE AY RT AS A EE MTF WEA EERE MARAE. BPE ER T HE MH RTE — PER SS I FURY PARES REA PERE Ss. ENR LAE CB CT ORB L, (AER 7 PE ARR LATA. CT EE EA ET AEM, AIL FERPA REL, DEAT, GARRET ATE, RA Hennes nt HEH. FRA RIERA, AREER A. EB, BD HASTA HRS AKIN, RA. LEAT — PI MPL, af AR A AL AH —— BD 8 2 AT — ET CER MOA AT, RZ “R—EBTE” TER . BRIER —— REA MIER, BREE LITRE ER, RANE RS AVG —R— AER. ONE BAER 167 ARS ZL IZ, BA UH LAR ERR: 148 A, AIM 201 A. Ze 1-148 DH, CER RALSHTA, DORAL RTM ERT, MM Re A S| OT TERM, MA LF RH. 4 201-231 AIA. A AAR EA ES, FRANC HANRAEM, REAR. (LE 164-200 PHRMA MRS AERP, DEE. WHITE. DAME RAAB. ATE ARIES BH. (AOR, ART RATS RT, HE (HE SR YA PS A I PA DE CE RA TR. a TR. CSBEL. (IRR T RRS, (MASA, RE NAT: 1) REM 2) AEA MBE RM h 3) Bie 4) KORA, BRS / TERE(0 5) ASHIRSS 6) SEG /SEHAR 7) MIE MMLIIE/ MT LHR ERLE, BORA RAL A IK, RTARTA EET To, HERE DR, PRE TOTM, HU, Mt ABrS RSE, RE PARE ATK 7) AEE BR.BSR FRR HARARE ATR —. BRAN RRS 1. HARA ERAMAR: “SRARRAAT, CADP TUDRME ROAR. Ait, * FULRACH, LANMEL FC, YR, SRN TRRARR, AEM, HE PREMIERE PANE AM EE LA. TR, REE REVAL, MEERA ROR. PAULA RS SE ARRAY a, SRR RHE PE CEI) BL EMRE, RRM AR, HOT SR, EMT: “He TARTS F SOLE, RE-WHRS. A-TEFABMAL: AER KABA, A—Wels Hy nt" SMT, SPAN RUE BUN, RT CE IA PE FP, RARE AHS TP. AE, ETRY PSMA AMR, TAMAS SR AARON. BY DUH DUTT RAR. BP PR, RAAT ARERR AR, HE ORR PURPA. Heft A ATE Om. ER MARR AE. WGK EWP AMRIT NIFH ARR. RRR RAM RRA EAA BEM, (EA Sa, AEE EAT A I BAY BL. 11. AH RAR AMO RAAT, MAST TaD, TTT PRE. MSIL T “SM ER”, LAT PI Re A PEA LR RHE TE. A BREA LEE ER”. WE (RG) AHSRER, MAM TORRE ONE RAR”. ERENT RAR, AMM ASR PRS T RRR. REAR", Hb EE Ee” SF RA BR A: “PRET TEMARAERA, CURMK. RETRAEBZAA, Hees siear BH LES RS toh, KPBS HO AA... BRERA, RERS OH + Giacionto Scetsi in einem Gesprach 1953/54 from the CD of CIACINTO SCELSI Natura renovator; p.15;Kairos; 2001PPUALBOSARSEH LET ” BANTER EM, ZEIT 1950 *E AEA (Quattro Pezzi (ciascno su una nota sola)) PRESHAAWT. SRN TRAM, PRRERTEERH MR, MITA A IB". Ha, TRA ET, TERRA TOME RE AM SEMA (1A FAR EM RES, RD ET AA”, RRA —— te RAB FEB ANE”, ATTA RIE KT MTEL FIAT ALA, RGR HE, AXES (—— KE) ARIE] (—— A) TR ete 1-2, WE ERIE FARIA, TN MR ES RE ARREARS T POT AE = SU TRL AE BAR PF A PS AY AB A PORE. BE, AMIEL. TEA. OR Al OL Bes ED AE TD ARI FEST ALA BLA 6 ELL faite, AD ARSENE T 1974 4, RBRAT— RRA PURER. BUG CE 1985 ERMA MR Ms FER BAPTA DRE. HES Ee. TAL FE BLAS A 1 eM RET ORBIT HT RAE PES RZ BT MERBANSOR IN LA. f4E 1956 EDU, fA AL THEM MONTE. Ze 1952 EAE fe) (Hilti 8 Bot-bab, 2 T GRA FA — MEAL, RT MR. LMA, UM, PATHAATIONINIE. BAT