UNIVERSITY OF CINCINNATI

25 February 2005
Date:___________________

Charles L. Taylor
I, _________________________________________________________,
hereby submit this work as part of the requirements for the degree of:
Doctor of Musical Arts
in:
Conducting
It is entitled:
The Large Ensemble Works of Giacinto Scelsi and the Influence of
Western and Non-Western Traditions: An Analysis of I Presagi

This work and its defense approved by:

Rodney Winther
Chair: _______________________________
Dr. Terence Milligan
_______________________________
Dr. Robert Zierolf
_______________________________
_______________________________
_______________________________
 THE LARGE ENSEMBLE WORKS OF GIACINTO SCELSI AND
THE INFLUENCE OF WESTERN AND NON-WESTERN TRADITIONS:
AN ANALYSIS OF I PRESAGI

A thesis submitted to the

Division of Research and Advanced Studies

of the University of Cincinnati

in partial fulfillment of the

requirements for the degree of

DOCTOR OF MUSICAL ARTS

in the Division of Ensembles and Conducting

of the College-Conservatory of Music

2005

by

Charles L. Taylor

B.M., University of Cincinnati, 1981

M.M., University of Cincinnati, 1997

Committee: Professor Rodney Winther, Chair

Dr. Terence Milligan
Dr. Robert Zierolf
 Abstract

The Italian composer Giacinto Scelsi is one of the most enigmatic figures of

twentieth-century Western music. Born into an aristocratic family in 1905, he chose to

devote his life to the creation of music, though he had little formal instruction. His early

works met with some success. However, by 1948 he had reached a point where he could

no longer work, suffering a mental and physical collapse. He resumed composing in 1952

in an entirely new style. His post-recovery working methods have been the subject of

much discussion and some controversy because he created works by improvising,

recording the improvisations and, with the help of an assistant, transcribing the

improvisations. This method was rooted in Scelsi’s belief that he was not a composer, but

rather “one who received music,” a belief which grew out of his study of several

philosophical and religious theories. Scelsi acknowledged the influence of Eastern

cultures, and artifacts and books found in his home lead one to the conclusion that he was

well-versed in them, particularly Tibetan Buddhism.

Most discussion and studies concerning Scelsi deal with his working methods or

religiophilosophical beliefs. There has been little systematic examination of his music

and the manifestation in the music of his religiophilosophical influences. This study

examines his large ensemble works created during both the pre- and post-breakdown

periods. The primary focus is on the first work from the post-breakdown period, I

Presagi, composed in 1958. Through analyses of pitch structure, timbral transformations,

use of microtonality, rhythmic structure, and form, and a comparison with the ritual

music of Tibetan Buddhism, this study provides evidence for the assertion that his music

is an amalgam of Western and non-Western traditions and the product of a very

ii
thoughtful process of composition. Chapter one provides a brief biographical sketch of

Scelsi, chapter two examines the large ensemble works in toto and includes an

examination of La Nascita del Verbo, a work from his early period, chapter three is an

overview of Tibetan Buddhist ritual music, chapter four is an in-depth analysis of I

Presagi, and chapter five presents conclusions.

iii
 Copyright Notice

I Presagi
Music: Giacinto Scelsi
© 1987 by Editions SALABERT
Used with permission.

LA NASCITA DEL VERBO

Music: Giacinto Scelsi
© by Editions SALABERT
Used with permission.

iv
 CONTENTS

LIST OF MUSICAL EXAMPLES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii

LIST OF ILLUSTRATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viii

LIST OF TABLES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ix

INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

CHAPTER ONE: THE LIFE OF GIACINTO SCELSI . . . . . . . . . . . . . . . . . . . . . . 5

Biography

Method of Composing

The Connection with the Music of Tibetan Buddhism

CHAPTER TWO: THE WORKS FOR LARGE ENSEMBLE . . . . . . . . . . . . . . . . 27

The Scelsi Catalogue and Chronology of Works

The Large Ensemble Compositions: The Early Period (1929-48)

The Large Ensemble Compositions: The Later Period (1952-88)

The Printed Scores

CHAPTER THREE: THE RITUAL MUSIC OF TIBETAN BUDDHISM . . . . . . . 72

Introduction

General Concepts

Vocal Music

Instrumental Music

The Ritual Orchestra

Summary

v
CHAPTER FOUR: ANALYSIS OF I PRESAGI . . . . . . . . . . . . . . . . . . . . . . 100

Background

Method

First Movement

Second Movement

Third Movement

Comparisons with Tibetan Music

CHAPTER FIVE: CONCLUSIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

APPENDIX A: PITCH CHARTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

APPENDIX B: TIMBRE EFFECTS CHARTS . . . . . . . . . . . . . . . . . . . . . . . . . 177

APPENDIX C: COMPOSITE RHYTHMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

APPENDIX D: TRANSCRIPTION GRAPHS . . . . . . . . . . . . . . . . . . . . . . . . . . 186

BIBLIOGRAPHY .............................................. 210

vi
 LIST OF MUSICAL EXAMPLES

2.1 LA NASCITA DEL VERBO, Movement I, Measures 1-7 . . . . . . . . . . . . . . . 34

2.2 LA NASCITA DEL VERBO, Movement I, Measures 110-2 . . . . . . . . . . . . . 35

2.3 LA NASCITA DEL VERBO, Movement II, Measures 7-25 . . . . . . . . . . . . . 39

2.4 LA NASCITA DEL VERBO, Movement II, Measures 30-45 . . . . . . . . . . . . 42

2.5 LA NASCITA DEL VERBO, Movement III, Measures 1-16 . . . . . . . . . . . . 47

2.6 LA NASCITA DEL VERBO, Movement III, Measures 20-27 . . . . . . . . . . . 51

2.7 LA NASCITA DEL VERBO, Movement IV, Measures 7-19 . . . . . . . . . . . . 54

2.8 LA NASCITA DEL VERBO, Movement IV, Measures 26-36 . . . . . . . . . . . 56

2.9 LA NASCITA DEL VERBO, Movement IV, Measures 65-72 . . . . . . . . . . . 58

2.10 LA NASCITA DEL VERBO, Movement IV, Measures 155-7 . . . . . . . . . . . 60

4.1 I PRESAGI, Movement I, Measures 1-13 . . . . . . . . . . . . . . . . . . . . . . . . . . 110

4.2 I PRESAGI, Movement I, Measures 42-8 . . . . . . . . . . . . . . . . . . . . . . . . . . 121

4.3 I PRESAGI, Movement I, Measures 49-54 . . . . . . . . . . . . . . . . . . . . . . . . . 123

4.4 I PRESAGI, Movement II, Measures 21-30 . . . . . . . . . . . . . . . . . . . . . . . . 133

4.5 I PRESAGI, Movement II, Measures 78-92 . . . . . . . . . . . . . . . . . . . . . . . . 135

4.6 I PRESAGI, Movement II, Measures 40-8 . . . . . . . . . . . . . . . . . . . . . . . . . 138

4.7 I PRESAGI, Movement II, Measures 21-30 . . . . . . . . . . . . . . . . . . . . . . . . 143

4.8 I PRESAGI, Movement III, Measures 1-6 . . . . . . . . . . . . . . . . . . . . . . . . . 152

4.9 I PRESAGI, Movement III, Measures 42-9 . . . . . . . . . . . . . . . . . . . . . . . . 153

4.10 I PRESAGI, Movement III, Measures 84-9 . . . . . . . . . . . . . . . . . . . . . . . . 154

4.11 I PRESAGI, Movement III, Measures 67-77 . . . . . . . . . . . . . . . . . . . . . . . 156

4.12 I PRESAGI, Movement III, Measures 13-24 . . . . . . . . . . . . . . . . . . . . . . . 158

vii
 LIST OF ILLUSTRATIONS

3.1 TRANSCRIPTION OF CHÖ-RÖL . . . . . . . . . . . . . . . . . . . . . . . . . . 90

3.2 SBUL SHAD NOTATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

3.3 DBYANGS YIG NOTATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

3.4 RGYA GLING SYLLABIC NOTATION . . . . . . . . . . . . . . . . . . . . . . 94

3.5 ROL-MO NOTATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

3.6 TRANSCRIPTION OF ROL-MO NOTATION . . . . . . . . . . . . . . . . . . 96

3.7 NOTATION FOR DUNG CHEN IN THE KAR MA PA SCHOOL . . . 97

3.8 SYMBOLS USED IN DUNG CHEN NOTATION . . . . . . . . . . . . . . . 97

3.9 DUNG CHEN NOTATION FROM NECHUNG MONASTERY . . . . . 98

viii
 LIST OF TABLES

1.1 WORKS BY SCELSI INCLUDED IN CONCERTS BY

NUOVO CONSONANZA 1964-88 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

2.1 LARGE ENSEMBLE WORKS BY GIACINTO SCELSI . . . . . . . . . . 31

2.2 LA NASCITA DEL VERBO, MOVEMENT II, MATRIX 1 . . . . . . . . . . 37

2.3 LA NASCITA DEL VERBO, MOVEMENT II, MATRIX 2 . . . . . . . . . . 38

2.4 LA NASCITA DEL VERBO, MOVEMENT III MATRIX . . . . . . . . . . . . 46

2.5 LA NASCITA DEL VERBO, MOVEMENT IV MATRIX . . . . . . . . . . . . 53

2.6 INSTRUMENT DISTRIBUTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

2.7 BRASS DISTRIBUTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

2.8 KNOWN PREMIERES OF LATER WORKS . . . . . . . . . . . . . . . . . . . . . 68

4.1 PITCH FREQUENCY/MOVEMENT I (I PRESAGI) . . . . . . . . . . . . . . . . 112

4.2 EVENT STRUCTURE OF MOVEMENT I . . . . . . . . . . . . . . . . . . . . . . . 127

4.3 STRUCTURE OF MOVEMENT I AS ILLUSTRATED BY

TRANSCRIPTION GRAPH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

4.4 PITCH FREQUENCY/MOVEMENT II (IPRESAGI) . . . . . . . . . . . . . . . . 131

4.5 I PRESAGI MOVEMENT II DYNAMICS TABLE . . . . . . . . . . . . . . . . . 140

4.6 EVENT STRUCTURE OF MOVEMENT II . . . . . . . . . . . . . . . . . . . . . . . 141

4.7 PITCH FREQUENCY/MOVEMENT III (I PRESAGI) . . . . . . . . . . . . . . . 147

4.8 I PRESAGI MOVEMENT III PITCH FOCUS AREAS . . . . . . . . . . . . . . . 150

4.9 I PRESAGI MOVEMENT III WIND MACHINE . . . . . . . . . . . . . . . . . . . . 150

ix
 Introduction

The Italian composer Giacinto Scelsi is one of the most enigmatic figures of

twentieth-century Western music. Born into an aristocratic family in 1905, he chose to

devote his life to the creation of music, though he had little formal instruction. His early

works met with some success, including the first in his catalogue, Rotative, which

received its premiere in Paris in 1930 with Pierre Monteux conducting. However, by

1948 he had reached a point where he could no longer compose, suffering a mental and

physical collapse. Upon recovery, he resumed composing in 1952 but in an entirely new

style which has been described as “growling, sliding, writhing, meditative, formless,

melodyless, harmonyless music . . . unlike anything else in European history.”1

Scelsi composed over one hundred works, approximately two-thirds of which date

from the period after his breakdown. Most of these have been published and recorded,

and near the end of his life he received much recognition in European new music circles,

culminating in premiere performances of most of his large-scale works at the 1986

Holland Festival and the 1987 ISCM World Music Days in Cologne. He died on 8

August 1988.

His working methods after his recovery have been the subject of much discussion

and some controversy. He created his works by improvising, recording the

improvisations, and then with the help of an assistant, transcribing the improvisations.

This method, according to those who knew him, was rooted in Scelsi’s belief that he was

1
Kyle Gann, “One-Note Wonder,” The Village Voice, 25 February 1997, 58.

1
not a composer, but rather “one who received music.”2 This belief grew from his study of

several philosophical and religious theories, including, but not limited to, Surrealism,

Theosophy, Anthroposophy, Hinduism, Yoga, and Zen Buddhism, in which he immersed

himself after his breakdown. The degree to which he subscribed to these ideas was great,

and their influence on both his life and work was significant.

Much has been written concerning Scelsi’s beliefs and the effect they had on his

approach to composition. As a result he has been labeled an “intuitive” composer. One of

his collaborators, the cellist Frances-Marie Uitti has written:

He was convinced that, through meditation and improvisation, he could become a

channel for higher forces which would enable the creation of works that were
otherwise impossible through ordinary composition3. . . One never has the feeling
that Scelsi is searching for an idea, or that he hesitates. All of these works reveal a
man who could summon his forces with great intensity to spontaneously create
powerful music in its most coherent and final form.4

Scelsi referred to this ability to “receive” music, based upon Yoga, when he said: “Devic

action concerns only the evolution of the world and not the benefit or glorification of the

individual. [The individual] is the chosen channel, which is to receive inspiration or

transmit a new type of music.”5 Scelsi acknowledged the influence of Eastern cultures

when he said, “ As for myself, I cannot confine myself to Europe, thus preventing myself

from viewing the history and development of music from a completely different

2
Frances-Marie Uitti, “Preserving the Scelsi Improvisations,” Tempo 194 (October 1995): 12.
3
Ibid.
4
Ibid., 14.
5
Giacinto Scelsi, Son et musique, ed. Luciano Martinis (Rome and Venice: Le parole gelate,
1981). Translated by Gregory Reish in “The Transformation of Giacinto Scelsi’s Musical Style and
Aesthetic, 1929-1959” (Ph.D. diss., University of Georgia, 2001), 294.

2
perspective from that of historical criticism.”6 It is not clear whether he traveled to Asia

to take part in the rituals of these religions and cultures, although in a brief

autobiographical poem printed in the catalogue of his works he refers to travels in Nepal

and India,7 countries adjacent to Tibet where he could very well have encountered the

same type of Buddhist rituals as those found there.

Any discussion of the process of composition used by Scelsi as outlined above

must take into account the role of collaborators, several of whom assisted in the creation

of his works. Among these were those who helped to transcribe the improvisations and

create the notated scores, such as Vieri Tossati, and performers whom Scelsi invited to

perform his works and assist with their completion, such as Frances-Marie Uitti and

Michiko Hirayama. The role played by each collaborator is not clearly defined, and the

extent to which the final product reflects the influence of the collaborator is unclear.

According to William Colangelo, who has examined the relationship between Scelsi’s

music and the performer-collaborators, “Part of Scelsi’s concept, in the view of Hirayama

and the other performers who collaborated with him, was to move the performer to share

in the creative process in order to achieve the same meditative or spiritual experience of

the original improvisation.”8 He concludes that the performer-collaborators believe that a

certain degree of freedom is allowable in the realization of the scores.9

6
Ibid., 292.
7
Giacinto Scelsi, “Giacinto Scelsi,” in Giacinto Scelsi 1905-1988 (Paris: Editions Salabert, 1999),
5.
8
William Colangelo, “The Composer-Performer Paradigm in Giacinto Scelsi’s Solo Works”
(Ph.D. diss., New York University, 1996), 137.
9
Ibid., 146.

3
 Scelsi’s music is unusual and quite unlike anything else in Western music.

Discussion and studies concerning his working methods or philosophical and religious

beliefs, while interesting and important for gaining an understanding of Scelsi, do not

address the music. There is a need for systematic examination of his music and the

manifestation of his religiophilosophical beliefs or influences within the music itself. As

time passes and we move further away from the point of creation, the music must stand

for itself, and if it is to continue to be performed it must receive serious, dispassionate

analysis.

The purpose of this study is to examine his large ensemble works created during

the post-breakdown period (1952-88). Included will be an examination of pitch structure,

timbral transformations, application of microtonality, and formal concerns, as well as the

incorporation of non-Western approaches to music that grew out of his

religiophilosophical studies. The primary focus will be on the first ensemble work from

this period, I Presagi, composed in 1958.

Chapter One will provide a brief overview of the biography of Scelsi and will

consider aspects of his working methods and of his relationship with Tibetan music.

Scelsi’s life, or as much as is known, has been dealt with more fully in other studies.

However, since it is rather unfamiliar to most people, it needs to be included here.

Chapter Two will examine the large ensemble works in toto. One of the works from the

early period, La Nascita del Verbo, will be examined in some detail in order to illustrate

Scelsi’s compositional style from that period. Chapter Three will examine the theory and

structure of the music of Tibetan Buddhism. Chapter Four will provide the analysis of I

Presagi. Chapter Five will provide conclusions and recommendations for further study.

4
 Chapter One
The Life of Giacinto Scelsi

Biography

The details of Giacinto Scelsi’s life are shrouded in mystery. He left very little

information concerning his life and did not confide in his associates. According to Robin

Freeman, “During his lifetime Scelsi refused to be photographed, did his best to avoid

programme notes, and gave information about his life only when he chose to forget

himself in conversation.”1 The information that he did give is often incomplete or

misleading, causing many of the details of his biography to be left open for question. It is

odd that this should be so, for he was not completely reclusive. In his later years he

worked very closely with several collaborators, yet none of them seem able to recount the

facts of his life.

The primary source of autobiographical information from Scelsi is a brief poem

printed in the Éditions Salabert catalogue of his published works:

8 january 1905
a naval officer declares the birth
of a son
fencing chess Latin
a medieval education
an old castle in southern Italy
Vienna
works on dodecaphony
London, marriage
reception at Buckingham Palace
India
(Yoga
Nepal

1
Robin Freeman, “Tanmatras: The Life and Work of Giacinto Scelsi,” Tempo 176 (March 1991):
8.

5
 Paris
concerts
(works that have left traces in the cracks)

bridges
(conversations with tramps, borne down-stream)

incombustible poems survive

at Rome sounds
solitary life sounds
negation of that which makes man opaque
something forgotten?2

Giacinto Scelsi was born on 8 January 1905, in the village of Citeli in La Spezia,

Italy. His parents were Guido Scelsi, a lieutenant in the Italian military whose ancestors

played an important role in the unification of Italy in the mid-nineteenth century, and

Donna Giovanni d’Ayala Valva, a member of an old aristocratic family who resided in

the castle of Valva in Irpinia. He had one sister, Isabella. Through his maternal

grandfather, Scelsi inherited the title Count d’Ayala Valva.

Little is known of Scelsi’s childhood. In an interview with Frank Mallet he says

that he was educated at home by a young priest who taught him chess, fencing, and Latin,

which Scelsi described a “a real medieval education.”3 He evidently received no formal

music education, although he claims to have improvised at the piano from an early age.

At some point the family moved to Rome, where Scelsi studied with Giacinto Sallusito, a

minor Italian composer. Scelsi claimed to have frequented the home of Ottorino

Respighi during this time, although there is no corroborative evidence for this claim.4

2
Giacinto Scelsi, Giacinto Scelsi 1905-1988, (Paris: Éditions Salabert, 1999), 5.
3
Giacinto Scelsi, “Ich bin kein Komponist: Giacinto Scelsi in Gesprach,” Musik Texte: Zeitschrift
für Neue Musik 81/2 (December 1999): 64.
4
Freeman, 8.

6
 The first event in Scelsi’s life for which a date is known occurred in 1924, when

he attended a press conference given by Ferdinand Ossendowski in Paris. The purpose of

the press conference was to introduce a new book by Ossendowski titled Beast, Men and

Gods, which described his travels through Tibet and India while escaping from the

Bolshevik regime in Russia. Present at this event were philosophers Rene Guenon and

Jacques Maritain who debated the relevance of Eastern religious thought to that of the

West.5 Scelsi’s contact with non-Western thought continued in 1927 when he made his

first trip to Egypt to visit his sister and her husband.