CAA 9 Thaid WLR CALI 10 Kad, 1K MBA FEATS PE — RIE ERR © CEN RIT ILS UN ARAL Jt PYRE BROS SERIA T ROR, FILMA 1956 FEI, ABAFILT RXR BINS TP. Tia $l FER Ondiola, iX PPG BEAT LA tli LEIA « 2. HAE FER PE ARAM Ra HE ARAKI AU Pe mH aK FA — i BR EAA. WALANG, MA—PR ME. HE: “MRAP... ECR) ARE HAMAR, AMAR ACMA. WR (BE) ATR MERE, HER ANE” '© "Giacinto Scelsi 1987 in Gesprachen mit Franck Mallet; Marie-Cecile Mazzoni und Mare Texier. % {ch bin kein Komponist: Giacinto Scelsi in Gesprach,”; Giacinto Scelst, 19=. WAERBAAA (NUE Ea A SB PE Fo CAS AOA AT AG, SERRE PAA A ERRATIC POR. ft IAB REG RUB. SAMAR TR, RABAT MM SE. HME. Apparati™. fH TEES LR EINE 1/2 ER, BPE BER BRS MRR: Onidila. ix TER, LAT BE SS. OT. TIE RRA. ESE. MARRAATIRS LSMEIN, HELA RAR SHR, 495 Alvin Curran, 3£4j Frances-Marie Uitti33. Uitti USM AGES, WE 1974 AR, “Sat SICH SIAR op... 2K 14 FB, ART A, ARIAL. AE RAF Tempo 4¥a& 1995 “F 8 A HMXH “preserving the Scelsi Improvisations” ‘fF, 2. STS RRM AE, ERT RCE LAER. RAT RR RE ET By TAMA AIT ADS. “RATE REA FO BIE A OTE i Key KM Ole ay Pa, RAAT ADE AACE BH. HH, Uvtti MARPLE T, RAM AME ARAM BAIT Onidial RGM. ES EAR ARLE, STROBES ETRE, SR, ft HATA RI. ATE ARIAE AT ASCE REAR”. A RE A AT FRENTE. FR, REAR PEM OER MESES PTH AY 700 RMS SS, RET A SLi At 0 fl PRP AE RABAT BY, HRA LE Adem. bilo, ii. ARAN, RADA HBF ED FER A (Vieri Tosatti). HIE LIER A A LOR, ALLAAH CAT AE AEA) BEE AAT ERT. Ah EBT ARE OG A KER A RBI PORATUE A”. HON ERT GE g0 4B, AK BB EAR EAS MEE Ae FE. ELAR EK RA BREE OR BL, ABRAMS, (ATH T EMI FRR PAAAUSR. — AKA ‘The Herald Pa Sift > FRE HG. Khe (BAG) ABB, RRL ADIT, RAPA $0 bot He CHALE AU AIOR FR, ERREEMERRAG? MZ, HI) Ry BR, ARMA, Hh LAB A RAR 9257 2 "A personal memoir: Remembering Scelsi; Franco Sciannameo; Musical Times-July 2001 2 TS HA }¥-6 (Richard Termine for The New York Times Frances-Marie Uitti playing Giacinto Scelsi's “Trilogy” at Columbia. ™ «Preserving the Scelsi Improvisations”; Frances-Marie Uitti;"Tempo” October 1995 2 Conrad Wilson; The Herald 12/01/06; from inttp://www-iicedimburgo.esteri.iNR/rdonlyres/6F4773D9-FB7C-4 1 EE-8250-8A3A51F7B617/5931/T heHerald120106.doe; accessed on 03/30/08 accessed on 08-03, 20BALA A, FERPA 1989 1 AT ARR ERTS, 15-8 “Giacinto Scelsi c'est moi!” . 