Scelsi returned to Paris sometime in 1929 or ’30. During this period he developed

friendships with some of the leading minds of the day, included the artist Salvador Dali

and writers Henri Michaux, Pierre-Jean Jové, and Paul Eluard. Scelsi completed his first

two acknowledged compositions during this time, Chemin du coeur for violin and piano

(1929) and Rotative (1929) for three pianos, winds, and percussion. Rotative received its

premiere performance in Paris on December 20, 1931, at the concerts Salle Pleyel. The

performance was part of a concert by the Orchestre Symphonique de Paris conducted by

Pierre Monteux that also included works by Ravel, Mendelssohn, M. Rudolph

Mengelberg, J. S. Bach, d’Indy, and Beethoven.6

In 1935 or ’36 Scelsi traveled to Vienna where he studied for a period of time

with Walter Klein who was associated with Arnold Schoenberg and familiar with his

approach to composing with twelve tones. Scelsi adapted this approach to his own

compositions, completing Four Poems for piano in 1936, his first 12-tone work. Also

5
Ibid., 10.
6
Luciano Martinis, “Linotype, Coitus Mechanicus, Rotativa. Il singolare debutto di Giacinto
Scelsi,” in Pierre Castanet and Nicola Cisternino, Giacinto Scelsi: Viaggio al centro del suono (La Spezia:
Luna Editore, 2001): 297.

7
during this period he traveled to Geneva where he studied with Egon Köhler, a former

student of Scriabin. Little is known of this experience, and his works from this time do

not show evidence of this study. The most significant aspect of this period of study with

Köhler may have been his introduction to theosophy as it was understood by Scriabin.

By 1937 Scelsi had returned to Rome where he organized a series of four concerts

of contemporary music in collaboration with the composer Goffredo Petrassi. According

to the biographical materials available from the Scelsi Foundation, Scelsi provided the

financial support for these concerts. Included were works by several young Italian

composers and several non-Italians, among whom were Kodaly, Meyerowitz, Hindemith,

Schoenberg, Stravinsky, Shostokovich, Prokofiev, Nielsen, Janacek, and Ibert.7 There are

two interesting points concerning these concerts: (1) There is no evidence that any works

by Scelsi or Petrassi were included on the programs, and (2) the programs did include

works by Jewish composers, which was unusual for concerts held in what was then

Fascist Italy. The concerts did not continue in later years because of the onset of World

War II.

Scelsi moved to Switzerland during World War II. During this time he wrote

three volumes about music and music history The Meaning of Music (1942-44), The

Evolution of Harmony (1942) and The Evolution of Rhythm (1942).8 During his stay in

Switzerland he composed String Quartet No. 1, one of the most significant works of his

early period. The quartet, in four movements and lasting over 30 minutes, was completed

in 1944. It is one of a small group of early works by Scelsi that was published in 1948 by

7
Luciano Martinis, Giacinto Scelsi: Una Biografia, (Rome: Isabella Scelsi Foundation, 2004,
accessed
11 February 2004); available from http://scelsi.it/lasede/biografia.html; Internet.
8
Original titles are Sens de la Musique, Évolution de l’harmonie, and Évolution du rythme.

8
Edizioni De Santis in Rome, with all expenses of the publication paid for by Scelsi

himself.9

According to the autobiographical poem found at the beginning of this section,

Scelsi was married, the wedding occurring in London with a reception at Buckingham

Palace. His wife’s name was Dorothy, a distant cousin to the royal family. At the

conclusion of World War II Dorothy left Scelsi and returned to England, never to see or

speak to him again. Scelsi incorporated her name into two of his works, Suite No. 6 for

Piano (“I Capricci di Ty”) composed in 1938-39, and Elegia per Ty for viola, composed

in 1958 and revised in 1966.

In 1948 Scelsi completed his largest work to that date, La Nascita del Verbo (The

Birth of the Word) for orchestra, chorus, and soloists. This work, which will be described

in greater detail later, proved to be the final work of his early period and the last work

completed before taking a hiatus from composing. It was premiered in Paris in 1950

under the direction of Roger Desormiere, one of the leading French conductors of the

day. Robin Freeman provides the only account of the premiere:

Scelsi lay on the floor of the men’s loo during the performance, imperiously
ordering out the theater personnel who had found him there, and only came out
into the hall once more when the applause had begun.10

At some point, generally thought to be following the completion of La Nascita del

Verbo, Scelsi suffered what has been described as a “mental crisis which resulted in total

breakdown and hospitalization.”11 While the exact date of this occurrence is unknown, it

9
Franco Sciannameo, “Remembering Scelsi,” Musical Times 142, no. 1875 (Summer 2001): 22.
10
Freeman, 9.
11
Julian Anderson, “La Note Juste,” Musical Times 136 (January 1995): 22.

9
took place while Scelsi was living in Switzerland and was followed by a period in which

he ceased to compose. The period of breakdown and recovery appears to be from 1948 to

1952, between the completion of La Nascita del Verbo (1948) and the appearance of

Suite No. 8 (“Bot-ba”) for Piano (1952). No new works appeared during this time.12

While the events of the years 1948-52 are unclear, one fact is indisputable:

Scelsi’s compositions following his breakdown are fundamentally different from those

before. Scelsi claimed that the cause of his breakdown was his use of formal systems of

composition and compositional devices, especially his use of the 12-tone system:

I even went to Vienna to study about 12-tone technique with Walter Klein of the
Schoenberg school . . . and then I became sick. Naturally, that was an entirely
normal result. If someone is able to sit at the piano for hours without knowing
what he is doing and creates something, then that says he was inspired by an
unusual power that flowed through him. But if that becomes blocked because he
must think about counterpoint or the resolution of a 7th chord or similar nonsense,
that is senseless, so one comes to nothing at all. That made me sick for four years.
I thought too much.13

Whether or not this was the cause of his breakdown, this account does provide the basis

for a radical change in compositional style. However a question lingers: Did Scelsi

believe this to be the cause at the time of the crisis, or did he create the story to provide

an explanation that would befit the mystical persona he created for himself after he

returned to composing?

Scelsi returned to Rome sometime in 1951 or ’52. As noted above, he resumed

composing in 1952 with the Suite No. 8 (“Bot-ba”) for Piano. His style had changed

dramatically with evidence of neither his earlier style, nor familiar formal structures or

techniques. In their place was a style of composition that focused on sound itself. Scelsi

12
A percussion trio by Scelsi, with a date of composition given as 1950, appears on a recording
(INA, memoire Vive, IMV0009, 1993). The work is missing from the catalogues.
13
Giacinto Scelsi, “Ich bin kein Komponist: Giacinto Scelsi in Gesprach,” 65.

10
claimed that as a part of his recovery he would sit at the piano and play the same pitch

over and over, listening to its colors and searching for depth to the sound. This manifests

itself in the compositions of the post-breakdown period and in a statement by Scelsi from

1953, which serves as his compositional manifesto:

. . . sound is spherical, but in listening to it, it seems to us to possess only two

dimensions: pitch and duration. The third, depth, we know that it exists, but in a
certain sense it escapes us. The superior harmonics and the less-audible inferior
[sub-] harmonics sometimes give us the impression of a vast and complex sound
[with properties] beyond that of pitch or duration, but it is difficult for us to
perceive this complexity. Moreover, one would not know how to notate it
musically. In painting they discovered perspective, which gives the impression of
depth. But so far in music, despite all the advances in stereophonics and all the
subsequent experiments, we have not managed to escape from the two dimensions
of pitch and duration, and to create a sense of the real spherical dimension of
sound.14

Between 1952 and ’57 Scelsi composed a series of works for solo wind and string

instruments as well as duos for various pairs and piano works. It was during this period

that he wrote his final work for solo piano, Suite No. 11, composed in 1956. There is no

comment from him as to the reason he stopped composing for the piano, but it is clear

that his interest in sound and color could not be expressed through that instrument. This

period is also distinguished by a series of unrehearsed interviews that were recorded, later

transcribed and published as Sound and Music and Art and Knowledge.15 In these

interviews, Scelsi discussed his own philosophies and theories of music and composition.

Scelsi began again to write for larger ensembles in 1958 with I Presagi, for nine

winds and two percussionists, and his String Trio. These were the first of several

ensemble works composed between 1958 and ’74. The large ensemble works will be

14
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), 285-6.
15
Original Titles, Son et musique and Art et conaissance.

11
discussed in detail later; however, his string quartets deserve mention here because they

are his most performed works. Scelsi resumed writing for string quartet in 1961, with

String Quartet No. 2. Quartets Nos. 3 and 4 followed in 1963 and ’64, respectively. The

quartets received performances relatively soon after their completion; Quartet No. 2

receiving a performance in Rome at the Goethe Institute in 1965 by a German quartet,

and Quartet No. 4 receiving its public premiere at the Hellenic Festival of Contemporary

Music in Athens, Greece, in 1966, by the Quartetto di Nuova Musica. This ensemble also

recorded Quartet No. 4 and portions of Khoom in 1965.

In 1960 an organization dedicated to the performance of new music was founded

in Rome. This group, called Nuova Consonanza, was started by a group of Italian

musicians including Mario Bertoncini, Mauro Bortolotti, Antonio DeBlasio, Franco

Evangelisti, Domenico Guaccero, Egisto Macchi, and Danielle Paris. Scelsi became

associated with this group soon after it was founded, although the extent of his

involvement is unclear.

The circumstances surrounding the organization of Nuova Consonanza as well as

the facts of its early history are not well documented. A leaflet announcing the formation

of the group, printed in Italian, German, and English, outlined its purpose: “Nuova

Consonanza aims, through its activities (performances, lectures, debates, etc.), to promote

a more lively acquaintance with contemporary music, and thus to act as a stimulant for a

wide public.”16 The leaflet also announced the names of the composers whose works

would be included on the concerts during the next season. Among these were Cage,

Evangelisti, Kagel, Nono, Penderecki, Scelsi, and Stockhausen. No date is provided on

16
Daniela Tortora, The Birth of Nuova Consonanza and the First Years of Activity, (Rome: Nuova
Consonanza, 2004; accessed 10 February 2004); available from www.nuovaconsonanza.it/
storia_pages_en/s_nascita.html; Internet.

12
the leaflet, but from the names of the composers listed, it appears to refer to either the

1964 concert season or some concert series for which documentation is not available.

Nuova Consonanza began organizing festivals of new music in Rome in 1963.

Although Scelsi receives no mention as a member of the founding group or as holding a

post in the organization, during his lifetime his music was included on several of the

concerts. Table 1.1 provides a list of the performances of his music that occurred between

1964 and ’88. It should be noted that two concerts were devoted completely to Scelsi’s

music (16 December 1975 and 12 October 1987) and two featured primarily his works (1

December 1981 and 29 November 1982). Altogether there were forty-two performances

of thirty-two works on the concerts of Nuova Consonanza during this period.

Table 1.1
Works by Scelsi included in Concerts by Nouva Consonanza 1964-88

Date Title
1964, June 6 Hô
1965, May 23 String Quartet No.2
1968, June 17 String Quartet No. 3
1968, June 28 Khoom
1972, October 26 Pranam I
1975, December 16 All-Scelsi Program
Pranam II
Tajagaru Invocazione per voce sola
Tre Pezzi for Trombone
Pranam I
1976, November 12 Oganakon
*1977, April 5-20 (Works not listed for festival)
1978, November 15 Pranam II
1979, December 8 String Quartet No. 2
1980, November 25 Manto I and II for viola
1980, December 5 Pwyll
1981, December 1 String Quartet No. 1
String Quartet No. 2
String Quartet No. 4
1981, December 21 Ko-Tha
1981, December 22 Canti del Capricorno
1982, November 29 Canti del Capricorno

13
 Sauh-Liturgia II
Hô
Ave Maria
1982, December 15 Natura renovator
1984, October 25 Le reveil profound
1984, December 18 Kya
1985, May 9 Ixor
Tre Studi for Clarinet
1985, October 17 Quattro Illustrazioni
1985, November 27 Anahit
Chukrum
1986, June 7 Ko-Lho
1986, October 2 Maknongan
1986, October 23 Quattro Pezzi for Trumpet
1987, October 12 All-Scelsi Program
Suite No. 8 for Piano (“Bot-Ba”)
Suite No. 9 for Piano (“Ttai”)
Suite No. 10 for Piano (“Ka”)
1988, November 24 Quattro Illustrazioni
1988, December 5 Ko-Lho

* The entry for the 1977 Festival lists Scelsi as one of the featured composers,
but no titles are provided.

Scelsi stopped composing in 1976. He had worked with great intensity since his

return in 1952, completing ninty-one works at a very steady rate between 1952 and ’76

(thirty-three works 1952-59, thirty-five works 1960-69, and twenty-three works 1970-

76). New works appeared sporadically after 1976, one of which was String Quartet No. 5,

written in memory of his friend Henri Michaux. Other works from this period include Un

Adieu (1988) for piano, written for pianist Marianne Schroeder, Mantram (1987) for

double bass solo, and Krishna and Rada (1986), a recorded collaborative improvisation

with flutist Carin Levine.

The period from 1976 to ’88 saw Scelsi receive ever-increasing attention. In the

late 1970s Franz van Rossum compiled a four-hour program of Scelsi’s music that was

broadcast on Dutch radio, with an additional broadcast in Germany. Following this, in

14
1982 several of his works were performed in Darmstadt as a part of the Ferienkursen für

Neue Musik, and in 1986 several other works, including some of the large ensemble

works, were performed as a part of the Holland Festival. The crowning achievement of

this period and the event that brought him the greatest attention and acclaim was a series

of concerts during the World Music Days of the International Society for Contemporary

Music in Cologne, Germany that featured his orchestral music. Included in these concerts

were Hurqualia, Aion, Uaxuctum, Konx-Om-Pax, and Pfhat!, performed under the

direction of conductor Hans Zender.

Scelsi died on 9 August 1988 at his apartment at 8 Via San Teodoro in Rome,

where he had lived continuously since his return to Rome in 1951-52. Following his

death, the Isabella Scelsi Foundation was created to preserve the work and memory of

Giacinto Scelsi. The Foundation, housed in his Rome apartment, is responsible for the

collection and dissemination of information and artifacts concerning his life and works.

Two aspects of Scelsi’s life are of great importance to this study and will be

treated in greater detail in the following two sections. The first is a description of his

method of composing which was different from most, if not all, composers of his time.

The second is an examination of the connection Scelsi had with Eastern religions,

particularly Tibetan Buddhism, and the opportunities he had to become familiar with both

its tenets and its music.

15
Method of Composing

Giacinto Scelsi used an unusual approach to composition that has been the source

of much controversy and has caused some to question the veracity of the published

scores. From 1948 to the end of his life, his works began as improvisations. The

improvisations, performed on the piano, guitar, ondiola17, and/or various percussion

instruments, were recorded and then transcribed and orchestrated. The act of transcription

is the source of the controversy because Scelsi did not do the transcriptions himself;

instead, he entrusted the task to various collaborators. The collaborators also assisted with

the orchestrations and helped to prepare the final versions of the scores.

Scelsi claimed that he was not a composer, but instead was a medium through

whom the music passed:

I have said to you that I am only an agent . . . Things appear at the proper
moment, namely when it is necessary that they be heard. All is predetermined
above, not from below. The things that appear to depend on the world are only
pretext.18

He continued by saying that people are like “marionettes, with some realizing that this is

so, and others that do not.”19

In Art et connaissance (Art and Knowledge), a series of conversations collected in

1953-54, Scelsi further explains his beliefs:

The entire organism of the artist is made, so to speak, to receive and to collect—
and desires to receive and to collect. Everything is open to him and is within
reach. But if he is conditioned for creating, he has been conditioned by complex

17
The ondiola is a small electronic keyboard instrument with a three octave range that had dials
and keys used to produce quarter-tones, vibrato, glissandi, and other effects.
18
Giacinto Scelsi, “Ich bin kein Komponist: Giacinto Scelsi in Gesprach,” 64.
19
Ibid., 65.

16
 processes and by physical and spiritual nature since birth, in life, and, I believe,
probably also through the course of a long, prior evolution.20

According to Gregory Reish, Scelsi was influenced by a variety of philosophies,

including yoga, Hinduism, theosophy, anthroposophy, and surrealism. A central idea of

all of them is that the true artist is an enlightened being who creates not by free will or

conscious thought, but by divine inspiration. Furthermore, the artist must be able to

achieve a state of being that allows him to receive the message.

Scelsi said that he would enter into a state of trance during his improvisations. In

an interview from 1987, he recounts an incident from his childhood:

At the age of 3 ½ to 4 years, I began to improvise at the piano . . . I pounced on

every available piano and beat on it, even with my fists or my feet . . . And the
people came and many were perplexed at how I could not be torn away from the
piano. The only person who ever had done that, a governess, I had struck on the
head with a large stick. She had to stay in the hospital for a long time. All because
she had dragged me away from the piano. I had a dreadful shock. I knew not at all
what I did. I was in a trance, outside of myself.21

The accuracy of this account is open to question for no corroboration exists. It appears to

be an attempt by Scelsi to justify his working method by claiming that it was a part of

him from early childhood, not one learned later in life. What is significant about this

account is that it shows that Scelsi understood the unusual nature of his approach and that

it required some type of justification.

Later corroboration for the accuracy of his claim is provided by Frances-Marie

Uitti. In an interview with William Colangelo, she says that “Scelsi believed in automatic

writing and all kinds of ways of getting rid of one’s self, of getting to the creativity

source, or receiving the creative source. His original recordings were done in a state of

20
Giacinto Scelsi, Art and Knowledge, trans. Gregory Reish in “The Transformation of Giacinto
Scelsi’s Musical Style and Aesthetic,” (Ph.D. diss., University of Georgia, 2001), 311-2.
21
Giacinto Scelsi, “Ich bin kein Komponist: Giacinto Scelsi in Gesprach,” 65.

17
ecstasy and all kinds of meditative states.”22 Although other composers have claimed to

have received divine inspiration while creating (e.g., Handel’s claim that while writing

Messiah, “I think I did see all Heaven before me and the great God himself.”), Scelsi’s

claim of creating in a state of trance is most unusual, for it seems that he could create in

no other way following his return to composing in 1952.

The use of improvisations as the source material for his works has caused much

concern about Scelsi’s legitimacy as a composer. The fact that he improvised is

unequivocal: More than 300 different tape recordings of his improvisations have been

preserved and catalogued by the Isabella Scelsi Foundation under the supervision of

Frances-Marie Uitti.23 That the recordings did indeed serve as source material for the

finished compositions has been attested to by several of his collaborators. Unfortunately,

the recordings have not been made available for research as of yet, nor has there been any

systematic effort to determine which recordings serve as the source material for each of

the compositions. When it becomes possible to hear the source recordings, it will be

possible to determine the true nature of his working method and the degree to which the

transcriptions are faithful to the original source.

The majority of the improvisations were done on a keyboard instrument, either

the piano or the ondiola. The piano was used for the earlier improvisations, done during

the time when he was still composing for the piano. According to Uitti, these recordings

served as source material only for piano compositions, whereas the ondiola

22
William Colangelo, “The Composer-Performer Paradigm in Giacinto Scelsi’s Solo Works,”
(Ph.D. diss., New York University, 1996), 51.
23
Frances-Marie Uitti, “Preserving the Scelsi Improvisations,” Tempo 194 (October 1995): 13.

18
improvisations were the source material for those works created for other instruments.

The ondiola improvisations were more unusual and innovative:

The ondiola was a tool for more radical musical thought. One finds a remarkable
variety of techniques. Here Scelsi explored the limits of extreme velocity,
dynamics, range, and duration. Many improvisations were centered on sudden
variations in the dynamic texture, giving a sense of great power and vitality.24

The ondiola improvisations included quarter-tones, a wide variety of vibrato, glissandi,

and pulsations within a single tone. These improvisations were longer than those done on

the piano, and, according to Uitti, “most of Scelsi’s chamber music and orchestral pieces

were created using this instrument.”25

The circumstances surrounding the improvisations are not well documented. It is

not clear whether Scelsi’s improvisations were private acts which would seem likely if he

indeed was in a state of trance. Michiko Hirayama, who collaborated with Scelsi on

several works, including the 20 Canti del Capricorno, implies that they were done in

private. According to Colangelo, Hirayama listened to Scelsi improvise without his

knowledge while sitting outside his door.26 She also claims that the improvisation

sessions would last for four or five hours nightly. Uitti, on the other hand, provides a

description of his improvisations that implies she was actually present while they were

taking place:

He was an incredible improviser. He would sit down, turn on the tape recorder
and start, and it would build to an incredible proportion, and just stop, and be a
complete form. You would never have the feeling, as you do with nearly all

24
Uitti, 13.
25
Ibid., 12.
26
Colangelo, 48.

19
 improvisers, that the musician is looking for material, searching. He knew what he
wanted to do. (Italics mine)27

The question of whether the improvisations were done in private may not be

important. However, if they were not, how does this affect the veracity of his claim that

they were done in a state of trance? Of even greater significance is the statement by Uitti,

because if Scelsi was aware of what he was doing while improvising, he must have had

some preconceived idea of that which he was trying to create. It is not inconceivable,

then, that he created his improvisations with certain models in mind, even the model of

the ritual music of Tibetan Buddhism.

After the improvisations were recorded, he employed collaborators to help him

realize and notate the final product; Scelsi believed that the processes of transcription and

notation were not jobs for the “artist,” but should be left to the “craftsman.” He

collaborated with several associates, among whom were Roman Blood, Sergio Caferro,

Alvin Curran, Frances-Marie Uitti, and Vieru Tosatti. Tosatti, a composer in his own

right, was the most important of the collaborators and worked closely with Scelsi for the

longest period of time. The relationship lasted nearly 30 years, ending in 1968.28

Tosatti’s role in the creation of Scelsi’s music has been the subject of much

speculation. He was responsible for transcribing those improvisations that were used to

create the large ensemble works and helped with the subsequent task of orchestration.

Uitti described the process:

27
Paul Griffiths, “Bringing A Reclusive Composer to Light,” The New York Times, 16 February
1997.
28
Sciannameo, 26.

20
 If it was an orchestral work, it would be built up layer by layer, and he (Scelsi)
would tell Tosatti exactly what he wanted in terms of instrumentation—some of it
very bizarre, like using mutes for the strings that would rattle.29

Tosatti was responsible for causing much of the controversy that surrounds

Scelsi’s music, for after Scelsi’s death he gave interviews in which he claimed to have

written the music himself. Many who were associated with Scelsi disputed all of

Tosatti’s claims, after which Tosatti retreated and made no further comments about the

relationship. The focus of the response against Tosatti’s claim was his own music which

evidently was of a style completely different from Scelsi’s and exhibited no experimental

tendencies. Julian Anderson has written that Tosatti’s “own neo-classical music is so far

from Scelsi that it is difficult to believe he performed anything but the most mundane

services for the latter.”30

The truth about the relationship seems to be that Tosatti provided invaluable

assistance to Scelsi by transcribing and orchestrating the improvisations, preparing scores

for performance, and preparing the musicians themselves prior to performances. Franco

Sciannameo, a member of the Quartetto di Nuova Musica which premiered the String

Quartet No. 4 in 1965, has written about the role played by Tosatti in preparing the

premiere:

Fortunately, Tosatti’s infallible ear could detect an “out-of-tune” microtone in the

midst of any situation. Rehearsals took place every other evening at Tosatti’s
house for about a month. Tosatti conducted and took notes of any eventual
adjustments made to the score, while Scelsi, keeping himself out of sight, was
mostly concerned with the overall aesthetics of the piece.31

29
Griffiths, 2.
30
Anderson, 23.
31
Sciannameo, 24.

21
Uitti further stresses Tosatti’s skill and importance, saying that Scelsi had him transcribe

all of the large scores “because he was the best.”32

The most important aspect of Scelsi’s working method with regard to the works

for large ensemble, is that he never removed himself from the creative process, even

though he entrusted much of the work to others. Others transcribed the improvisations

and notated the actual scores, but all was accomplished under his personal supervision.

The final product is the realization of his personal creative vision based on a unique

world of sound of which each work is a variation. The uniformity of approach from work

to work is the result of a single creative force with no sonic evidence of the collaborators.

The Connection with the Music of Tibetan Buddhism

For the purposes of this study, one fundamental question must be answered: What

was the degree to which Scelsi was familiar with the music of Tibetan Buddhism? If he

was well acquainted with it, then the parallels between it and his music have meaning.

Otherwise, they are purely coincidental. If there is a connection, it may be the most

significant influence upon his work, and the fact of the connection will affect the way in

which one views his process of composition. The connection provides a basis for his

improvisations and makes the process seem more like that used by mainstream

composers. The results of his process become no less startling if this is the case, but the

connection will provide one with a point of reference with which to grasp the essential

nature of his music.

Scelsi acknowledged that he was influenced by both Eastern and Western thought

when he said:
32
Colangelo, 54.

22
 This is Rome. Rome is the boundary between East and West. South of Rome the
East starts, and north of Rome, the West starts. This border-line now, runs exactly
over the Forum Romanum. There’s my house, this explains my life and my
music.33 . . . As for myself, I cannot confine myself to Europe, thus preventing
myself from viewing the history and the development of music from a completely
different perspective from that of historical criticism.34

Thus, Scelsi recognized the significance of Eastern musics and admitted the important

influence of this music on his own work. However, he never makes reference to the ritual

music of Tibetan Buddhism or gives any indication that it was a more significant

influence than the music of any other Eastern tradition.

It is not entirely clear that Scelsi actually traveled to Tibet. In his autobiography

(see page 6) he refers to travels in Nepal and India where forms of Buddhism very similar

to that of Tibet are found and where many members of the Tibetan Buddhist monasteries

fled after the Chinese invasion of 1959. Tibet is not mentioned. Robin Freeman claims

that he did travel to Tibet, yet provides no corroboration, and in fact, leaves room for

doubt, by writing, “He also began to travel outside Europe, above all in India and Tibet.

Of this period I know little since Scelsi seldom spoke of it in detail.”35 Doubt also is

expressed by both Anderson36 and Uitti37. Ultimately, it is not necessary for Scelsi to

have actually traveled to Tibet to fall under the influence of the thought and music of

Tibetan Buddhism.

33
Giacinto Scelsi, “Ohne Titel,” in Musik Konzepte 31 Giacinto Scelsi: Munich: Edition Text +
Kritik, 1983, 111.
34
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.
35
Freeman, 9.
36
Anderson, 22-3.
37
Uitti, 12.

23
 The influence of Eastern religions in general and Buddhism in particular is quite

clear. According to Freeman, Scelsi first encountered Buddhist thought in 1924 while

traveling in Paris. He attended a press conference given by Fernand Ossendowsky, the

purpose of which was to discuss his new book, Bêtes, hommes, Dieu, which provided an

account of travel through Tibet and India while escaping from the Russian Bolshevik

regime. Ossendowsky spoke of his discovery of Tantric Buddhism, and philosophers

René Guénon and Jacques Maritain debated the effect of reconciliation between

Buddhism and Catholic mysticism. Guénon believed that reconciliation was possible,

while Maritain argued that the Catholic Church should remain independent. According to

Freeman, Scelsi agreed with Guénon:

The young Scelsi took the side of Guénon (and that of his Italian disciple Julius
Evola, author of a book of tantrism), eventually going to Nepal and India (if not
Tibet) to see and hear for himself. Hence the importance for him of ritual prayers
and dances with their element of hypnotic repetition.38

Scelsi became a devotee of Buddhism, a fact made clear by accounts written later

in his life by his acquaintances. Uitti gave clear evidence of this when she wrote, “Since

the 1940’s, Giacinto Scelsi has been deeply involved with Eastern religion. . . He

believed that various meditation techniques, such as intoning the “OM,” enabled him to

enter into a different vibratory realm.”39 Uitti also provides clear evidence of the extent of

Scelsi’s acquaintance with both the culture and music of Tibetan Buddhism:

He lived alone in a very small apartment on the Via San Teodoro, with an
unbelievable view out onto the Forum from the salon, which was full of artifacts
and instruments from all over the world. . . He was in Egypt a lot. I don’t know if

38
Freeman, 10.
39
Uitti, 12.

24
 he went to India and Tibet. Certainly he had tapes of music from there, and books
about mystic practices.40

There is no direct evidence that Scelsi consciously incorporated elements of

Tibetan Buddhist ritual music into his own compositions, yet the circumstantial evidence

is quite strong. He certainly had both the motivation and opportunity to do so, yet the

connection is still speculative, for there have been no corroborative studies. The most

compelling evidence is provided by the music itself. If one listens to the large ensemble

works written between 1958 and ’74 and then listens to performances of the Tibetan

music, the connection becomes very clear. Kyle Gann has heard this connection:

He was also the only European composer to date whose interest in Asian
aesthetics seems more than anecdotal, the only one to totally break free of
Western nationalism and achieve a true spirituality in sound akin to non-Western
traditions.41

A connection between Scelsi’s music and the ritual music of Tibetan Buddhism

may prove disconcerting for those who are attracted to his music because of its “mystic”

sources. Freeman emphasizes this quality by writing, “It is easy to see that Scelsi was

more a visionary than a theorist. Theory meant literally nothing to him.”42 Scelsi is

responsible for this aura surrounding his music when he said, “All of my music and my

poems are formed almost without thinking.”43 A strong connection with Tibetan music

would force a reconsideration of the notion that Scelsi was composing intuitively through

his improvisations. If the connection is as strong as it appears, it would give credence to

the comment made by Uitti, referred to earlier, that, “He knew what he wanted to do.”

40
Griffiths, 1.
41
Kyle Gann, “One-Note Wonder,” The Village Voice, 25 February 1997, p.58.
42
Freeman, 11.
43
Giacinto Scelsi, “Ich bin kein Komponist: Giacinto Scelsi in Gesprach,” 64.

25
 The answer to the question posed at the beginning of this section would appear to

be that he was well acquainted with the music of Tibetan Buddhism, and that the parallels

found in his music are not coincidental. The following chapters will explore the way in

which Scelsi incorporated elements of Tibetan music into his own.

26
 Chapter 2
The Works for Large Ensemble

The Scelsi Catalogue and Chronology of Works

One of the difficulties in discussing Scelsi’s music is that the chronology of works

is somewhat speculative. Scelsi did not keep a catalogue, and few of the works were

published near the date of composition. His working method has added to the confusion,

because the finished work may not follow directly the improvisation with which it was

associated. No complete catalogue of the recordings of the improvisations exists,

although one is being developed.1 Compounding the problem is Scelsi’s disdain for

discussing or chronicling his own biography. One may assume that this attitude carries

over to the chronology of his works and that there may be some deliberate attempt at

distortion. Someday, with further research, a definitive catalogue of works may be

possible, but for now we must deal with the best material available.

Several attempts have been made to compile a list of Scelsi’s works. The earliest

was compiled by Claudio Annibaldi and published in 1980.2 More recent developments

have rendered this list obsolete, but it has served as the starting point for all that have

followed. The dates included in this list have not been altered in later publications, and no

works have been deleted, although the work titled Nomos has been changed to Hymnos in

all later references.

1
Frances Marie-Uitti, “Preserving the Scelsi Improvisations,” Tempo 194 (October 1995): 13.
2
Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, Vol. 16, “Giacinto
Scelsi” by Claudio Annibaldi (New York: Macmillan Publishers, 1980), 581.

27
 The next significant list was compiled by Rainer Riehn and published in 1982.3

This list, in German, is organized chronologically within each genre and is more

complete than Annibaldi’s. Of the large ensemble works, only the six standard early

works are included; of the later works, only Elohim is not included. This list was a part of

the first important collection of essays to deal with the music by Scelsi and as such has

served as an important reference for subsequent research.

The next two lists differ from all of the others, because they are the only ones that

include all of the early large ensemble works. The first, compiled by Wolfgang Thein and

published in 1985,4 is also the first list to be organized chronologically without regard for

genre. The second list, compiled by Adriano Cremonese and published in 1992,5 is

similar to that of Thein, but includes the post-1976 works not mentioned by Thein. This

list is a revised version of the one published by Cremonese in 1987. However, neither

Thein nor Cremonese includes Elohim. It is interesting to note that all of these were

published during Scelsi’s lifetime, yet they disagree about the existence of some of the

early orchestral works. This lack of agreement could have been addressed very easily by

consulting Scelsi, but either there was no consultation or he was not forthcoming with

accurate information.

The two most important lists in English are also the most recent compilations. The

first is by Christopher Fox in the 2nd Edition of the New Grove Dictionary of Music and

3
Heinz-Klaus Metzger and Rainer Riehn, ed., Musik-Konzepte 31: Giacinto Scelsi,
“Werkzeichnis,” by Rainer Riehn (Munich: Edition text + kritik, 1983), 112-6.
4
Wolfgang Thein, “Drama und Katharsis: Giacinto Scelsis Quartetto No. 3 (1963),” Melos 47:4
(1985): 40-2.
5
Adriano Cremonese, Giacinto Scelsi: Prassi compositiva e rirlessione teorica fino alla metà
degli anni ’40. Palermo: L’Epos, 1992, 79-82.

28
Musicians.6 This includes only those early works found in Riehn and does not include

Elohim. Todd McComb, who used Riehn as a starting point, compiled the second list.7

This list has been updated several times and includes more of the later works. It is the

only one to include Elohim, yet it follows Riehn by including only the six standard early

works. McComb lists the works chronologically and divides them into four periods: First

Period (1929-50), Second Period (1952-59), Third Period (1960-69), and Fourth Period

(1970-88). The second period begins with Scelsi’s return to composing following his

period of recovery, and the third period is demarcated by Quattro Pezzi (su una nota

sola) at the beginning and Konx-Om-Pax at the end.

The final list consulted for this study is the Scelsi Catalogue from his publisher

Editions Salabert.8 The catalogue is not a complete list because it includes only those

works published by Editions Salabert.9 The works are listed chronologically within

genres and in an alphabetical listing, as well. The only early large ensemble work

included is La Nascita del Verbo; the others are not published or, in most cases, even

available for performance in any form.

The lists are very consistent in chronology, although there is some disagreement

over specific dates. Whether this is because the chronology of the works is certain or

because all of the compilers used the same source material is open to question. For the

6
Stanley Sadie, ed., New Grove Dictionary of Music and Musicians, 2nd Edition, Vol., “Giacinto
Scelsi”, by Christopher Fox (New York: Macmillan Publishers, 2001), 421-2.
7
Todd McComb, Scelsi: Works List, Available: from
http://www.medieval.org/music/modern/scelsi/works.html; Internet; accessed 21 April 2003.
8
Éditions Salabert, Giacinto Scelsi (1905-1988): Catalogue of the Works, Paris: Éditions Salabert,
1999.
9
It also includes those works published by G. Schirmer, which at the time was the United States
representative for Editions Salabert.

29
purposes of this study, however, the assumption has been made that the lists are as

accurate as possible, given the availability of resources, and as such, the best material

available. As a result, it is possible to say with some degree of certainty that La Nascita

del Verbo was the final work completed before Scelsi’s period of crisis and that I Presagi

was the first large ensemble work completed after he resumed composing.

The Large Ensemble Compositions: The Early Period (1929-48)

For the purposes of this study, a large instrumental ensemble is defined as one

with eight or more players. This is not an arbitrary number; rather, it is one that

represents the range of ensemble types and sizes that generally require the assistance of a

conductor. According to the composite works list described previously, Scelsi composed

twenty-nine works for large ensembles (See Table 2.1). These works span his entire

career and utilize a wide variety of instrumental combinations and ensemble sizes.

Little is known of the works written by Scelsi before his breakdown. Few of them

have been published, although La Nascita del Verbo and Rotativa, in a version for two

pianos, are available from Editions Salabert. None have been recorded. There is some

dispute as to what was actually composed; five of the early works appear on only two of

the lists of works (Cremonese and Thein) and receive no attention in any of the literature:

Notturno (1931), Rhapsodia romantica (1931), Poemo romano (1933), Ouverture (1934),

and Musica per orchestra d’archi (1944). According to Cremonese and Thein, all of the

works from the early period (1929-48) except Rotativa are for standard full orchestra or

string orchestra. The titles and instrumentation for the early works imply that they are

grounded in the Western musical tradition with more than a nod toward neoclassicism.

30
 Table 2.1
Large Ensemble Works by Giacinto Scelsi
Date Title Instrumentation Premiere
1929 Rotativa 3 Pianos, Winds10, Percussion Paris, 1931
1931 *Notturno Full Orchestra
*Rhapsodia romantica Full Orchestra
1932 Sinfonietta Full Orchestra Geneva, 1932
1933 *Poema romano Full Orchestra
1934 Concertino for Piano and Orchestra Full Orchestra + Piano Soloist
*Ouverture, for Orchestra Full Orchestra
1936 Preludio, arioso e fuga Full Orchestra Rome, 1938
1944 *Musica per orchestra d’archi String Orchestra
1945 Introduction and Fugue String Orchestra
1948 La nascita del Verbo Full Orchestra + Chorus Paris, 1950

1958 I Presagi 0.0.0.0+TSax/2.2.2.2/0.0.0.0/Timp/Perc Royaumont, 1987

1959 Quattro Pezzi (su una nota sola) 1.1+EH.2+Bcl.1+ASax.TSax/4.3.2.1/0.2.2.1/Timp/Perc Paris, 1959
Kya Clarinet Solo/0.0+EH.0+Bcl.0/1.1.1.0/0.1.1.0 Stockholm
1960 Hurqualia 2+Picc.2.2+Bcl.2/4.3.2.2/Strings(No Violins)/Timp/Perc/Amplified Inst.
Group (0.1+EH.0+Eflat.0+TSax/1.2.1.0/0.1.0.1)
1961 Aion 0.2+EH.2+Bcl.2+Contra/6.3.4.4/0.1.4.4/Timp/Perc/Harp Cologne, 1987
1962/72 String Quartet No. 1 (rev.) String Orchestra
1963 Hymnos Full Orchestra/Organ Festival d’Angers, 1984
Chukrum String Orchestra
1965 Anahit Violin Solo/2+Alto.0+EH.1+Bcl.0+TSax/2.1.2.0/0.2.2.2 Athens, 1966
Anagamin 11 Strings (6-2-2-1) Naples, 1965
1965/7 #Elohim 10 Strings (4-3-3-0)
1966 Uaxuctum 0.0.1+Bcl+Eb.0/4.2.3.2/0.0.0.6/Timp/Perc/Ondes Martenot/ Chorus+4
Cologne, 1987
Amplified Soloists
Ohoi 16 Strings (8-4-4-0)
1967 Natura renovator 11 Strings (6-2-2-1) Venice, 1969
1969 Konx-Om-Pax Full Orchestra/Chorus Venice, 1970
1972 Pranam I 1.0+EH.1.1+ASax/1.1.1.0/2.1.1.0/Mezzo Sop./Tape Rome, 1972
1973 Pranam II 2.0.0+Bcl.0/1.0.0.0/1.1.1.1/Electric Organ Rome, 1975
1974 Pfhat 2.0.2+Bcl.2+Contra/5.1.4.4/0.1.8.6/Timp/Perc/Piano/Organ/Chorus Frankfurt, 1987

* - Works listed by Cremonese and Thein

# - Work listed by McComb
10
The exact instrumentation for Rotativa has not been determined. The score has not been published and no description has been located.
31
 La Nascita del Verbo is the final work written before Scelsi’s “breakdown.” The

work is for full orchestra and chorus, and was premiered in Paris in 1950 with Roger

Desormiere conducting. The title has been translated as either “The birth of the verb” or,

more correctly, “The birth of the word.” The text of the first movement consists of all

five vowels used alone or in combination. The intent is to make use of the voices as

colors in the same way that the instruments are used for colors, a clear foreshadowing of

the method in which he exploits the color of voices in his later works. The text of the

second movement contains three words: Deus, Lux, and Amor (God, Light, and Love).