1} XERLRE (RNSFARBRAY, ZS EA AFRMENEHR: BES THSMMNAL GRARA), BLT RH Ge TRA. SRAM LR, Be ORE GET SBE, VURE) BITE REE Fe HRN ERE, HARE, BAA, BE LRATHTS MAM ER AE FE. GER THe SEI HE RL PEA Me PE — 5 REROAHBE L SEAR BAYT RES A CLARE RRA HR DT LI GA TERE SE AY A Ha OD BRN. GRATER REALM, ARAM REM. Ret WHR NR A H, BAEK PBT. AR Uitti ACHE, HE TARA BE, HP LUE TNE: te HAEAARMSHAAMKBAAA, C1SMLLGF Om, HAMMEMARTFA, T vA 8 ERIE A — TS,” BARE AR BERL TF BTR SR FIRES BR. SAB AE A AF Aa Beer IS FH" HR RF WRAARER LA, BR TOL — PEI AE, AT LIRR ED FREI RE R.ENG EEG A CHEE A MPRERE (spiritual force) HETONEKIEA”. MIE BAA ENP RE. REPLAY. GANSU, GK ERAR t A AR REE AR» PAY Ay fe aE TE) 5D AS He AS dP RE SO YL fat Ps eH BR PO a A. AEE AE, ARM ERA, A AT Ree, RUG, RACAMFRNELL, RABPRART. GARR —TH ED SEMEN, MBAR LODHAR CRED PME: MALE RA, WU FRR CORD HN", BAS RN. ZEIRIOUPPEMED, RF eA thee OAH, DRE RAE RARE, Rae Ty. aR. EE EAR LAR PEAR, CL. Tayler 4 1M AR BG AY AY DS OF PhP SA: “HF (ERG) BT 1958-74 FM HAVRE, AR PORER, HAAR AR AER AM TB.” 3 “Preserving the Scelsi Improvisations”; Frances-Marie Uitti;"Tempo" October 1995 7 RUA AIBE LTR, LPR AE A UUM TT ALTE RE A, BLE SMR RSET EL KU, CBA, WAAR, FLGRG ATI “OM” — il, ATMEL AU, CLR ZHAGIERAG ERATE, tPA AR. TORRE ER CRA AUR) EX. 3” “The Large Ensemble Works of Giacinto Scelsi and the Influence of Western and Non-Western aSURE, URAL CREED MER. Sot He RAMmITE. {ETE BE LAT. OER, MTSE AEE TEA PRT RMA. CE 1968 “FNPF fk“Konx-Om-Pax"'}}, ELA IEIR. Konx-Om-Pax it 19 He TEASE MEITAHBL FH Aleister CrowleyH7i 2WHEZ—, REPAWEARRMN— ih HGR FE, WA, BKHETRRSK. RT ATU, RAMS HAE RPI RH. AEE PRB I He wR LA EE 28 AE MH Krishnasfil Rada fr%; ¢£ 1953 *FitfFah Quattro Mlustrazini, th Joh T COREA HmEE AR Vishnu) 09 RATER. SF 1961 FMA Aién, AAEKT IEA (Brahma) f—A MH EL 1967 4F Athi Ko-Tha, Pye Ake ¥es*(t) = x Me. JES, AOA Se, TUR, fee A ROOM BRED Si. ASA MMOH TT. BRT Rb. PEAR IE T SAE. Traditions: An Analysis of I Presagi"; Charles L. Taylor; 25 February 2005: page 25 ® Aleister Crowley (1875-1947) HOH AOMEEI. WARURSIOEAS, IES INT MARIAH “BG RU. ARE AMM, TOT ARI. WARN “EOE” SUE SCEM TEAM Krishna, WA RA BEON OLA AME ALA. iBT Radha RAE MABO ROY AHR, AAR mM EA 4, REE AE EZH. Ae FMEA FO AHEM RG FH 82%. 22H, Shiva, GBEM, ZAM BEE. RRL MOLE. 2BE RATA “FRRARTPEAAPER. FORHRARA MRE, Mabe, RHA HAH. REF AAAAPAMAMAT ID, MRURRAMRLAA: MIbtooewM T Abs, SAT RS, ” TERA 83 FINED, TARAS ARAL la, RA RAR BD Be Wiis BY REI& 0 iF AE TE AOE. PUPA SRAMRR RL, BAM: “RA, RAHA CMR TRA, RAATUM-PASA MELE RE RAR, HIRD CHAE KF AS Rt.” EKANRR, A MERAN BL, BSH, RMA, PR MEEHAN BRB, HEN A, HIRATA SCHR, HET RTA. IF PERN TAA A. iE Kyle Gann PRR: “He RR——SRA HE, ALMA CHEM RS RSH RK, MEREFRAPAREWRAA, LRR—-—-HALH A CAGARRER GBA BR, HAMAEGA ERMA ELAT THEMED ES, ” KA, HARES ARLE, —HMEER, PED ORL AS SAE SET AT BA IE AE A LAR HE HY A RR RARE SU, TEAL ELBA, Be Ay ASU AP RL tA ET AR, RE ABB LBM OT