The words are often broken apart, with the vowel sounds receiving emphasis, so that the

sound of the word becomes as important as its meaning. Again, this looks ahead to later

works, especially Konx-Om-Pax, which employs the three words of the title as the full

text. The third movement has the same text as the second, with interpolated passages

sung simply on the letter “o.” The fourth movement has the most extensive text, sung in

Latin:

O summe architecte universi

audi et exaudi verba mea
verba omnium fratrum
facut amor boni iungat
omnes fraters in vincolo affectus

Domine in te speravi
non confundar in aeternum
Domine Deus Pleni sunt coeli
Gloria Tuae
Domine
Lux
Amor
Domine

The music is best described as freely atonal, although there is much evidence of

twelve-tone writing. The first movement (126 measures in length) is slow, with much

32
homophonic writing for both the orchestra and the chorus. The opening section is very

static, consisting of a series of sustained chords played by muted brass that alternate with

very soft, sustained string chords (Example 2.1). Beginning in m. 20 there is a prominent

rhythmic ostinato played on a repeated G/F-sharp dyad by percussion, timpani, piano,

harp, and double basses. This ostinato supports a continuous crescendo that reaches its

first climax at m. 110, followed by a four-measure phrase that leads to the second climax

in m. 112 (Example 2.2). This is followed by a coda that is homophonic, and has a G/F-

sharp pedal provided by the harp and the double basses. Throughout this movement, the

writing is freely atonal and highly chromatic.

33
 Example 2.1
La Nascita del Verbo, Mvt. I, Measures 1-7

34
 Example 2.2
La Nascita del Verbo, Mvt. I, Measures 110-2

35
36
 The second movement (164 measures) is in marked contrast to the first. Much of

it (beginning in m. 12) is strictly twelve-tone. The first row (P0: E-F#-G-A-Bb-Db-Ab-

Eb-C-B-D-F) appears in the celli and double basses in m. 12 and is followed immediately

by I2 (celli and basses) and P2 (trombones) [Example 2.3]. Table 2.2 provides the matrix

for the rows generated from this P0.

Table 2.2
La Nascita del Verbo
Movement II, Matrix 1
0 2 3 5 6 9 4 11 8 7 10 1
0 E F# G A Bb Db Ab Eb C B D F
10 D E F G Ab B F# Db Bb A C Eb
9 Db Eb E F# G Bb F C A Ab B D
7 B Db D E F Ab Eb Bb G F# A C
6 Bb C Db Eb E G D A F# F Ab B
3 G A Bb C Db E B F# Eb D F Ab
8 C D Eb F F# A E B Ab G Bb Db
1 F G Ab Bb B D A E Db C Eb F#
4 Ab Bb B Db D F C G E Eb F# A
5 A B C D Eb F# Db Ab F E G Bb
2 F# Ab A B C Eb Bb F D Db E G
11 Eb F F# Ab A C G D B Bb Db E

A second row (P0: Ab-Cb-Eb-D-Bb-F-C-E-A-G-C#-F#) appears at the first entrance of

the chorus in m. 33 [Example 2.4], and together the two rows and their various

permutations account for all pitches in the rest of the movement. Table 2.3 provides the

matrix for the rows generated from this P0:

37
 Table 2.3
La Nascita del Verbo
Movement II, Matrix 2

0 3 7 6 2 9 4 8 1 11 5 10
0 Ab B Eb D Bb F C E A G C# F#
9 F Ab C B G D A C# F# E Bb Eb
5 C# E Ab G Eb Bb F A D C F# B
6 D F A Ab E B F# Bb Eb C# G C
10 F# A C# C Ab Eb Bb D G F B E
3 B D F# F C# Ab Eb G C Bb E A
8 E G B Bb F# C# Ab C F Eb A D
4 C Eb G F# D A E Ab C# B F Bb
11 G Bb D C# A E B Eb Ab F# C F
1 A C E Eb B F# C# F Bb Ab D G
7 Eb F# Bb A F C G B E D Ab C#
2 Bb C# F E C G D F# B A Eb Ab

Additionally, it is very contrapuntal with several examples of canonic writing,

including the first entrance of the chorus in m. 33 where the sopranos and tenors are

answered one measure later by the altos and basses at the octave [Example 2.4]. In m. 40

the second canonic statement begins with the woodwinds doubling the vocal lines. A

third entrance occurs in m. 43 with new row forms and a new rhythmic figure.

38
 Example 2.3
La Nascita del Verbo, Mvt. II, Measures 7-25

39
40
41
 Example 2.4
La Nascita del Verbo, Mvt. II, Measures 30-45

42
43
44
45
 The third movement, labeled “Fugue,” is the most complex of the four, with vocal

writing that places much demand upon the chorus. The initial subject appears in A major

in the trumpet part. It is followed by three more subject entries on F (m. 5), G (m. 10),

and B-flat (m. 14). During this fugal exposition, there are also three identifiable

countersubjects [Example 2.5]. Each appearance of the subject is diatonic, but the

countersubjects, while diatonic at first, become successively more chromatic. At m. 20

the chorus enters with the fugue subject on C, A, B, and C, successively. The orchestral

“accompaniment” is new and is based on a twelve-tone row (P0: G-Bb-Db-C-A-E-B-D-

Eb-F-Gb-Ab) which is the RI10 version of the row found in the second movement. The

first appearance of the row is in the violas at m. 20 [Example 2.6]. All of the

permutations that follow are based on this row. The twelve-tone elements become less

prominent as the movement progresses but are always in evidence. Table 2.4 provides the

matrix for the rows used in this movement.

Table 2.4
La Nascita del Verbo
Movement III Matrix
0 3 6 5 2 9 4 7 8 10 11 1
0 G Bb Db C A E B D Eb F Gb Ab
9 E G Bb A Gb Db Ab B C D Eb F
6 Db E G Gb Eb Bb F Ab A B C D
7 D F Ab G E B Gb A Bb C Db Eb
10 F Ab B Bb G D A C Db Eb E Gb
3 Bb Db E Eb C G D F Gb Ab A B
8 Eb Gb A Ab F C G Bb B Db D E
5 C Eb Gb F D A E G Ab Bb B Db
4 B D F E Db Ab Eb Gb G A Bb C
2 A C Eb D B Gb Db E F G Ab Bb
1 Ab B D Db Bb F C Eb E Gb G A
11 Gb A C B Ab Eb Bb Db D E F G

46
 Example 2.5
La Nascita del Verbo, Mvt. III, Measures 1-16

Subject

47
 Real Answer

Real Answer

CS I

48
 Subject

Subject

CS II

CS I

49
 CS III

Real Answer

CS I

Real Answer

50
 Example 2.6
La Nascita del Verbo, Mvt. III, Measures 20-7

51
52
 The fourth movement is the most adventuresome of the four. Certain passages

make use of special vocal effects, including parlato, both pitched in the manner of

Sprechstimme [Example 2.7], and unpitched in the manner of chanting [Example 2.8], as

well as glissandi. There are also several sections marked by changes of meter and tempo.

The choral writing is mostly homophonic, as is much of the instrumental writing. Some

ostinati are used, much like that found in the first movement, and several passages

include twelve-tone writing, using both a new row (P0: Ab-Bb-Db-C-F-Eb-G-D-Gb-E-A-

B), first introduced in mm. 67-70 of violin I, [Example 2.9] and the row found in the third

movement (P0: G-Bb-Db-C-A-E-B-D-Eb-F-Gb-Ab, m. 155, violin I) [Example 2.10].

None of the sections that include the rows are exclusively twelve-tone throughout the

texture. The use of twelve-tone constructions appears to be limited to appearances of the

same thematic material used in the initial statement, thereby creating a twelve-tone theme

as one of many themes of the movement. Table 2.5 provides the matrix for the rows

generated from the new P0 found in mm. 67-70.

Table 2.5
La Nascita del Verbo
Movement IV Matrix
0 2 5 4 9 7 11 6 10 8 1 3
0 Ab Bb Db C F Eb G D Gb E A B
10 Gb Ab B Bb Eb Db F C E D G A
7 Eb F Ab G C Bb D A Db B E Gb
8 E Gb A Ab Db B Eb Bb D C F G
3 B Db E Eb Ab Gb Bb F A G C D
5 Db Eb Gb F Bb Ab C G B A D E
1 A B D Db Gb E Ab Eb G F Bb C
6 D E G Gb B A Db Ab C Bb Eb F
2 Bb C Eb D G F A E Ab Gb B Db
4 C D F E A G B Gb Bb Ab Db Eb
11 G A C B E D Gb Db F Eb Ab Bb
9 F G Bb A D C E B Eb Db Gb Ab

53
 Example 2.7
La Nascita del Verbo, Mvt. IV, Measures 7-19

54
55
 Example 2.8
La Nascita del Verbo, Mvt. IV, Measures 26-36

56
57
 Example 2.9
La Nascita del Verbo, Mvt. IV, Measures 65-72

58
59
 Example 2.10
La Nascita del Verbo, Mvt. IV, Measures 155-7

60
 Although the focus of this study will be on I Presagi, one of the later works, it is

important to view this earlier work in some detail because it illustrates that Scelsi was

adept at writing in the prevailing modernist style of the time, while at the same time

already searching for new sounds (e.g., the text of only vowels in the first movement and

the special vocal effects of the final movement). Julian Anderson has described Scelsi’s

style of this period:

The works of the 40s abandoned strict serialism in favor of a more eclectic style
with elements of polytonality and neo-classicism; influences that suggest
themselves are Honegger and . . . Bloch. The bigger works in this idiom, the First
String Quartet (1944) and the cantata La naissance du verbe (1947-48) sound as
though they are trying to break free of the style.11

This work also demonstrates that Scelsi was not an amateur and was taken seriously by

some in the musical establishment, because despite the fact that it is a very demanding

work for the performers, its premiere performance was given by important French

musicians conducted by Roger Desormière. Anderson reaches the same conclusion when

speaking of the First String Quartet and La Nascita del Verbo, “For all their faults, what

these two works conclusively prove is Scelsi’s unquestionable professionalism; the

composer of La naissance du verbe was no amateur. . . .”12

Little is known about the performance history of the early works. The only

references in the literature regarding performances are to the premieres of four of the

works. Rotativa (1929) was premiered in Paris in 1931, with Pierre Monteux conducting.

No written account of the premiere has been found, and the circumstances surrounding

the performance are unknown, so one is left to speculate that Scelsi’s music, or at least

Scelsi himself, was a known quantity. If this were not the case, the premiere of his first

11
Anderson, Julian, “La Note Juste,” Musical Times 136 (January 1995): 22.
12
Ibid.

61
work would not have been given by a musician the stature of Monteux, to whom had

been entrusted the premieres of Le Sacre du Printemps, Daphnis et Chloé, and Jeux. Of

the other works, Sinfonietta (1932) was premiered in Geneva in 1932 under the direction

of E. Appia; the Preludio, arioso e fuga (1936) was premiered in Rome in 1938, under

the direction of Carlo Maria Giulini, and, as noted earlier, La Nascita del Verbo was

premiered in Paris in 1950 under the direction of Roger Desormière.

Although it is limited, the performance history highlights two facts that lead one

to believe that Scelsi was accepted by the musical establishment early in his career. The

first is that the premieres of each of the four works occur no more than two years after the

date of composition. Second is that musicians of substantial stature gave the premieres.

From this, one must conclude that Scelsi was not unknown or unsuccessful in the early

part of his career, and that because of this, the fact that he received little notice in the

musical press of the time or in music history texts is curious.

The Large Ensemble Works: The Later Period (1952-88)

Following the completion of La nascita del Verbo, ten years elapsed before Scelsi

was to create another large ensemble work. The first work composed after his breakdown

and change of style was I Presagi. The instrumentation of this work (pairs of trumpets,

horns, trombones, and tubas, with a tenor saxophone, timpani, percussion, and wind

machine) is indicative of a major change in style. In contrast to the early works, none of

the post-breakdown works are for standard full orchestra, or with the exception of two

works for string orchestra, for a standard ensemble or any type. Each work has a unique

instrumentation, allowing Scelsi to focus attention on the colors he believed were

62
appropriate for a specific composition. Many times the instrumentation favored wind

instruments.

After Scelsi returned to composing in 1952, wind instruments received much of

his attention. Although his first works were for piano (Suite No. 8 “Bot-Ba,” Quattro

Illustrazioni, Cinque incantesimi, and Suite No. 9 “Ttai”), he soon began a series of

works for solo or duo wind instruments. The list of works includes:

Piccola suite, for flute and clarinet (1953)

Quays, for flute (1953)
Pwyll, for flute (1954)
Tre pezzi, for Eb clarinet (1954)
Preghiera per un ombra, for Bb clarinet (1954)
Hyxos, for alto flute, 2 gongs and cowbell (1955)
Quattro pezzi, for trumpet (1956)
Tre pezzi, for saxophone (1956)
Quattro pezzi, for horn (1956)
Ixor, for clarinet, oboe, or saxophone (1956)
Tre pezzi, for trombone (1957)
Rucke di guck, for piccolo and oboe (1957)

It appears that Scelsi’s goal during this period was to become intimately acquainted with

the characteristics of each of the wind instruments and the possibilities they could

provide for his emerging style of composition. He chose to explore them individually

before finally using them in a larger grouping in I Presagi.

After Scelsi returned to writing for large ensembles, he often revisited the

medium. Between 1958 and 1974, the date of his final large work, he composed eighteen

works for large ensemble. Six of them are for strings alone, two of which are reworkings

of string quartets (the string orchestra version of String Quartet No. 1 and Natura

renovator, a reworking of the String Quartet No. 4), while two of the works are for full

orchestra with expanded resources (Hymnos, which includes a prominent part for organ,

63
and Konx-Om-Pax, which incorporates a chorus). The remaining ten works all emphasize

wind instruments. Table 2.6 gives the breakdown of instruments used in these ten works:

Table 2.6
Instrument Distribution

Title Brass Woodwinds Strings Perc. Other

I Presagi 8 1 0 2 Wind Machine

Quattro Pezzi 10 9 5 4 Flexatone
Kya 3 3 2 None Clarinet solo
Hurqualia 11 10 ?* 5
Hurqualia solo 4 4 2 No Amplified
Aion 17 8 9 7 Harp
Anahit 5 7 7 None Violin solo
Uaxuctum 11 3 6 10 Ondes Martenot/Chorus
Pranam I 3 5 4 None Mezzo Soprano/Tape
Pranam II 1 3 4 None Electric organ
Pfhat 14 8 15 8 Piano/Organ/Chorus

* - Scelsi did not specify the number of strings to be used in Hurqualia. It includes parts
for viola, cello, and bass. One must assume that Scelsi intended the standard size
orchestral sections, because he indicates on the score that the piece is for orchestra.

If one examines the works that include winds, including the two for full

orchestra, several significant features of the instrumentation become apparent:

1. Low-sounding instruments are favored. Scelsi included violins in only five

of the 12 works under consideration (Kya, Hymnos, Konx-Om-Pax, Pranam I, and

Pranam II), but included violas, celli, and basses in five (Quattro Pezzi,

Hurqualia, Aion, Anahit, and Pfhat), basses in one (Uaxuctum), and no strings in

one (I Presagi). In addition, he made use of multiple tubas in seven works (I

Presagi, Hurqualia, Aion, Hymnos, Uaxuctum, Konx-Om-Pax, and Pfhat), with

Aion and Pfhat each requiring four tubas. He also included prominent parts for

bass clarinet in all of the works except I Presagi and Pranam I. Somewhat

64
contradicting this premise is the fact that bassoons are absent in six of the works

(I Presagi, Kya, Anahit, Uaxuctum, Konx-Om-Pax, and Pranam II) and a

contrabassoon is used in only two works (Aion and Pfhat).

To project the low sounds he seemed to have favored, Scelsi limited the

roles of the upper woodwinds as well as the violins. Piccolo is used in only two

works (Hymnos and Hurqualia), as is the E-flat soprano clarinet (Hurqualia and

Uaxuctum). Oboe and flute are used together in only two works (Quattro Pezzi

and Hurqualia), with oboes absent from eight works and flutes missing from five.

Scelsi used English horn in six works, including four where oboe is not used

(Kya, Anahit, Pranam I, and Hymnos, which requires two), which helps to

reinforce this premise.

2. The saxophone is given a significant role. The saxophone is used

prominently in several of these works, especially in those for chamber groups.

Scelsi included alto and/or tenor saxophone in I Presagi, Quattro Pezzi, Anahit,

and Pranam I, all written for chamber ensembles. The only larger work in which

saxophone is included is Hurqualia, where it is featured as part of the amplified

solo group, not as a part of the orchestra. The prominence given the saxophone is

unusual, but the way in which it is incorporated is not. Composers have generally

been more comfortable writing for the saxophone in a solo role, where the color

can be emphasized, rather than as a part of the ensemble.

3. Brass instruments are given prominence. As can be seen in examining Table

2.6, the brass section often outnumbers the woodwind section and in those works

without violins, the string section. In two works, I Presagi and Uaxuctum, the

65
brass section is predominant, allowing one to consider them as works for

augmented brass ensemble. The instrumentation of the brass section varies from

work to work (see Table 2.7). Scelsi never employed the standard orchestral brass

section configuration of 4 horns, 3 trumpets, 3 trombones, and tuba.

Table 2.7
Brass Distribution

Title Horn Tpt TB Tuba

I Presagi 2 2 2 2
Quattro Pezzi 4 3 2 1
Kya 1 1 1 0
Hurqualia (+solo group) 4 (+1) 3 (+2) 2 (+1) 2
Aion 6 3 4 4
Hymnos 6 4 4 2
Anahit 2 1 2 0
Uaxuctum 4 2 3 2
Konx-Om-Pax 4 2 4 2
Pranam I 1 1 1 0
Pranam II 1 0 0 0
Pfhat 5 1 4 4

It seems clear that Scelsi placed importance on the brass family both by

using them as a large proportion of the ensemble and by taking extreme care in

selecting the instruments to be used in each work. As will be shown later, a

primary reason for this is the fact that the timbre of brass instruments can be

altered through the use of a variety of mutes or stopping techniques, allowing the

palette of colors available to be expanded significantly.

4. The clarinet, including bass clarinet, is the predominant woodwind

instrument. Scelsi seems to have favored the clarinet among the woodwinds. He

made use of it in several of the aforementioned solo and duo works in the period

1952-58 and featured it as the solo instrument in Kya. The clarinet and/or bass

66
 clarinet are used in all of the large works in the period 1958-74 that incorporate

winds, except for I Presagi. None of the other woodwinds appear in more than

seven of the (12) works.

5. Percussion is used extensively in the larger works. Scelsi employed timpani

and additional percussion in all of the larger works that include winds. Uaxuctum

is the most extreme because it requires 10 players, whereas Aion requires seven,

Hurqualia five, Konx-Om-Pax five, and Hymnos four. I Presagi, the only

chamber work that includes percussion, requires two players, one playing timpani

and the other bass drum and wind machine, which are used only in the final

movement. The most unusual application of percussion occurs in the final

movement of Pfhat!, where 60 bells are employed by the members of the

orchestra and chorus.

The performance history of the late works is better known than that of the early

works. The following table (Table 2.8) gives the date, location, and conductor of each

known premiere:

67
 Table 2.8
Known Premieres of Later Works

Title Composed Premiered* Location Conductor

I Presagi 1958 1987+ Abbey of Royaumont Brizzi
Quattro Pezzi 1959 1959 Paris Le Roux
Kya 1959 ? Stockholm Nauman
Hurqualia 1960 1986 Amsterdam Tamayo
Aion 1961 1985 Cologne Pesko
Hymnos 1963 1984 Festival d’Angers
Anahit 1965 1966 Athens
Anagamin 1965 1965 Naples Guarino
Uaxuctum 1966 1987 Cologne Zender
Natura renovator 1967 1969 Venice Scimone
Konx-Om-Pax 1969 1986 Frankfurt Wyttenbach
Pranam I 1972 1972 Rome Gelmetti
Pranam II 1973 1975 Rome De Bernard
Pfhat 1974 1986 Frankfurt Wyttenbach

*The dates of premieres used for this table are taken from the information
supplied by the Fondazione Isabella Scelsi.
+The date for the premiere of I Presagi was taken from information supplied by
IRCAM-Centre Georges Pompidou.13

Of the eighteen later works, the details of the premieres of only four are uncertain

(Chukrum, Elohim, Ohoi, and the string orchestra version of String Quartet No. 1), a

situation that is exactly the opposite of that for the early works. What must be noted,

however, is the fact that only six of the later works were premiered within two years of

their completion, and six had to wait between twelve (Pfhat!) and twenty-six (Hurqualia)

years for their premiere. The issue of premieres is significant because it indicates a

change in the acceptance of Scelsi by the music community. The early works were

premiered by major artists shortly after completion, but many of the later works had to

wait several years for their premieres.

13
IRCAM – Centre Georges Pompidou, “I Presagi, pour 10 instruments (1958),”
<http://brahms.ircam.fr/textes/c00000086/n00002271/note.html> (Accessed 23 July 2004).

68
The Printed Scores

The printed music of Scelsi does not appear unusual. Although the circumstances

surrounding the creation of his music might imply otherwise, each work is very exact in

its notation, with little opportunity for interpretation by the performers and no

opportunity for improvisation. The traditional notation system enhanced with symbols for

quarter-tones is used in all works. Graphic notation, aleatoric notation, or notations for

extended techniques are never utilized.

The scores are all in manuscript and because of the varying degrees of quality,

appear to be not always in the same hand. The scores for Kya, I Presagi, and Quattro

Pezzi (sur una nota sola) are the most readable, while those of the works for larger forces

(Aion, Hurqualia, and Uaxuctum) are of a much poorer quality. Some of the scores have

inserts for parts that were left out during the original copying, and others have obvious

mistakes. One may speculate that some of the scores have been prepared especially for

publication, while others are copies of the original manuscripts. It is interesting to note

that the score for Quattro Pezzi (sur una nota sola), one that was prepared especially for

publication, includes an insert.14

The later scores begin with a list of the complete instrumentation, including all of

the instruments required for each percussionist. Following the instrumentation list are

performance instructions, a list and description of the mutes required for the brass

instruments, an explanation of special percussion performance considerations, and an

explanation of mutes and performance techniques required of the strings. The

14
Giacinto Scelsi, Quattro Pezzi (sur una nota sola) ( Paris: Editions Salabert, 1983), 37. The
insert is for the bass clarinet.

69
performance instructions in all scores are in Italian, with translations into English and

French found in the scores for Kya, I Presagi and Quattro Pezzi (sur una nota sola).

Two different systems of notating quarter-tones are used. The system used in I

Presagi and Kya is as follows:

╪ Quarter tone sharp

Three-quarter tones sharp (sharp plus quarter tone)

b Quarter tone flat

bb Three-quarter-tone flat (flat plus quarter tone)

(The return to regular chromatic tones is indicated by using

a normal natural, sharp, or flat symbol.)

The system used for the other works is as follows:

4+ Quarter tone higher than written note

4- Quarter tone lower than written note

g Return to normal intonation

Each of the two systems has merits and faults. In the first system, the symbol is

placed in front of each note that is affected, in the same way that traditional sharp, flat,

and natural symbols are notated. The problem is that the performers must make

adjustments of three-quarter-steps, a more difficult technique than that of moving a

chromatic pitch by a quarter of a step.15 In the second system, all adjustments are by

quarter-steps, even pitches that already have a flat or sharp attached. The problem is that

the symbol for raising or lowering by a quarter-tone is not traditional notation and is

placed near the note that is affected, not directly in front. In addition, the quarter-tone

15
Although adjusting one pitch by three-quarters of a step down is the same as moving the
adjacent chromatic pitch by one-quarter step up, the process of moving by three-quarters of a step requires
the player to hear and adjust a pitch by this much, or go through an additional step to translate from three-
quarters of a step in one direction to one-quarter of a step in the other direction.

70
symbol is often applied only once to a group of notes, so that the performer must

remember that it is in effect until the g appears.

There is one unusual notational symbol used frequently in the scores under

consideration. Scelsi often requests that a player add extreme vibrato to a pitch by the

addition of above the note affected. The symbol denotes both the beginning

and the end of the vibrato. In I Presagi, he requests two levels of extreme vibrato, one

indicated by the symbol mentioned previously and one that represents even greater

intensity indicated by .

The style of Scelsi’s later works is much different from that of his earlier period.

The reasons behind this change and the influences that affected it have never been clearly

defined. The following chapters provide one possible explanation: Scelsi was influenced

by the ritual music of Tibetan Buddhism, but did not abandon his Western musical

traditions. The music that resulted is an amalgam of two influences as will be seen in I

Presagi.

71
 Chapter 3
The Ritual Music of Tibetan Buddhism

Introduction

Buddhism was introduced into Tibet from India in the third century C.E. during

the reign of the twenty-third king of the Yarlung Dynasty, Totoni Nyentsen (b. ca. 173

C.E.), although the actual practice of the religion in Tibet did not begin until the seventh

century C.E., during the reign of Songtsen Gampo (ca. 618-50 C.E.)1. By the time

Buddhism appeared in Tibet, two branches had developed, Hînayâna and Mahâyâna.

Hînayâna, or “Lesser Vehicle,” was the older, more conservative version, and Mahâyâna,

or “Great Vehicle,” was newer and divergent from earlier forms. Although both had the

enlightenment and transformation of individual persons into a higher state of being as

their goal, Hînayâna emphasized the individual, claiming that only those with special

qualities may achieve an enlightened or transformed state. On the other hand, Mahâyâna

emphasized the enlightenment of all people, with those of special character working to

bring all sentient beings to a state of enlightenment and transformation. A second

distinction between the two branches is more pertinent for this study. Hînayâna took a

conservative position on ritual arts, incorporating only “intoned recitation to aid in

remembering and concentrating on basic teachings, and for singing the praises of the

Buddha, the teachings, and the Buddhist community.”2 Mahâyâna, by contrast,

encouraged the development of ritual and the arts, including music and dance.

1
John Powers, Introduction to Tibetan Buddhism (Ithaca, NY: Snow Lion Publications, 1995),
126.
2
Ter Ellingson, “Ancient Indian Drum Syllables and Bu Ston’s Sham Pa Ta Ritual,”
Ethnomusicology 24 (September 1980): 434.

72
 A new type of Buddhism developed as a branch of Mahâyâna sometime prior to

500 C.E. This new type was known as Tantric Buddhism or Mantrayâna (“Vehicle of

Mantra”). Mantrayâna developed into the third great tradition of Buddhism and became

the primary form of Buddhism in Tibet. Tantric Buddhism focused upon a faster

development of belief and understanding which would allow the practitioner to attain the

stage of enlightenment and transformation culminating in Buddhahood sooner than he

would in the other forms of Buddhism. The vehicle that would foster this development

and serve as the centerpiece of Mantrayâna was the Mantra, an invocation to the Buddhas

focusing on ritual, visualization, and symbols. Mantra took the form of recited chants

addressed to a particular deity. According to Powers:

Tantric practitioners repeat them (mantras) in order to form karmic connections

between themselves and meditational deities and to effect cognitive restructuring
through internalizing the divine qualities that the mantra represents. A person who
wishes to develop greater compassion, for instance, might recite the mantra of
Avalokiteśvara, the embodiment of compassion: om mani padme hǔm (“Om jewel
in the lotus hǔm).3

Within Tibetan Mantrayâna there are four main schools, each with its own

traditions and fundamental teaching. It is important to note, however, that the similarities

among the four schools are much more numerous than the differences. Each is based

upon the idea that the tantra is the best way to attain Buddhahood with the mantra as the

vehicle for attaining this state. The four schools are Nyingma, Kagyu, Sakya, and Geluk

(or Gelug). Geluk is the politically dominant school and the one from which the Dalai

Lama is chosen. It is also the school that has received the most attention in the literature.

This has been the case since Ngawang Losang Gyasto [1617-82] was selected as the fifth

Dalai Lama.

3
Powers, 230.

73
 Mantrayâna “placed even more emphasis on ritual and the ritual arts, making

them central, essential elements of religious practice,”4 according to Ellingson. The

mantras became the focus of individual and choral chanting and served as the basis for

rituals that included elaborate vocal and instrumental music. The music, however, was a

vehicle for religious practice and not for artistic achievement. The music had both ritual

and symbolic purposes that gave it significance; beauty and perfection were important

only in that they would make the ritual more pleasing to the deities. Tibetan scholar

Lobsang Lhalunga describes the Tibetan Buddhist approach to music as follows:

Sacred music, insofar as its symbolic and functional aspects are concerned, plays
a vital role in the life of the initiates as a process of subjective transformation
which brings peace, harmony, and awareness of truth in its totality. The truly
beneficial approach, we believe, is the subjective assessment of music in its true
nature. It must be admitted that all these profound concepts make no mention of
encouraging creative endeavor as a means of exercising individual ingenuity and
imagination. This absence of emphasis on individual innovation and creativity
also characterizes our whole approach to art. . . (Emphasis mine)5

In Tibetan Buddhism, ritual music is considered to be as important as all other

forms of worship and is studied in the same way as the sacred texts and forms of

meditation are studied. Lobsang Lhalunga provides the best summary for the role and

importance of music in the Tibetan Buddhist ritual:

Musical sounds, canonically ordered, affect a man’s psychic condition in such a

way as to render him more receptive to the truth. The same applies in the visual
arts: a painted ikon, in which every detail corresponds to some aspect of
enlightenment, is a powerful instrument in promoting the contemplative spirit and
so is a sonorous ikon—the nature of all sacred music is such; it pertains to
method, its aim being to awaken a corresponding wisdom in the soul.6

4
Ter Ellingson, “Buddhist Musical Notations,” in The Oral and Literate in Music, ed. Tokumaru
Yoshiko and Yamaguti Osamu, Tokyo: Academia Music, Ltd., 1986: 310.
5
Lobsang Lhalungpa, “Tibetan Music: Secular and Sacred,” Asian Music 1/2 (Fall 1969): 3-4.
6
Ibid., 6.

74
General Concepts

The ritual music of Tibetan Buddhism must be approached on its own terms

without utilizing value judgments based upon Western musical expectations. While to

Western ears it sounds strange and unstructured, it actually is a highly structured,

composed, and notated music. Tibetan ritual music is a product of the monasteries, where

all monks are involved in making music at some level. All monks participate in chanting,

an important part of the education system and the ritual practice of the monasteries, while

others later choose to specialize in instrumental music.

The Tibetan name that corresponds most closely to the Western concept of

“music” is rol dbyangs, a category that includes all ritual instrumental and melodic vocal

performances. Within this category are rol mo, the instrumental music used in the rituals,

and dbyangs, the general category of melodic vocal music. Ellingson defines four

qualities that must be present in a piece for it to be classified as a rol dbyangs:

1. skillfulness, including both compositional complexity and technically

demanding execution
2. a high degree of aural beauty
3. ritual content and function
4. requires performers with specialized training7

Lamas compose rol dbyangs as one of their duties within the monastery. The rol

dbyangs are composed as offerings to the deities and must reflect the nature and taste of a

particular deity. The term applied to this concept is Mchod pa, or “a sensually appealing

offering.” The deities are classified as either “peaceful” or “wrathful,” each having

unique characteristics that must be incorporated into the ritual music. Because the true

nature of the deities must be captured and reflected in the compositions, music often is

7
Ter Ellingson, “The Mandala of Sound: Concepts and Sound Structures in Tibetan Ritual Music”
(Ph. D. diss., University of Wisconsin-Madison, 1979), 307.

75
conceived while the Lama is in a state of meditation. According to Ellingson, “many

musical compositions are revealed to those who visit the extraphenomenal realms of the

deities and hear their music performed in meditations or dreams.”8 Other compositions

are created spontaneously outside of a meditative state but have equal value in practice to

those works that are revealed during meditation, since both types of composition are

created as a result of the “spiritually-advanced person’s direct experience of more perfect

realities.”9

The treatment of the basic musical concepts of duration, pitch, loudness, structure,

and timbre is unique in Tibetan ritual music. In Western music, the concepts of pitch,

duration, and structure have traditionally received the greatest attention and are the

elements that usually serve as the foci for analysis. In Tibetan music, pitch, loudness, and

timbre are of equal importance and share the same function, with duration and structure

completely intertwined. In order to understand the construction of the ritual music of

Tibetan Buddhism, it is necessary to examine the treatment of each of the elements:

1. Pitch: A system of pitch collections does not exist in Tibetan music. Scales or

modes are not found in either theory or actual practice. Instead, each composition

has a narrow pitch band that incorporates microtones, so that a melody may move

no further than a third from its starting point, yet pass through several microtonal

levels while making the journey. In addition, there is no concept of absolute pitch,

because there is no notation for discrete pitches. The pitch level at which a ritual

is performed is determined by the pitch level of the instruments used or by the

pitch set by the leader. Most often the pitch changes are executed by gliding from

8
Ibid., 335.
9
Ibid., 336.

76
 one to the next; rarely are discrete steps heard or expected in the music considered

to be the most beautiful. The result is an undulating line that periodically comes to

rest on a single pitch. Unplanned simultaneities occur in actual performance

because among the performers are monks and novices of all ages who are at

different stages of training. However, in some instances there are indications for

the introduction of parallel octaves. There is no harmony included in the actual

chant compositions, nor any type of polyphony.

Melodic construction is based upon four categories of melodic

components: ‘dren pa, bkug pa, ‘gyur ba, and ldeng ba. ‘Dren pa refers to the

attack of an intonation, of which five classes are acknowledged: drang po, a

straight tone with no modification at the attack; bsgreng ba, a stretched or

extended attack; dgug pa, an interrupted attack; bstod pa, a “raised” attack; and

smad pa, a “lowered” attack. Bkug pa includes stops or interruptions in the

intonation and usually involves changes in pitch, loudness, and/or vowel quality.

‘Gyur ba refers to changes or modifications in pitch, loudness, and timbre during

an intonation and includes an infinite variety of possibilities. Ldeng ba refers to

rises in melodic contour during an intonation between attacks.10 A melody may

include some or all of these components, with the resulting pattern providing the

means by which it can be identified and categorized.

2. Duration: There is no concept of meter in Tibetan music, nor is there any type of

rhythmic notation. Rhythmic structures, however, are based upon highly complex

mathematical formulas that are non-cyclic. In other words, rhythmic structures are

10
Ter Ellingson, “’Don rta dbyangs gsum: Tibetan Chant and Melodic Categories,” Asian Music
Vol. X-2 (1979): 119.

77
 treated as “events” that are not repeated, but are organized in a sequential fashion.

The result is a very free-sounding rhythmic construction without a sense of pulse.

Attempts at transcription using western notation yield highly complex varieties of

non-rational subdivisions. Rhythmic structures are further complicated by the

inclusion of many grace notes that interrupt the flow of the line.

3. Structure: The unfolding of music through time occurs in a manner and at a rate

unlike that of Western music. Single rituals are composed of a sequential series of

events that together may last as long as six or seven hours. The large-scale

structure of a typical ritual includes three parts: the “Motivation,” the “Sacrifice,”

and the “Dedication.” Within each part there occurs a series of chants and

instrumental pieces that serve to invoke the blessings of the deity to whom the

ritual is offered. Since there is no concept of meter or tempo, structure is not

created mechanically. Instead, structure is organized experientially: Each event

occurs when the previous one is finished. The length of a segment may vary from

performance to performance as a result of the degree of solemnity of the occasion

(the more solemn the occasion, the slower the pace) or, simply, the pace set by the

leader.

4. Timbre: Timbre is very important in Tibetan music. As will be shown later,

timbral change plays an important role during performances of instrumental and

vocal music. Timbral change is considered to be as important as pitch change in

the creation of a melody, and thereby can be considered to have a melodic

function. In both vocal and instrumental music, timbre is rooted in the sounds of

78
 the vowels used in the Mantras and is considered to have symbolic meaning as

well as beauty.

5. Loudness: The music includes varying degrees of loudness that serve a melodic

function, much like timbre. The melodic line is a complex combination of

changes in pitch, timbre, and loudness, which allows the music to project a degree

of variety not available from just the limited number of available pitches. The

degrees of loudness used in a composition reflect the deity for whom the work is

intended to please. The music for wrathful deities will generally make use of

higher levels of loudness than will music intended for peaceful deities. It is

important to note that in Tibetan music, the concepts of “high” and “low” refer to

loudness, not pitch.

Vocal Music

Vocal music is a fundamental part of the ritual music of all forms of Tibetan

Buddhism. Vocal chanting, as mentioned earlier, serves two purposes in ritual practice:

as a type of offering to the deities and as a means to pass down teachings and traditions.

The oral transmission of information is as important in Tibetan Buddhist practice as is

written transmission. According to Ellingson, “Buddhist culture has been preserved

through both of the two great human technologies of information storage and retrieval:

the later technology of writing, and the earlier and more widespread technology of

musical vocalization.”11

The primary focus in the creation and performance of vocal music is placed upon

the production and manipulation of sound, particularly the sound of the vowels. (The
11
Ter Ellingson, “Buddhist Musical Notations,” 303.

79
term dbyangs literally means “vowel.”) There are five vowel intonation patterns that are

basic to both the Tibetan language and the music12:

1. drang po drawn or straight; the vowel “a”

2. bkug pa bent; the vowel “i”
3. smad pa lowered; the vowel “u”
4. bsgreng ba erect; the vowel “e”
5. bstod pa raised; the vowel “o”

According to an Indian theory of phonology that was brought into Tibet, sounds are

produced in the body by eight articulatory sources13:

1. trunk of the body

2. throat
3. palate
4. tongue
5. nasal cavity
6. teeth
7. lips
8. “head” (the resonating area between the throat and nose)

The manipulation of each of these vowel types and articulatory sources provides the

composer with a wide variety of timbral possibilities that are of primary importance to

the performer in the realization of the music.

There is a special type of vocalization unique to Tantric Buddhism that is used by

all monks in performance. The Tibetan name for this type of vocalization is rgyud skad,

or “Tantric Voice,” a deep voice that allows the singer to produce multiple pitches

simultaneously. The effect of this type of vocal production is that the words are masked

and are transformed into the sound of the Mantras. According to Rakra Tethong:

12
Ter Ellingson, “The Mandala of Sound: Concepts and Sound Structures in Tibetan Ritual
Music,” 387.
13
Ibid., 386.

80
 . . . the Tantric Colleges have some of the most famous dbyangs in Tibet; each
person sings two or three notes at once. Now, if you listen carefully when they
sing, not paying attention to the words, you don’t hear words at all, but just the
sound of “Om Ah Hūm.” Of course, their texts are secret and they can’t make the
words clear, but still, you understand, it is very significant that they should be
able to change their words into these mantras.14

Three types of vocal chants can be found in the ritual music literature: ‘don, rta,

and dbyangs. The three types of chant reflect different levels of spiritual significance and

musical substance, although all three are indispensable to the ritual itself. Each type is

distinguished by its musical construction and its treatment of the text. It is important to

note that, while these classifications refer to vocal chant, the designations will also apply

to instrumental music. The following are descriptions of each of the three types:

1. ‘Don ‘Don are the least complex chants in the repertoire and have the least

aesthetic value in the realm of the ritual. In simple terms, they are recitation

chants that function as a method of text delivery. Compared to the other types of

chant, they are higher in pitch and faster in tempo, as well as lower in aesthetic

value. The primary features of ‘Don include pitch changes that occur on important

words or at structurally significant textual points, such as the end of a clause or a

statement, and patterns of pitch and rhythm that vary according to the text. The

pitch range is very narrow, with the simplest pieces delivered in a monotone.