RRA AR. RR, APO, AMR T RIT ORE ARS CAE BLA TAY SRL AA YE i RATT RAS TART Se ZA OSD OLB Me E ADEA AB AS i. BATE RAE, MHCMAL, UR ARO PRAES |, ABH 20 tH POTS SMO, BRA ARE. EP RS eH A HEAE, SRE AB A, CARP. SER i, ea BLE RA AR TA RRR TRAE RL HR, HRT EARP FF AZ FRE — RAB °° “Ohne Titel,” in Musik Konzepte 31 Giacinto Scelsi: Munich ; Giacinto Seelsi; Edition Text + Kritik, 1983, 111 ** Gincinto Scelsi, Sound and Music, trans. Gregory Reish in “The Transformation of Giacinto ‘Scelsi’s Musical Style and Aesthetic,” (Ph.D. diss., University of Georgia, 2001), 292. 3°" sOne-Note Wonder” ;Kyle Gann; The Village Voice, 25 February 1997, p.58.TEBE RAR. HIRAM, PERT ERR. MR: PPA ve .. BH H(1929-1950) * Chemin du coeur (for violin and piano #3AI/N83%) - 1929 ; + Rotative (Symphonic poem for three pianos, winds and percussion y= 324, AE ANT ER HOF AYE) - 1929 * 40 Preludes (for piano #8 )- 1930-40 ; + 6 Pieces from "Paralipomeni" (for piano #43) 1930-40 ; + Dialogo (for cello and piano A##F 445) - 1932; + Sinfonietta (for orchestra #928) - 1932; + Tre canti di primavera (for voice and piano A #4j#44) - 1933 5 + L'amour et le crane (for voice and piano A 75-94%) - 1933 5 + Tre canti (for voice and piano A #45 #48) - 1933 ; ‘© Suite No. 2 "The Twelve Minor Prophets” (for piano 13) - 1930/34 © Toccata (for piano #13) - 1934; + Poems (for piano #13) - 1934; + Sonata (for violin and piano “48-4 454848) - 1934; * Concertino (for piano and orchestra 449 H&K) - 1934; + Suite No. 5 "I Circo” (for piano #83) - 19353 + Trio No. 1 (for violin, cello and piano “)#24E. ARSE 544) - 1936; + Preludio, Ariosa e Fuga (for orchestra #i25R) - 1936 5 + Perdus (for female voice and piano “&F* 45 #®) - 1937; + Four Poems (for piano #4) - 1936/39 + Suite No. 6 "I Caprieci di Ty” (for piano #4) - 1938/39; + Suite No. 7 (for piano #4) - 1939 ; + Hispania (Triptych for piano #8) - 1939 5 ‘+ Sonata No. 2 (for piano #4) - 1939 ‘+ Sonata No. 3 (for piano #7138) - 1939 + Trio No. 2 (for violin, cello and piano ME", A4B5 5485) - 1939; ‘+ 24 Preludes (for piano ) - 1936/40;Variations (for piano #84) - 1940 ; Variations and Fugue (for piano #413) - 1940 Sonata No. 4 (for piano #838) - 1941 Ballata (for cello and piano A485 #1) - 1943 ; String Quartet No.1-1944 sk 0UIE# Introduction and Fugue (for string orchestra 34K 6K) - 1945 ; La Nascita del Verbo (Cantata for mixed choir and orchestra #8 "845 iA H(A BEHIE) - 1946/48 ‘Trio (for vibraphone, marimba and percussion BIE, "HE V#TUi‘K) - 1950 ‘Wi (4952-1959) Suite No. 8 "Bot-Ba” (for piano #14) - 1952 Quattro Illustrazioni (for piano #43) - 1953 Cinque incantesimi (for piano #442) - 1953 Suite No. 9 "Ttai: " (for piano #48) - 1953 Piccola suite (for flute and clarinet K2VA0. 