Rhythmic patterns are simple and are derived from the text, with some delivered

in a manner where all syllables are given the same duration.

2. Rta: These are melodic chants that make use of distinct sound patterns and

discrete pitches that are relatively independent of the text. Rta chants are strophic,

but incorporate a gradual rise in pitch on each of the repetitions. The pitch rise

14
Rakra Tethong, “Conversations on Tibetan Musical Traditions,” Asian Music, Vol. X-2 (1979):
18.

81
combines a rise in absolute pitch of a quarter-tone to as much as a whole step on

each repetition with a change in the proportions of the intervals. In other words,

the pitch rise does not constitute a transposition but rather a transformation

where the melodic contour is preserved without maintaining the exact intervallic

content. Compared to ‘Don chants, the pitch level is lower and the tempo is

slower.

3. Dbyangs: Considered to be the highest form of chant with the greatest

aesthetic and ritual value, these are reserved for the most important rituals. They

are best described as “tone-contour” chants whose “melodies consist of

sequences of smoothly and continuously varying intonational contours, including

changes in pitch, loudness, and/or configuration of resonance (overtone)

mixtures.”15 Dbyangs melodies incorporate changes in pitch, as well as changes

in timbre and loudness. The changes in pitch are gradual, often with a

difference of only a few hundred cents, in a gliding manner with no discrete steps

Most dbyangs interpolate unrelated syllables into the text (called “alloy”

syllables) that serve to provide contrast in tone color, provide opportunities for

changes in the pitch and loudness spectrums, and obscure the meaning of the

text. Not all chants incorporate all of these traits, for some chants emphasize

changes in pitch, others emphasize alterations in loudness and/or color, and

still others utilize the vocal technique of producing more than one pitch

simultaneously. The chants generally are through-composed and structured in a

series of non-repetitive “contour events.” The pitch levels for dbyangs are the

15
Ter Ellingson, “’Don rta dbyangs gsum: Tibetan Chant and Melodic Categories,” 144.

82
 lowest of all chant types and the tempi are the slowest, signifying the extreme

solemnity and importance of the occasions for which they are used.

The three types of chant may be found in the same ritual, although rituals that

include only chants of the ‘don and rta varieties are more common, since dbyangs are

often reserved for special occasions. Additionally, some rituals may include only ‘don

chants. Generally the dbyangs is used for the first stanza of a text with the remainder of

the text set to a rta melody. According to Ellingson, the usual sequence of chants found

in a more elaborate ritual would be ‘don-rta-dbyangs-(rta-dbyangs, etc.)-rta-‘don.16

Instrumental Music

Instrumental music is an integral part of the Tibetan Buddhist ritual. In many

cases, short instrumental pieces are interspersed between sections of chant, while in

others the two alternate in equal proportion. Most of the time instrumental music is used

in conjunction with or in place of dbyangs chant in the places where it would normally

occur in the ritual. Instrumental music is always a part of the ritual, although in some

cases it is only mentally produced, or imagined, by the participants.

The instruments used in ritual music are of three types: beaten (brdung da), rung

(khrol ba), and blown (‘bud pa). Stringed instruments (rgyud can) are used in the secular

realms of Tibetan music, but they are not used in sacred music except as a part of

mentally produced music. The following are the primary instruments of sacred music,

grouped according to the categories mentioned above:

16
Ibid., 116.

83
 1. Beaten (brdung da)

a. Nga a large, double-headed drum

b. Damaru a small hour-glass shaped, double-headed drum with beads
attached that strike the heads when shaken

2. Rung (khrol ba)

a. Rol-mo horizontally struck double cymbals

b. Sil-nyēn vertically struck double cymbals
c. Ting-sha very small cymbals
d. Dril bu handbells with internal clappers

3. Blown (‘bud pa)

a. Rgya-gling a double reed instrument similar to a shawn

b. Dung-dkar a conch shell trumpet
c. Rkang-gling a small trumpet, traditionally made of a human
thigh bone
d. Dung-chen large, telescopic trumpet made of metal

The instruments have symbolic significance and are associated with either

“peaceful” or “wrathful” deities. The instruments associated with the “peaceful” deities

include the Dung-dkar, Rgya-gling, Sil-nyēn, Ting-sha, and Nga (when played with two

sticks). Those associated with the “wrathful” deities include Rkang-gling, Dung-chen,

Rol-mo, and Nga (when played with one stick). The primary quality that determines the

classification is loudness, with those associated with the “wrathful” deities capable of

producing much louder sounds than those associated with the “peaceful” deities. In all

cases the players are aware of the symbolic significance of the instrument they are

playing. Following are descriptions of the most important instruments used in this music.

Rol-mo : The rol-mo cymbals are the most important instrument in the ritual and are used

even if no other instruments are included. The rol-mo actually initiates each portion of

84
the ritual with the performance of a very complicated pattern generally referred to as a

“beat.” The “beat” consists of a series of pulsations that begin slowly and gradually

accelerate and decrease in volume until they achieve a “hum.” There are several types of

“beats” in the repertoire. They vary according to length, volume, and rate of acceleration,

and are used in a variety of sequences that are determined by the context of the ritual.

Three techniques are used for proper execution of the “beat”: (1) single stroke (chig

brdeb), in which one point on the rim strikes one point on the other cymbal followed by a

rebounded stroke diametrically opposite; (2) thumb ringing (mtheb dkrol), in which

thumb and forefinger work with the wrist to produce a series of even pulsations after the

initial stroke; (3) rebound play (‘phar len), in which the cymbals are allowed to vibrate

freely against each other after the initial stroke, producing accelerating and gradually

diminishing pulsations.17 Mastering the techniques of rol-mo requires much training both

because of the difficulty of the technique and because of the important role the cymbals

play in the ritual.

Rgya gling: The rgya gling is a double-reed, shawm-like instrument, the only

“woodwind” used in ritual music. The rgya gling have seven tone holes with a range that

is similar to a major seventh. It is the only wind instrument that can execute a variety of

separate, discrete pitches, allowing it to play rta melodies and to execute rapid pitch

changes. In actual performance the rgya gling play independent compositions built upon

rta melodies that are ornamented with many grace notes and trills. Often they double the

vocal lines in certain chants, with the ornaments intentionally creating “interference” for

the melody.

17
Ter Ellingson, “The Mandala of Sound: Concepts and Sound Structures in Tibetan Ritual
Music,” 585.

85
 Rgya gling players must develop the ability to circular breathe because it is

inappropriate to pause for a breath in the middle of a piece. They also must develop

vibrato, although it should be noted that while in some traditions vibrato is always used,

in others it is used only as an ornament.18 Ellingson provides other special breathing

techniques that are employed19:

1. pressure increases to produce a slight rise in pitch of a sustained note

2. fluctuating pressure to produce pitch fluctuations (vibrato)

3. pressure variations between players to produce (intonational) “beats”

when two instruments are playing together (The variations are
controlled so that the “beats” will accelerate during a sustained tone.)

4. pressure changes to produce crescendi and decrescendi

Rkang gling: Rkang gling trumpets are short, natural trumpets, originally made from

human thigh bones, but now also made of metal. They play dbyangs-type melodies with

much fluctuation in loudness and color, and some fluctuation in pitch. There are generic

melodic types that are either played separately or joined together in longer compositions,

although the rkang gling does not play throughout an entire work. The melodic types are

called “blows.” Each “blow” is based upon four mantras that the player must think about

while playing: Dza, Hūm, Bham, and Ho. The meanings and rhythmic patterns of the

mentally produced mantras are then sonically recreated in the context of the ritual. There

are several types of “blows,” each with its own character based upon its length and the

types of fluctuations and ornamentations it incorporates. The “blows” are combined to

18
Daniel A. Scheidegger, Tibetan Ritual Music (Zurich: Tibetan Institute, 1988), 12.
19
Ter Ellingson, “The Mandala of Sound: Concepts and Sound Structures in Tibetan Ritual
Music,” 652-3.

86
create longer pieces that generally are given simple titles such as “Three Blows” (sum-

oo), “Four Blows” (shi-oo), or “Five Blows” (nga-oo).

Dung dkar: The dung dkar, or conch shell trumpets, play the simplest melodic parts in

the ritual. They play dbyangs-type melodies in a middle register that consist of simple

pitch and loudness variations, repeated throughout the performance of the ritual. Dung

dkar contribute primarily a continuous wavering “enrichment” of the tone quality of the

ensemble, and as such generally function as an “aesthetic enhancer” rather than as a part

of the structure.

Dung chen: The dung chen are considered to be the most important melodic instruments

in a rol-mo. They are very long trumpets, between 3 and 13 feet in length, and play the

lowest pitches and produce the loudest sounds in the ritual ensemble. Dung chen play

three basic pitches derived from the harmonic series. The first, called ‘dor, is the lowest

and is approximately a “B”; the second, called kyang kyang, is an octave higher; the third,

called ti, is a fifth above kyang kyang. Using these three pitches, the dung chen player

creates a dbyangs-type melody that incorporates pitch bends, vibrato, lip trills, and

changes in loudness. In order to execute the music, with its wide variety of interruptions

and fluctuations, a player must spend much time studying and practicing both the

requisite techniques and the repertoire.

Brian Pertl has provided several details about the performance practice of the

dung chen as found in the Nechung Monastery in Dharamsala, India:

1. ‘Dor functions as a phrase marker

2. ‘Dor should always begin with a sharp, explosive attack

3. Ti is always played softly

87
 4. The movement from ‘dor to kyang kyang should always be smooth and
connected
5. The movement from kyang kyang to ti should also be smooth and connected
6. The longer the phrase can be played, the more opportunity there is to display
the beauty of the sound. As a result, circular breathing is employed20

The Ritual Orchestra

The ritual orchestra in the largest monasteries consists of pairs of rgya gling, dung

dkar, rkang gling, and dung chen, and at least one of each of the following: rol mo, nga,

sil nyen, drilbu, and damaru. They may use as many percussionists as are available,

however. Although not all monasteries have ensembles this large, this instrumentation is

the most desirable. The reason that a monastery might have a smaller ensemble is that

they have fewer players available, not because of any religious or aesthetic concerns. The

entire ensemble does not play for all rituals, with the instrumentation determined by the

particular ritual being observed. For example, if the ritual is one to call upon a peaceful

deity, neither the dung chen nor the rkang gling would be used. The orchestra may be

excluded if a less significant or solemn ritual is being observed, although the rol mo and

nga are always present. However, the full ensemble is always used for the most important

holy days and rituals, or if there is an important visitor present.

The use of wind instruments only in pairs is an important feature of this ensemble,

as is the fact that both members of the pair play in unison. Generally, the pair comprises

one experienced leader and one less experienced or novice student, with the disparity in

levels of experience occasionally leading to discrepancies in execution between the

players and creating an imperfect unison. This “interference” caused by the lack of

perfect ensemble actually is considered desirable by some of the traditions of Buddhism

20
Brian Pertl, “Some Observations on the Dung Chen of the Nechung Monastery,” Asian Music
Vol. 23, No. 2 (Spring/Summer 1992), 95.

88
and is cultivated by the players. According to Ellingson21 and David Scheidegger22, this

is true for the Kar ma pa and Mindroling traditions, and Pertl23 claims that in the

Nechung monastery great care is exercised to insure that the pairs of performers play in

strict unison. Ellingson expands on this in a list of performance practice issues that are

used for both rgya gling and rkang gling:

1. both are played in pairs, with one designated as the leader

2. in fast playing, add fewer embellishments, play in relatively strict pitch

unison, and relatively strict rhythmic synchronization

3. in slow playing:
a. ornamentation is more complex
b. further embellishment is added by playing melodic changes slightly
out of synchronization with one another
c. vary the respective pitches of the instruments to produce “beats” and
other tonal-interference effects 24

The structure of the orchestral music is determined by the specific ritual and in

general consists of a series of events that include rol mo formulas, a rgya gling melody,

and combinations of the prescribed formulae for each of the wind instruments. The

texture and sonority are developed by a process of layering. This produces a type of

polyphony where each part is independent, yet all work together to obtain the desired

effect. The spiritual as well as musical effect of the ensemble performance is intended to

be greater than the sum of the individual parts, since each instrumental part is designed

for and has symbolic meaning in the ritual being observed.

21
Ter Ellingson, “The Mandala of Sound: Concepts and Sound Structures in Tibetan Ritual
Music,” 661.
22
Scheidegger, 90.
23
Pertl, 96.
24
Ter Ellingson, “The Mandala of Sound: Concepts and Sound Structures in Tibetan Ritual
Music,” 660-1.

89
 Figure 3.1 is a transcription of a performance by a full ritual orchestra of Chö-röl,

music for an offering. In this transcription, the “measures” are individual events, with the

length of the measure indicating the relative amount of time each takes. The placement of

the individual events within the “measure” reflects the relative position of each in time.

This example illustrates the nature of the layering process described above: It is clear that

each part functions both independently from and simultaneously with the others. It also

illustrates the way in which the music is structured in time as a series of events that have

no predetermined duration. The names of the instruments printed on the score are slightly

different from those listed above: Dungkar is used in place of Dung-dkar, Tsogkang in

place of Rkang-gling, and Gyaling in place of Rgya-gling. In addition, the author uses the

word Gyang in place of Kyang kyang for the name of the second pitch of the dung chen

(“measure” 2).

Figure 3.125

Transcription of Chö-röl by David Scheidegger ©1988

25
Scheidegger, 91.

90
Notation

In Buddhist traditions, systems of music notation are found only in those of Tibet

and Japan. Within the Tibetan Buddhist tradition, notation is found only in the

Mantrayâna, or Tantric, branch. The earliest extant notation comes from the period 1000-

1500 C.E., well after the spread of the Mantrayâna branch of Buddhism into Tibet. Two

types of notation exist: sbul shad, a form of radial notation, and dbyangs yig, a form of

contour notation, both of which are completely unlike Western notation, yet provide the

information required for an accurate realization. In most instances the notation functions

more as an aid to memory than as a prescriptive device. It is used for learning and

practice, not performance, because the music actually is performed from memory.

The sbul shad system of notation is used primarily for vocal music and employs a

system of lines or symbols that radiate outward from the text symbols at either 12, 2, 4, 6,

or 8 o’clock. The lines indicate the type of ornamentation or interruption of the melody to

be incorporated at that point. The radial lines actually are pictures of the position at which

the drummer, who works with the rol-mo player to lead the performance, is to place the

stick on the drum head. This positioning serves as a signal to the others to execute the

appropriate gesture. Ellingson says that the sbul-shad system “functions as a kind of

cheironomic map which prescriptively guides the use of choral fluctuations in the

melodic line.”26 Figure 3.2 provides an example of this type of notation.

26
Ter Ellingson, “Buddhist Musical Notations,” 312.

91
 Figure 3.227

Sbul shad notation, ©Ter Ellingson, 1986

The dbyangs yig system is called “contour notation” because it consists of a series

of curved lines, or contours, that provide a graphic representation of the music. As in

Western notation, it is read from left to right, with upward and downward indications

meaning upward and downward musical gestures. This type of notation provides no

means for identifying specific pitches or rhythms, because these are not calculated in this

music. However, it does provide symbols for variations in loudness, indicated by varying

the thickness of the contour line, and for the wide variety of ornaments, fluctuations, and

color changes that are essential elements of the music. The identity of a piece is derived

from the sequential order of the contour patterns found in the melodic line.

Figure 3.3 is an example of dbyangs yig notation followed by a transcription into

Western notation by David Scheidegger.

27
Ibid., 313.

92
 Figure 3.328

Dbyangs yig notation, © by David Scheidegger, 1988

Notational systems exist for instrumental music as well. The music for dung-chen,

rkang-gling, rgya-gling, and rol-mo are notated, while that for the others is passed on

through oral transmission. The notational systems are unique for each instrument and not

uniform in all respects for each school within Tibetan Buddhism. As in the sbul shad and

dbyangs yig notational systems, those for the instruments are graphic representations of

the events to be produced, with no indication of specific pitch or rhythm. The purpose of

the notation appears to be to indicate relative durations and the placement and type of

ornamentation or interruption to be used.

The music for the rkang gling is a type of contour, or dbyangs yig, notation that

indicates the standard figure to be played. The notation provides a series of contours in

the appropriate order for the specific ritual. On the other hand, the notation for the rgya
28
Scheidegger, 129.

93
gling is simply an annotated version of the vocal text, indicating the types of

ornamentation or sound modification to be used at certain points in the text. (It is

assumed that the rgya gling player will know the melody.) Figure 3.4 is an example of

rgya gling syllabic notation with the indications for ornamentation appearing above the

text.

Figure 3.429

Rgya gling syllabic notation, © by Ter Ellingson, 1986

Notation for the rol-mo appears to be a combination of graphic symbols and sbul

shad, or radial notation. Each symbol has a specific meaning for the player and indicates

the type of sound that is required, the number of beats to be produced, the loudness, the

amount of tremolo to be added, the amount of resonance to allow, and so forth. It is

beyond the scope of this study to examine in detail the notational system for the rol-mo,

but it is important to highlight the great detail and wealth of information transmitted by

this notation. Figure 3.5 is an example of rol-mo notation from the Mindroling of the

Nyingama School.

29
Ter Ellingson, “Buddhist Musical Notations,” 332.

94
 Figure 3.530

Example of rol-mo notation, © by David Scheidegger, 1988

In Figure 3.5, the first symbol, called Thang, indicates that the player is to strike

the upper cymbal right and left alternately with a progressive acceleration. The second

symbol, Sum-dung, indicates that the Thang is to be repeated three times (literally “three

strokes”). The third and fourth symbols together represent Zil-bèb, which indicates a

series of accelerating strikes with a diminuendo with a final accented strike. The meaning

of the fifth symbol, Nè, has yet to be determined. The transcription provided by David

Scheidegger does not include a musical gesture for it, so it may simply be a phrase

marker. The sixth and seventh symbols, Baram, indicate a short, strongly accented sound;

the last two symbols, Cham, indicate that the player is to clasp the cymbals together with

no resonance. Figure 3.6 provides a transcription of Figure 3.5.

30
Scheidegger, 72.

95
 Figure 3.631

Transcription of Rol-mo notation, © by David Scheidegger, 1988

The notation for the dung chen is called dung tshig, which means “trumpet

words” or “trumpet syllables.”32 The notation system includes symbols for each of the

three pitches of the dung chen—“don, kyang kyang, and ti. In the Kar ma pa school, the

notation resembles the dbyangs contour notation with stylized lines that represent the

three pitches in the context of larger contour groups. The thickness of the lines

determines the level of loudness for that event, and the shape of the contour indicates

pitch fluctuations and tonal modifications, one of which, called tsag, represents a

crescendo with microtonal pitch rise. Figure 3.7 is an example of this type of notation.

31
Scheidegger, 73.
32
Ter Ellingson, “Buddhist Musical Notations,” 329.

96
 Figure 3.733

Notation for Dung chen in the Kar ma pa School, © by Ter Ellingson, 1986

The Nechung Monastery uses a different type of notation for the dung chen,

although it is also uses symbols to represent each of the three pitches. The notation is

linear, with each figure read from bottom to top and events organized from left to right.

The three symbols may be used in combination to represent movement between pitches.

In this tradition ‘dor must always precede kyang kyang and ti only follows kyang kyang.

The symbol for kyang kyang may be given different lengths to represent different

durations and may include bends that represent dynamic fluctuations. The symbol for

‘dor may be of different sizes, with a larger circle representing a longer duration. The

symbol for ti is always appended to the kyang kyang symbol. The player is to breathe

between each figure. Figure 3.8 is an illustration of the three symbols, and Figure 3.9 is

an example of this type of notation.

Figure 3.8

‘Dor Kyang-kyang Ti

33
Ibid., 330.

97
 Figure 3.934

An example of Dung chen notation from the Nechung Monastery, © by Brian Pertl, 1992.