984) - 1953 Quays (for flute K:#i) -1953 Suite No. 10 "Ka" (for piano #45) - 1954 Pwyll (for flute #8) - 1954 Three studies (for Eb clarinet f E i848 #8) - 1954 Preghiera per un ombra (for Bbclarinet KE B i 38%) - 1954 Divertimento No. 2 (for violin “)#2) - 1954; ‘Yamaon (for bass voice and altosax, baritonesax, contrabasoon, double bass, percussion {iB Ar, sEM, Ta] #FT dK) - 1954-58 Action Music (for piano M35) - 1955 Divertimento No. 3 (for violin “b#22F) - 1955 Divertimento No. 4 (for violin 424%) - 1955 ; Coelocanth (for viola #3) - 1955 Hyxos (for alto flute in G, 2 gongs and cow-bell PH KH, WAN) - 1955 Suite No. 11 (for piano $2) - 1956 Four Pieces (for trumpet /)) - 1956 ‘Three Pieces (for saxophone or bass trumpet wT {KH AS) - 1956 Four Pieces (for horn in FF i818) - 1956 Ixor (for reed; Bb clarinet, oboe, saxophone it B 1.8 2045 5H¥ 52M) - 1956 Divertimento No. 5 (for violin “i23F) - 1956 ; Three Studies (for viola ‘P4835) - 1956 ; Three Pieces (for trombone 1€) - 1957 Trilogy "Triphon, Dithome, Ygghur” (for cello A484) - 1957/65, Rucke di guck (for piccolo and oboe i444) 43%) - 1957 String Trio-1958 345K I presagi [The Omens] (for 9 brass instruments and percussion Ju¢F#lt? 337 itt FR) - 1958 ‘Tre canti popolari (for 4-voice mixed choir TUbif)8) - 1958 Tre canti sacri (for 8-voice mixed choir /\ #83 #) - 1958+ Kya for Bb clarinet solo, and seven instruments FE B BASE, 45-bit Ra) - 1959 >. =A (959-1969) © Quattro pezzi su una nota sola (for chamber orchestra WSR) - 1959 + HO "Five Songs" (for soprano voice HA #5 HH MRKHh) - 1960 ‘+ Wo-Ma (for bass voice (&#A J) - 1960 + Hurqualia "A Different Realm" (for large orchestra, with amplified instruments KORER, URGE RR. )-1960 + String Quartet No. 2- 1961 = SRY + Ain (for orchestra #3£5K) - 1961 + Taiagard "Five Invocations” (for soprano voice iA) - 1962 ‘+ Lilitu for female voice #7) - 1962; + Riti “Ritual March” (for four percussionists IUf}#Tsi/R) - 1962 ‘+ Khoom (for soprano voice, horn, string quartet & percussion BAM, 8. 4k “HT itiR) - 1962 «String Quartet No. 3 - 1963, 5k SS * Hymnos (for large orchestra A 5K /5) - 1963 + Chukrum (for string orchestra 3/80) - 1963 + Olehé (for solo voice or female choir and 2 gongs A# R08, aR# sete éraHt) - 19635 + Xnoybis (for violin #225) - 1964 + String Quartet No. 4-1964 73K 5D + Yliam (for female choir #7 48H) - 1964 * Duo (for violin and cello )#24¢- 45 KE) - 