Summary

The ritual music of Tibetan Buddhism is an outgrowth of the mantras found in the

Mantrayâna tradition. The sounds of the mantras, intended to invite the spirit of the

deities and elevate the practitioner to a state of transformation, serve as the basis for the

sounds created by the vocal chants and the instrumental music. In all cases, the sound is

of primary importance. Also of great importance are manipulations of the sound that

serve to transform it into another mantra or to inflect certain points within a melody in

order to intensify the meaning of a particular word or phrase. Pitch and rhythm are

unspecified and assume a role unlike those that they have in Western music; pitch is

indeterminate and generally confined to narrow bands that include microtones yet rarely

incorporate discrete pitches; rhythm is fluid with temporal organization based upon

sequential events of indeterminate length.

Both vocal music and instrumental music serve important functions in the

performance of rituals. Vocal chants, which are classified as ‘don, rta, or dbyangs, are

performed chorally, with instrumental pieces interspersed between chants or sections of

chants. Independent instrumental pieces follow prescribed formulas, particularly formulas

for the rol-mo cymbals, which lead the entire ritual. The formulas for each instrument are

34
Pertl, 94.

98
layered in performance, creating a depth of meaning for the ritual. The ritual orchestra,

comprised of pairs of wind instruments with percussion, is a well-trained group of

musicians who must be capable of performing many intricate and complex melodic and

rhythmic structures at a high level of accomplishment. The entire musical portion of the

ritual is expected to be executed flawlessly, because the purpose of the music is to please

the deities.

The notational system for this music is quite complex, yet it reflects the

hierarchical structure of elements heard in actual performances. No notation exists for

specific pitches and rhythms. However, specific notations are found for the inflections,

ornaments, interruptions, and fluctuations used in the melodic lines. Instrumental notation

is related to vocal notation, a fact reinforcing the idea that the music grows out of the

mantras.

This discussion of the elements of Tibetan Buddhist music is only a brief

introduction to a complete and complex system of music performance and composition

that has received little attention in music literature. As will be shown in the following

chapters, this music seems to have served as a major source of inspiration for Giacinto

Scelsi, who may be the only Western composer to see the possibilities presented by this

music for adaptation into Western language. In conclusion, Ellingson has provided a

description of Tibetan music that will prove to be an accurate description of the music of

Scelsi:

. . . the Tantric movement brought a great increase of interest in the subtle

elaborations of sound, in the essence of sound, in its constituent elements, and in
what could be done with them through structuring, patterning, and incorporation
into religious ideology and religious performance.35

35
Ellingson, “Buddhist Music Notations,” 327.

99
 Chapter 4
Analysis of I Presagi

Background

I Presagi was composed in 1958 as Scelsi’s first work for large ensemble that

followed his return to composing. The literal translation of the title is The Presagings, or

more accurately, The Omens. As with all of Scelsi’s post-1952 works, no further

explanation of the title is provided by the composer. The work is in three movements

with a total duration of 13 minutes, and uses the following instrumentation:

2 Horns
2 Trumpets
2 Trombones
2 Tubas
Tenor Saxophone
Timpani (used only in Movement 3)
Bass drum (used only in Movement 3)
Wind machine (used only in Movement 3)

I Presagi has received little mention in the literature. There have been no

published analyses or descriptions in any language, and the program and liner notes for

the performances and recordings mentioned earlier include little information about the

work itself. The dearth of information concerning this work is difficult to explain given

the significance of its position in Scelsi’s catalogue of works. One would assume that the

first large ensemble work to be created following his breakdown and return would be of

much interest to scholars.

The premiere of the work seems to have occurred on 28 May 1987 during the

Festival Voix nouvelles at the Abbey of Royaumont, performed by Nuovo Ensemble

Italiano and conductor Aldo Brizzi. It was published by Éditions Salabert in 1987,

twenty-nine years after its composition, so the publisher does not have a record of

100
performances prior to that year. The work has received several performances in Europe

and the United States since then and has been recorded at least three times.1

Method

The post-1950 music of Scelsi does not lend itself well to traditional means of

analysis. None of the usual analytical approaches, including traditional harmonic

analysis, formal analysis, and set-theoretical analysis, prove useful for discovering the

structure of this music. No standard analytical techniques exist to examine the primary

foci of this music, which include timbre, register, microtonal pitch bands, and of focal

pitches. In order to find meaning in this music, new methods of analysis must be

conceived or pre-existing methods must be adapted. The analysis of I Presagi will

include an examination of the material as found in the printed score viewed through

Western eyes, as well as an examination of the material as filtered through the lens of

Tibetan ritual music.

As mentioned in the previous paragraph, there are three concepts that have great

structural importance in this music, but no standard means exist to systematically

examine them. Scelsi placed great importance upon pitch bands, register, and timbre,

using each of them as defining characteristics of each movement. The following are the

descriptions of each concept as used in this study:

1
In the United States, performances have been given in New York (Klangforum Wien, conducted
by Hans Zender), Miami (New World Symphony, conducted by Michael Tilson Thomas), Cincinnati
(student ensemble at the University of Cincinnati, conducted by the author), and San Francisco (San
Francisco Symphony, conducted by Michael Tilson Thomas). Major European performances include
several by Klanforum Wien and two performances by the Ensemble Intercontemporain in 1993. Recordings
have been made by Klangforum Wien, conducted by Hans Zender (two recordings) and Nuovo Ensemble
Italiano, conducted by Aldo Brizzi.

101
A. Pitch Bands

Each movement of I Presagi is built with pitch bands. These usually

contain a primary chromatic pitch and one or both of the pitches a quarter-tone

away. The bands may expand to the next chromatic pitch and its quarter-tones or

contract to the single chromatic pitch. Pitch bands vary in length: Short bands

may be used in a melodic fashion, and longer bands define the scope of a section.

The pitch bands are the fundamental units of pitch construction in this work.

B. Register

In this music, the octave in which a pitch or pitch band occurs is as

important as the pitch class. The octave placement and registral distribution

define large-scale sections of this work. There is no sense of octave equivalence.

However, the pitch bands may include several octaves, and occasionally a

quarter-tone may be displaced by an octave or more from the primary chromatic

pitch with which it is associated.

C. Timbre

Timbre or tone color assumes a melodic function in this work. The

challenge is to show how it is used in this way. Timbral change occurs both when

there is movement from one instrument to another during the course of a

“melodic” idea, and when Scelsi asks for mutes or other effects. Timbre also

is affected by density of orchestration, dynamic level, register, and the use of

quarter-tones. While a thorough examination of the role of timbre manipulation

in this work would require a paper of considerably greater length or different

focus, timbre must be given much consideration in any discussion of this music.

102
 D. Focal Pitch

It is not possible to speak of keys or key areas, scales or modes, or pitch

collections in Scelsi’s post-1950 music. In place of these things he used focal

pitches, single pitches that serve as the “tonic” for a work, a movement, or

sections within a movement. Focal pitches serve as the starting point for the

development of pitch bands. Register is used as a device for outlining

structural ideas, but is not important in identifying focal pitches. A focal pitch

may appear in several octaves either simultaneously or successively. A key

point to be examined is the nature of the focal pitch/pitches found in each

movement, including the stability of the pitch(es), the frequency of the pitch, and

what role migration of the pitch plays in determining the structure of the work.

The music was examined by several different means, each of which revealed a

unique aspect. The following are descriptions of four of the primary means: pitch charts,

timbre effect charts, composite rhythms, and transcription graphs.

A. Pitch Charts

The purpose of the pitch chart is to show the pitch content of the work. It

does not specify register or instrument, simply the pitches used. For the sake of

simplicity and consistency, the bar was selected as the unit of measure. Although

this may seem to be an arbitrary decision, it is useful in examining pitch

frequency and the pitch combinations found in the work. That it does not reflect

the actual duration of each pitch is problematic. When compared with the

103
transcription graphs, however, the pitch table proves to be an accurate reflection

of both pitch content and frequency.

The X in a square indicates that that pitch is present at some point in the

measure. The (X) indicates that the pitch only appears in that measure as a grace

note. At the end of the table one will find the total number of measures in which

that pitch appears, the frequency percentage, and the rank order of that pitch in the

movement. (See Appendix A)

B. Timbre Effect Chart

The purpose of this chart is to highlight the frequency of each type of

effect employed in each movement. The first column provides the number of

complete measures of rest found in each part (Rests), and the second column

gives the number of measures in which that instrument actually produces sound

but does not employ any effects (None). The following columns provide the total

number of measures in which each effect is employed. The final column provides

the total number of measures in which at least one effect is employed. The total

may not be the same as the sum of the effects columns because some measures

include more than one effect.

At the bottom of each column is found the total number of measures in

which each effect is used. Below this is the frequency of each effect expressed as

a percentage of all the measures (including rests), then as a percentage of the

measures actually played. The bottom row is the frequency of the effects that are

possible on only some of the instruments, expressed as a percentage of the

104
measures actually played by only those instruments (e.g., the effect of “stopping”

is possible only on the horn).

The total number of measures includes the number of measures in the

movement multiplied by the number of instruments employed. Scelsi employed

many timbral effects, often several simultaneously, so that merely calculating the

composite measures affected does not represent the true magnitude of their

importance to the shaping of his music. (See Appendix B)

C. Composite Rhythm

The composite rhythm is the reduction of the total rhythm at any moment

to the notes of shortest duration. The composite rhythm allows the analyst to view

the complete rhythmic activity of a work which may reveal structural details not

readily apparent in the score. It also allows one to examine what is actually heard

by the listener. The composite rhythm is often used by conductors while studying

scores in preparation for performance in order to be certain that no detail is left

unnoticed.

In this work, the composite rhythm is very complex. The composite

rhythms for the first two movements are included because they reveal significant

structural details. That for the third movement is not included because it was

extremely complex and impossible to reduce to one line, and because the details it

reveals are also revealed through other, more accessible means, such as the

transcription graphs. (See Appendix C)

105
 D. Transcription Graphs

The transcription graphs are based upon ideas and examples provided by

Robert Cogan and Pozzi Escot.2 The purpose of the graphs is to illustrate the pitch

content of the work as well as registral distribution and tone-color usage.

A graph for each movement has been designed to illustrate the complete

pitch content of the movement and its development through time. Each square of

the graph represents a half-step vertically and an eighth-note horizontally. The

bottom edge of each square is the chromatic pitch and quarter-tones lie in the

center of the square. Each instrument has been designated by a unique colored

line as follows:

Green Horn I
Red Horn II
Light Blue Trumpet I
Orange Trumpet II
Pink Tenor Saxophone
Yellow Trombone I
Dark Red Trombone II
Dark Blue Tuba I
Lime Green Tuba II
Black Timpani

Trills are represented by an open rectangle placed around the area

occupied by the trill. A succession of repeated pitches is represented by a solid

line. Glissandi are represented by lines on a diagonal that connect the beginning

and end of the glissando. Areas where pitches are doubled are notated by lines

stacked one upon the other. By stacking the voices it is easy to see the relative

strengths of the pitches that occur simultaneously. This system creates some

problems, however, because the stacks of lines can invade the space of the

2
Robert Cogan and Pozzi Escot, Sonic Design: The Nature of Sound and Music, Englewood
Cliffs, NJ: Prentice-Hall, Inc., 1976, 20.

106
 quarter-tone. When this occurs, the quarter-tone is separated from the stack by a

white space and is not in the center of the square. Rhythm is not accounted for

except as it pertains to the beginning and end of each entrance. Repeated pitches

that are not separated by rests are represented by a solid line from the point of

the first note to the end where either a rest is used or the pitch changes.

The transcription graphs have proven to be the most significant analytical

tool employed in this study. They illuminate details of register, pitch bands, and

timbral change, and reveal significant details concerning formal structure. The

graphs seem to be the best way to illustrate the details of this music. (See

Appendix D)

Each movement of I Presagi will be examined on the basis of the primary

elements of music: pitch, timbre/instrumentation, rhythm/duration, form/structure, and

loudness. Comparisons will be made between the manipulations of these elements in this

work and in the ritual music of Tibetan Buddhism. The analysis will show that Scelsi

incorporated several ideas found in Tibetan music while not abandoning the concepts of

Western music, thereby achieving a synthesis that is unique in music of the twentieth

century.

First Movement

The first movement is written for the full complement of winds without

percussion. It is ninety-seven measures in length with an initial tempo of quarter-note

equals 112 beats per minute. There are four subsequent tempo modifications, including

107
poco ritenuto followed by a tempo in mm. 7-8, piu mosso with a tempo indication of

quarter-note equals 126 beats per minute beginning at m. 22, a return to Tempo I (112) at

m. 45, and poco sostenuto with a tempo of quarter-note equals 100 beats per minute at

m. 86. The duration of the movement is approximately three minutes.

Pitch

This movement uses all twelve chromatic pitches and all possible quarter-tones.

An examination of the frequency with which each pitch is used (Refer to Chart A.1 in

Appendix A) shows that the pitch F is the most frequently used (present in 85% of the

measures), followed closely by B-flat (73%), and that these are the only pitches that

occur in more than 50% of the measures. In addition, F and B-flat are the final pitches

heard in this movement (m. 97). This data leads one to the conclusion that F and B-flat

serve as the focal pitches.

F and B-flat are not established as the focal pitches at the outset, however. The

opening appears to emphasize E and B. The tuba I motive (B-F-E) introduces these

pitches, with F serving as an appoggiatura. Tuba II responds with E-B (no F) followed by

both tubas repeating the F-E appoggiatura figure in m. 3. Both tubas move to B in m. 4,

followed by a rise to E in the first tuba in m. 5. The horns respond with a motive in mm.

5-6 that emphasizes E and B, with an A included, which serves as the lower neighbor

tone to B. In m. 7 the horns introduce a strong A-sharp on beat one, which appears to be a

chromatic passing tone between A and B, for at the same time the second tuba and tenor

saxophone play B. B-flat appears on beat one of m. 8 in tuba II and tenor saxophone but

moves quickly to C on beat two. In m. 9 the horn figure outlines B-flat/F, combined with

either a D or a D-flat. Tuba II sustains a D-flat, thus implying a B-flat minor triad, the

108
first clear vertical sonority of the work. It is clear that F and B-flat become important

pitches in mm. 9-11. In mm. 12-15 the tubas have a variation of the opening motive, C-

flat-F-G-flat-F, with the G-flat now serving as the appoggiatura. (The significance of the

G-flat will be shown later, as part of the discussion of significant motives.) Tuba II

replaces the C-flat with a B-flat in m. 14, and from this point F and B-flat serve as the

focal pitches. The path to the establishment of the focal pitches can be summarized as

follows:

Measures 1-7 focus on E and B

Measures 8-11 transition, with no clear focus
Measures 12-15 F and B-flat established as focal pitches

109
 Example 4.1
Movement I, Measures 1-13

110
111
 Scelsi established the pitch parameters of the movement in mm. 1-15, not just the

focal pitches. The most significant pitch bands used in this movement are defined by the

limits of E to G-flat (Band I) and A to B (Band II), and include the chromatic pitches

between and the quarter-tones between and on either side. These bands will also serve as

the sources of pitches for the important motivic structures used in this movement. The

pitches of secondary importance in the movement are C, D, and D-flat. Table 4.1

provides a clear illustration of this:

Table 4.1
Pitch Frequency/Movement I

Rank Pitch Frequency+ Rank Pitch Frequency+

1 F 82 13 Db 15

2 Bb 71 14 B╪ 14

3 E╪** 47 15 C╪ 11

4 A╪ 43 16 Ab 10

5 Bb* 38 17 G╪ 5

6 Gb 37 18 Gb 4

7 B 32 19 Ab 3

8 E 25 Db 3

F╪ 25 Eb 3

10 C 22 22 D╪ 2

11 D 20 Eb 2

12 A 18 G 2

* Italics (Bb) indicate quarter-tone flat.

** ≠ indicates quarter-tone sharp
+ % of measures that contain the pitch

112
 The primary characteristic of the pitch content in this movement is the pitch band

that consists of a chromatic pitch and an adjacent quarter-tone. The transcription graph of

this movement (Refer to Chart D.1 in Appendix D) provides clear evidence of this

construction. For example, in m. 2 tuba II has an E while the horn II has an adjacent E

quarter-tone flat. This type of pitch pairing is found throughout the movement to such an

extent that those times in which the quarter-tone is missing stand in stark contrast.

Examples of this can be found in m. 19, where B-flat and F only are used, and in mm. 46-

7 where F is the only pitch heard.

Other types of pitch bands are used occasionally. Some have the quarter-tone

displaced by an octave (e.g., mm. 35-6, where the E quarter-tone sharp33 is paired with

F3), while others contain more than two pitches (e.g., mm. 74-5, where there is a band of

G-flat2, G quarter-tone flat2, and F quarter-tone sharp2). There are also points at which

simultaneous pitch bands occur (e.g., m. 72, where three distinct pitch bands occur

together).

The rate of change from one pitch band to the next varies throughout the

movement. At several points the rate of change is very fast, at others the rate is quite

slow. Sections of this movement can be characterized as either active or static based upon

the rate of pitch band change. The active sections include mm. 1-44, 56-68, and 78-88;

those that can be described as static include mm. 45-55, 69-77, and 89-97. The degree of

activity varies within the active sections, with some sections (mm. 5-11) more active than

others (mm. 33-37) within the large sections designated as “active.” Within the static

3
The octave designations are based upon a numbering system in which the lowest C on the piano
is labeled as C1 and middle C is labeled as C4.

113
sections the same applies (e.g., 71-77 is more active than 89-97, yet is static when

compared to mm. 33-37 or the other measures labeled as “active”).

The pitch bands are the building blocks for this movement, but Scelsi used some

clear melodic motives as well. The motives are short and often varied in later statements

but are strong enough in character to be memorable. Each motive is based on simple

materials, usually no more than a few pitches with one characteristic interval, or is a

rhythmic motive based upon a single pitch. The motives appear to have structural

significance and will be addressed in this regard later.

The first motive (Motive A) is found in the first statement of the tubas (mm. 1-5)

that was described earlier. This statement, characterized by a rising or falling interval of

at least a fifth followed by a descent of a second, appears three other times. The next

appearance is in mm. 12-13 where it is varied by moving up an additional half-step

before descending a half-step. This statement is extended through mm. 14-15 where the

focus is placed upon the interval F/G-flat. The contour of the motive is similar to that in

mm. 1-5 without retaining the exact pitch content. The third appearance occurs in mm.

27-29 where the F/G-flat half-step is given even more significance by removing some of

the other pitches that were included in mm. 12-13. This statement retains the initial

upward leap (C-flat to F), but makes it less important by shortening the duration of this

figure while extending the duration of the F/G-flat. The final appearance of this motive

occurs in mm. 40-45 where the initial upward leap is eliminated and the focus shifts to

the single pitch, F. The G-flat is still present, but is minimized, and the range of the

motive is made narrower (D to G-flat). The most interesting aspect of this statement is the

inclusion of a statement of the motive transposed up a minor second (D-G-F-sharp)

114
which appears to serve as a reminder of the half-step expansion of mm. 1-12 as a closing

to the first large division of the movement. This motive, with its emphasis on F and

G-flat, clearly is related to Band I.

The second motive (Motive B) consists of the pitches F-E-G-flat-F and first

occurs in m. 52 by trumpet I. This motive obviously is related to the first through the

inclusion of the F and G-flat, but is of a different character. It is also significant that this

motive includes all of the chromatic pitches found in Band I. The second statement

appears in m. 56 in the first and second trumpets and tenor saxophone. It begins with the

F-G-flat-F in the trumpets and is extended and transposed an octave higher in trumpet I

and tenor saxophone with the F-E-G-flat at the end of the measure. The third statement

occurs in m. 65, played by trumpet I and tenor saxophone. This time it begins on G-flat

before the F-E-G-flat-F and is extended with an arpeggiated figure of D-F-B. A final,

truncated statement occurs in mm. 67-9 by the horns, trumpets, and tenor saxophone. In

this case only the F-G-flat interval is used and happens twice in quick succession, first by

trumpet I, then by horn I and tenor saxophone. The second horn and trumpet extend the

G-flat through m. 70, where the F returns in the first trumpet.