1965 + Anahit (for violin and 18 instruments /)42354il 18 (#58 8) - 1965 + Anagamin (for 12 strings 12 #345538) - 1965 + Ko-Lho (for flute and clarinet #5 #38 #) - 1966 + Elegia per Ty (for viola and cello "P#8Ej A424) - 1958/66 + Ohoi "The Creative Principles” (for 16 strings 16 #F3% 5528) - 1966 + Uaxuctum "The Legend of the Maya City which destroyed itself for religious reasons SUE dh intel: Tae [Si Blita 6 Sth 4¥ 8" (for 4 vocal soloists, ondes martenot solo, mixed choir and orchestra 4 A #08, YEy%, LR RSI ‘+ Elohim (for 10 strings 10 425%) - 1965/67 + Ko-Tha "Three Dances of Shiva" (for guitar #{t#) - 1067 + Manto I, II, IIT (for viola and female voice «PHB! 41 47) - 1967 ; + CKCKC (for voice and mandolin A j* +5 & BE #K) - 1967 «© Kévirligivogerii (for voice A) - 1967; * + TKRDG (for 6-voice male choir, electric guitar and 2 percussionists 6 “1 3579-40, Hf, Woe 2 MTHR) - 1968 + Okanagon (for harp, tamtam & double bass 638, A JIA) - 1968 + Ogloudogiou (for voice and percussion #5 49477155) - 1969 + Konx-Om-Pax (for mixed choir, and orchestra #i7-¢rHe, ~ 1966Bt #(1970-1976/1988) 20 Canti del Capricorno (for soprano #5 # A FS) - 1962-72 Three Latin Prayers (for voice or choir A##, sR 08) - 1970 Le grand sanctuaire "II est grand temps” & "Méme si je voyais” (2 pieces; for tenor voice PH A MAE ith) - 1970 Antifona “on the name of Jesus" (for male choir 53) - 1970 Nuits "C'est bien la nuit" & "Le Réveil profond" (2 pieces; for double bass At 7] NPA Ist) - 1972/1977 Pranam I (for soprano voice, 12 instruments & tape MAAS, 12 FR BB, VLR dl #9) - 1972 Lame ailec (for violin 323%) - 1973, L'ame ouverte (for violin “S484) - 1973 Are-en-ciel (for two violins 2 + #24) - 1973 ‘Sauh I & II "Liturgy" (for two female voices 2 SF") - 1973 Sauh III & IV (for four female voices 4 44!) - 1973 Pranam II (for nine instruments 9 #55) - 1973, Voyages "Il allait seul” & "Le fleuve magique” (2 pieces; for cello KE2%) 2 Tl fh) - 1974 Et maintenant c'est & vous de jouer (for cello and double bass Ait, A Jl) - 1974 Manto "per quattro” (for voice, flute, trombone and cello Aj, Kil, Ki}, Ag 35) - 1974 In Nomine Lucis (2 pieces; for electric organ 441%) - 1974 Aitsi (for electronically prepared piano “4-+ Hi‘il#M3#) - 1974 Pfhat (for mixed choir and large orchestra 7H#-408, AMER) - 1974 To the master (for cello and piano A383, #158) - 1974 Litanie (for 2 females voices 2 7} ¢/) - 1975 ; * Dharana (for cello and double bass A#24%, “AU l)- 1975 ; Kshara (for two doubles basses 2 41) - 1975 ; * Maknongan (for low-voice instrument: double bass, contrabasoon, ete. ‘{¢# As AT ATA. ARFAME) - 1976 Krishna and Rada (for flute and piano {<7i!, #138) - 1986 Mantram (for double bass St #)) - 1987 Un Adieu (for piano 49138) - 1978/88HRo: A (Ai-3)] CUBE SEK ae MASE (Tamboura).(ELH-6] ARAEGEZER Uitti, “preserving the Scelsi Improvisations"(E®SX: 1. (Giacinto Scelsi —— &—AUNWAED ; VEO, HARARE; 1993.5 2. (Giancinto Scelsi 1905.1988) ; Sharon Kanach; alabert;_ 2005 3. (A Personal Memoir; Remembering Scelsi) ; Franco Sciannameo; Musical Times; 2001.6 4. {Ich bin kein Komponist: Giacinto Seelsi in Gesprach) : Giacinto Scelsi; page6s. 5. (The Large Ensemble Works of Giacinto Seelsi and the Influence of Western and Non-Western Traditions: An Analysis of I Presagi) ; Charles L. Taylor; 25 February 2005: page 23 6. (Sound and Music} Giacinto Scelsi’s Musical Style and Aesthetic,” (Ph.D. diss., University of Georgia, 2001), 285-6 7. ¢A personal memoir: Remembering Scelsi; Franco Sciannameo; The Muscial Times, 2001 summer 8. {One-Note Wonder) ; KyleGann; The Village Voice: 25 February 1997, page 58 9. {Ich bin kein Komponist: Giacinto Scelsi in Gesprach) ; Giacinto Scelsi, 10. «Preserving the Scelsi Improvisations) ; Frances-Marie Uitti;"Tempo" October 1995 11, (The Large Ensemble Works of Giacinto Scelsi and the Influence of Western and Non-Western Traditions: An Analysis of I Presagi) ; Charles L. Taylor; 25 February 2005; page 25 12, (Ohne Titel,” in Musik Konzepte 31 Giacinto Scelsi: Munich? Giacinto Scelsi; Edition Text + Kritik, 1983, 111. 13. Giacinto Scelsi) ; ,Sound and Music; _ trans. Gregory Reish in “The Transformation of Giacinto Scelsi’s Musical Style and Aesthetic,” (Ph.D. diss., University of Georgia, 2001), 292. 14. (Una Nota Sola : Giacinto Scelsi and the Genesis of Music on a Single Note}; Gregory Reish; Journal of Musicological Research (2006-08-01); Page: 149 - 189 iacinto Scelsi; [ trans. Gregory Reish in “The Transformation of MaRS: 1.Scelsi 1992, S. 16 from the CD of CIACINTO SCELSI Natura renovator; p.15;Kairos; 2001 2.Giacinto Scelsi 1987 in Gesprachen mit Franck Mallet; Marie-Cecile Mazzoni und Mare Texier 3. Todd M. MeComb; http://www medieval.org/music/modern/scelsi/works.html, accessed on 08-03 4. GIACINTO SCELS"T, Richard Barrett; WIRE Magazine; Copyright by Frank Perry 2000; http: //www.frankperry.co,uk/GIACINTO%20SCELSI htm accessed on 80-03 §._ Conrad Wilson; The Herald 12/03/06; from 7b iz/sasi/Thellerld 20108 doe seoassed on, egya0re ‘accessed on 08-03, 7. Scelsi: Orchestral Works (survey) http://www.medieval.org/music/modern/scelsi/orch.html