The third significant motive (Motive C) occurs twice, first in m. 47 then in m. 78.

This motive consists of two sixteenth notes followed by a sustained pitch band that has

G-flat as the highest pitch. The contour differs in the two statements, with the first

consisting of falling sixteenth notes followed by a large ascending interval and the second

consisting of ascending (or unchanging) sixteenth notes followed by a descending

interval. This motive is startling in effect both times because it is much louder and more

115
densely orchestrated than the previous measures. This motive also is derived from Band

I.

The fourth motive (Motive D) is derived from Band II and is static in pitch

content but highly rhythmic in nature. It first occurs in mm. 19-20 by the trumpets and

horns. It is nothing more than a series of B-flats that have a complex compound rhythm.

This motive seems to serve as a transitional figure and as an introduction to something

new, in this case a tempo change that follows in m. 22. The second appearance occurs in

mm. 43-4 by the trumpets. This time the rhythm is more regular, but is still a series of B-

flats with an A quarter-tone sharp. It serves as a transition into a new tempo in m. 45. The

third appearance occurs in m. 51 by the trumpets, with a new rhythmic figure. This time

it is a pitch band of B-flat and B quarter-tone flat, and serves to introduce the first

appearance of Motive B. The fourth appearance occurs in m. 64 by horn II, trumpet II,

and trombone I. This time the pitch band includes a B-flat by the horn and trumpet and an

A quarter-tone sharp by the trombone. This introduces another statement of Motive B.

The final appearance of Motive D occurs in m. 77 by the trumpets, horns, and tenor

saxophone. The rhythm is more unified in the horn II and trumpet II parts, although not in

unison, while the B-flat/A quarter-tone sharp pitch band is used once again. This

introduces the final statement of Motive C. A remnant of Motive D is found in m. 85: a

single eighth note made of the B-flat/A quarter-tone sharp pitch band in the trombones.

This serves to introduce the final section of the movement (m. 86).

Vertical pitch constructs are not a significant feature of this movement. The

“chords” that are included seem to be a result of overlapping individual lines and serve

no harmonic purpose. While simultaneities are important for the construction of the pitch

116
bands, constructs of three or more pitches are rare. The only significant appearance of a

clear triad is found in mm. 71-75, where a G-flat major triad occurs twice. The first is in

m. 71 with the G-flat for the tubas, the B-flat for the tenor saxophone, and the D-flat for

horn II. The second begins on beat four of m. 74 and continues through m. 75. It features

the same distribution of parts, but with tuba I now an octave above tuba II, and trumpet II

added on the G-flat an octave above tuba I. The trombones add quarter-tone interference,

circumscribing the G-flat.

The pitch construction of this movement creates a unique sound. The lack of

harmonic constructs and the focus on individual lines creates a sense that it is written for

one solo instrument capable of rapid changes of color and one that operates almost in

unison with the first, but is not able to produce a perfect unison either in pitch or in

rhythm. In this respect it appears that Scelsi had not moved too far away from his works

for solo wind instruments that were composed just prior to this work. He used the

ensemble more to generate colors, densities, and various degrees of loudness, resulting in

a single, colorful, undulating line.

Rhythm

The most striking feature of the rhythmic structure of this movement is the lack of

an audible pulse or meter. To the listener it appears to be very free and unstructured, quite

improvisatorial in nature, yet it is constructed of highly complex rhythmic figures that are

notated very precisely with a clear meter. Scelsi negated the pulse by using non-repetitive

rhythms with a variety of subdivisions in a constantly changing metric structure, and by

initiating events without regard for bar lines or traditional notions of strong and weak

beats or portions of beats. The rhythmic structures of this piece give the greatest support

117
to the idea that Scelsi created by recording improvisations, then transcribing and

orchestrating them. The metric structure appears to have been created out of the need to

incorporate the details of the improvisation, for there is little evidence that the meter

serves any purpose other than as an aid to performers. The rhythmic structure does not

appear to be affected at all by the metrical structure.

The composite rhythm of this movement (Refer to Example C.1 in Appendix C)

illustrates the rhapsodic nature of the rhythmic structure. No single instrument must

execute the most complex rhythms found in the composite. The complex subdivisions

found throughout are the result of simultaneous individual lines that incorporate a variety

of subdivisions. For example, the composite rhythm of m. 14 is created by simultaneous

sixteenth- and eighth-note triplet patterns on beat one, and simultaneous eighth note,

sixteenth note, and eighth-note triplet patterns on beat three.

The composite rhythm suggests a large-scale formal structure for the movement.

The first large section is mm. 1-44; the second is mm. 45-68; the third is mm. 69-85; the

fourth is mm. 86-97. The first three sections feature a general increase in rhythmic

activity from beginning to end; the last does the opposite, a more appropriate way to

bring the movement to its conclusion.

The idea that events incorporate increasing rhythmic activity as they move

through time is also apparent at more local levels within the movement. The first large

section, mm. 1-44, can be broken down into subdivisions based upon rhythmic activity as

follows:

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 a. 1-11
b. 12-21
c. 22-26
d. 27-32
e. 33-44

Each of these subsections begins with a simple, slow-moving composite rhythm. This

rhythm gains in complexity until the next subsection where a new, simple rhythmic

structure is introduced. As will be shown later, this type of rhythmic structure is a result

of the compositional device of event-structure used by Scelsi in this work.

Timbre/Instrumentation

As mentioned above, Scelsi placed timbre in a position of importance equal to

that of the other elements of composition. In this movement, timbre is emphasized

through several means, including the use of several devices for timbre alteration

including mutes, hand-stopping, trills, and flutter-tonguing, a variety of instrumental

combinations that often changed rapidly, a variety of register combinations, and quarter-

tones in combination with chromatic pitches. The instrumentation is carefully conceived,

with instruments given specific roles that then determine the combinations to be used.

The extensive use of timbre-altering devices employed in this movement is

striking. The most significant are mutes for the trumpets and trombones, hand-stopping

for the horns, wide vibrato and flutter-tonguing for most instruments, glissandi, and trills.

Table B.1 (in Appendix B) provides a breakdown of the frequency with which each

device is employed in each part, as well as the frequency of usage of each in the entire

movement. One can see that Scelsi employed a timbre-altering device in 57% of the

measures actually played by all of the instruments. Muting is most often used (42% of

measures played), followed by flutter-tonguing (18%). When one examines the data for

119
individual instruments, one sees that the trombones use mutes 100% of the time and

trumpets use them most of the time (95% and 82%, respectively). The instruments that

employ the fewest number of devices are the tubas (36% and 37%). The horns, trumpets,

and trombones employ some device over 50% of the time.

Although the chart indicates the frequency with which mutes are employed, it

does not provide information about the types of mutes used. Tubas are asked to use

straight mutes, but trumpets and trombones are asked to use a variety of mutes: wa-wa

open, wa-wa closed, wa-wa with the stem removed, fibre straight, metal straight, and cup.

Often a variety of mutes are employed simultaneously. Example 4.2 (mm. 42-48)

provides an illustration of the complex mute requirements for this movement. In this

example the trumpets use fibre straight mutes in mm. 42-44 and then change to cup mutes

in mm. 47-48. The trombones use open wa-wa mutes in mm. 45-46 then closed wa-wa

mutes in mm. 47-48. The trumpets use cup mutes and the trombones use open wa-wa

mutes simultaneously in mm. 47-48, all playing the same material. In this segment one

can also see how Scelsi used both open and stopped horn, with horn II open in m. 43,

horn I stopped in m. 44, and both open in mm. 45-47. It also illustrates the use of flutter-

tonguing by horn I (mm. 43-44) and wide vibrato by the horns and tenor saxophone (m.

48, beat 4).

120
 Example 4.2
Movement I, Measures 42-8

121
 There is no total silence in this movement: At least one instrument plays on every

beat or fraction thereof. The sound is continuous, but the combinations of instruments

vary considerably. The primary characteristic of the instrumentation is use of pairs,

although the pairs are not always of like instruments. The pairs often change quite

rapidly, expand to include more instruments, and often overlap with two or more pairs

playing unique material simultaneously. As mentioned earlier, the pairs are often written

with one on the chromatic pitch and the other on an adjacent quarter-tone. In the same

way, the two often use different types of timbral modification. The effect is that of one

instrument creating some type of interference for the other, creating a sound image that is

not clearly focused.

Example 4.3 (mm. 49-54) provides evidence of this characteristic. In m. 50 horn I

and trombone I play a unison F and horn II plays an E quarter-tone sharp to create

interference. In m. 51 horn II and trumpet II work together, with the trumpet on B-flat

and the horn on A quarter-tone sharp. In this case trumpet I is added with a rhythmic

figure (Motive D) on B quarter-tone flat. Trumpet I plays Motive B in m. 52, with horn II

adding a B to the G-flat played by the trumpet. In this case, the B creates a dissonance

with the sustained B-flat of horn I and trumpet II, although rhythmically it belongs to the

line of trumpet I. Measure 53 begins with horn II and trombone I together, playing an E

quarter-tone sharp and F respectively. On beat two the saxophone joins the first

trombone, with the pair playing the same line through m. 54 and the saxophone altering

the color through the use of wide vibrato in m. 54. Trombone II and tuba I form a second

pair in m. 53. The parts are not identical, but the tuba line fits into the trombone line with

the two a quarter-tone apart throughout. Horn II works with this pair, playing in unison

122
with the tuba in m. 53 and filling in the rests in the tuba part in m. 54. The horn adds a

new color through the use of flutter-tonguing. In m. 54 it appears at first that horn I and

trumpet I form a pair since they have a similar rhythmic figure that differs from the

others. On closer inspection it is clear that the B-flat of trumpet I works with the tuba I/

trombone II pair and the E quarter-tone sharp of horn I works with the saxophone/

trombone I pair.

Example 4.3
Movement I, Measures 49-54

123
 The highly organized nature of the instrumental writing, as shown by this

example, along with the tight structure of the pitch selection makes those things that

cannot be explained as a part of the timbre or pitch structure stand out. In this example

the G-flat in the saxophone and the B in trombone II on beat one of m. 51 are not easily

explained. It appears that these notes serve to punctuate the end of the sustained pitch of

m. 50 and the beginning of Motive D (m. 51), yet the pitches are a half-step away from

the other primary pitches. This is unlike the rest of the material in this segment. The best

explanation seems to be that each is part of one of the primary pitch bands used in this

movement and that they serve to introduce the return of both pitch bands in m. 52.

Another curiosity is the F quarter-tone sharp in horn I on beat three of m. 53. The triplet

figure that precedes it works with trombone I, but the trombone and saxophone descend

to a D. The F quarter-tone sharp creates an out-of-tune B diminished triad, with the B and

D in the tuba and saxophone/trombone respectively. One wonders if this is a mistake and

should be a D quarter-tone sharp instead, copying the contour of the trombone line and

creating a second chromatic/quarter-tone pair.

The instruments play specific roles in this movement which correspond to the

amount of time they are used. Although the roles are not constant, the majority of the

time it appears that the primary melodic lines are given to the horns, the saxophone, and

the tubas, with the trumpets and trombones providing “interference” in the form of timbre

alteration or playing a quarter-tone away from the melodic lines. The first column of

Table B.1 (in Appendix B) lists the number of measures of rest for each instrument. It is

clear that the horns and saxophone have the fewest measures of rest and the trumpets and

124
second tuba have the most. An examination of mm. 1-44 illustrates the division of duties

and the roles given to each instrument in this movement:

1-4: Tubas share melodic role.4 Horns add color.5 Saxophone articulates
entrances of the tubas. Trombone I adds color. Trombone II articulates6
tuba entrance.

5-7: Horns have melodic role, with Trombone II adding color. Saxophone has
second melodic role, with trombone I adding color.

8-11: Horns have melodic role. Tuba I adds color in m. 8. Saxophone adds color
in m. 11. Trombone II articulates horn entrances in m. 9. Tubas and
trombone I work together to supply a foundation for horn line.

12-15: Tubas and saxophone have melodic role. Trombones and horn II add
color and rhythmic interference to melody. Horn I articulates tuba I line
(m. 14).

16-18: Horns have melodic role. Saxophone has second melodic role. Trombone I
articulates and adds color.

19-21: Transition. Trombone II and tuba I have melodic role. Others equal.
Trumpets enter for first time.

22-25: No clear melodic role. Horns I and II, saxophone, trombone I (in mm.
24-25), trombone II, and tuba I work together. Trombone I (in mm. 22-
23), trumpet II, and tuba II work together.

26-33: Tubas and saxophone have melodic role. Horns and trombones work
with the melodic line, weaving in and out, sometimes providing color, and
sometimes doubling at the unison or the octave. Trumpet II has a rhythmic
part that actually works with the melodic line (mm. 30, 32).

34-39: Tuba I and saxophone begin with the melodic role (mm. 34-35), which
moves to the tuba II and trombone II (mm. 35-36), then to horn II and tuba
I (m. 37). In mm. 38-39 the roles are not clearly defined.

40-44: Tubas have melodic role. Horns add color. Trumpets punctuate the
melodic line with rhythmic embellishments. The saxophone articulates the

4
The “melodic role” is defined as the most prominent line that does not incorporate quarter-tones.
5
“Color” is defined as either timbre alterations or use of quarter-tones adjacent to pitches of melodic line.
6
“Articulate” is defined as playing a short note of the same or similar pitch at the beginning of a longer
note played by another instrument.

125
 tuba line. (The roles here are very similar to those in mm. 1-4, except the
trumpets replace the trombones.)

The roles are less clearly defined from m. 45 to the end. A greater sense of

equality exists, because the trumpets now play a more prominent role, if we consider their

role in Motives B and D as described earlier, and the tubas become much less prominent.

The saxophone continues to have a melodic role, but trumpet I and trombone I assume

more of this role while the horns begin to supply more color than melody. The melodic

motives in this section are much shorter than in mm. 1-44, so the concept of a melodic

role becomes less significant and the equality of voices becomes more noticeable.

Form

The formal structure of this movement is elusive. Close examination of the music,

as well as the transcription graph, the composite rhythm, and the pitch table, yields no

evidence of structural repetition. Although there appear to be some clear motives, there is

no clear structure at the level of the motive. The motives are signposts within the larger

structure, but their reappearance does not signal repetition nor does it necessarily signify

a structural delineation. The large-scale structure of the movement can be discerned only

through examination of several factors including pitch content, rhythmic structure,

timbre, registration, and motives.

At the lowest level of construction, this movement is a series of events. Each can

be identified by its pitch content, rhythmic structure, instrumentation, loudness, register,

and level of activity. The events vary in length, as well as content, and have clear shapes.

There may be disagreement about the exact limits of each event, but it is possible to

126
identify and label each event in the movement. Table 4.2 provides the details of the event

structure of this movement:

Table 4.2
Event Structure of Movement I
Event Measures Event Measures
1 1-4 15 51-55
2 5-7 16 55-58
3 8-11 17 58-63
4 12-15 18 63-66
5 16-18 19 66-70
6 19 20 71-73
7 20-21 21 73-75
8 22-25 22 75-77
9 26-30 23 78-81
10 30-33 24 81-84
11 34-39 25 85-87
12 40-44 26 88-89
13 45-48 27 90-93
14 48-50 28 93-97

Table 4.2 illustrates that the events are not equal in length and are quite short. The

longest is six measures (Event 17, mm. 58-63), and the shortest is one measure (Event 6,

m. 19). Each event can best be described as a surge of energy with a new pitch level,

register, or rhythmic figure introduced. Most of the events have more energy at the

beginning than at the end, creating “waves of sound.” The motion of the events provides

a cumulative sense of forward motion to the movement. With no harmonic motion, a

rhythmic structure that creates stasis, and no clear melodic structure, Scelsi had to create

a method for moving the piece forward through time. This is accomplished through the

event structure.

127
 The four motives described earlier are contained within individual events. Motive

A is found in Events 1, 4, 9, and 12; Motive B is found in Events 15, 16, 18, and 19;

Motive C is found in Events 13 and 23; Motive D is found in Events 6, 12, 15, 18, and

22. Motive A does not occur later than Event 12 and Motives B and C do not occur

before Event 13. Motive D occurs throughout the work. The motives appear to help

define the large-scale structure of the work, with a clear division between Events 12 and

13. If this is the case the work may be divided into two parts, the first ending in m. 44 and

the second part beginning in m. 45. It is interesting that none of the motives appear after

Event 23, a fact that may also have structural implications.

The composite rhythm (Example C.1, Appendix C) also may be used to examine

the large-scale structure of the movement. As described earlier, the composite rhythm has

a series of sections that gradually increase in activity and complexity as follows: mm. 1-

44; mm. 45-68; mm. 69-85; mm. 86-97. The first large division, between mm. 44 and 45,

corresponds to the large division implied by the motivic content, and the others do not

correspond at all.

The transcription graph (Appendix D.1, Appendix D) provides much information

that can be used to define the large-scale structure. If one examines the various levels of

activity throughout the movement as illustrated by the durations, the movement between

pitches, and the rate of color change, a general structure appears:

128
 Table 4.3
Structure of Movement I as Illustrated by Transcription Graph

Measures Description
1-8 Range A2-E4. Focus on E3 and then B3. Pitch rise. Active.
8-11 Range D-flat3-F4. D-flat3 pedal with activity above focused on B-flat3
and F4.
12-15 Range B2-F4. Lower in tessitura than 8-11. No pedal. Active.
16-18 Range B2-G-flat4. Stratified at extremes of range. Static.
19-27 Range B-flat2-B-flat4. Four pitch bands: F3, B-flat3, F4, B-flat4. Color
and rhythm are active. Pitch is static.
27-9 Range B-flat1-F4. F3 is focal pitch. 27-8 are static; 29 is active.
30-2 Range B-flat1-F4. Four pitch bands: B-flat2, F3, B-flat3, F4. Color and
rhythm are active. Pitch is static.
33-44 Range C2-B-flat4. F3 is focal pitch, with activity above and below. Pitch
bands are very active.
45-53 Range F3-G-flat5. Tessitura rises. F3 disappears after 45. F4 and B-flat4
are focal pitches. Static; each pitch band is sustained before moving.
54-62 Range A3-G-flat5. Tessitura remains high. F4 emerges as focal pitch.
Color changes with the use of the G-flat4 band above the F4 band. Pitch
is static.
63-6 Range F3-B4. B-flat4 is focal pitch. Activity below B-flat4 around F4
and B-flat3. Active.
67-70 Range B3-G-flat5. Pitch rise from F4 to G-flat4, with return of F4 in 70.
Narrow range. Static.
71-5 Range G-flat2-B-flat4. Several layers of static pitch. The highest degree
of simultaneity in movement. F4 remains the strongest band. Static.
78-88 Range F3-G-flat5. Dense pitch bands F3, B-flat4, F4. Pitch bands are
active. Bands do not occur simultaneously. Active.
89-97 Range A2-B-flat4. Dense pitch bands B-flat2, B-flat3 (89 only), B-flat 4.
Single pitch F4 sustains. Static.

From viewing the transcription graphs, it becomes clearer that there is a strong

division at the end of m. 44. In mm. 1-44 there is a greater degree of activity than in

mm. 45-97. The tessitura changes dramatically at m. 45, as well. Although there is a

return of pitches in octave two, they are not significant in mm. 45-88 except for mm. 71-

75. There is no use of octave five in mm. 1-44, and octave four is significant only in

129
mm. 19-27. Octave three is most significant in mm. 1-44, and in mm. 45-88 octave four

is most significant.

The information provided by the transcription graphs indicates that mm. 89-97 is

a new section. The section is very static, and the pitch bands are dense and polarized at

B-flat2 and B-flat4. This texture has not been used prior to this point. It appears that this

section functions as a coda that reinforces the idea of B-flat and F as the focal pitches of

the movement. The music dissipates during these measures, with dense pitch bands being

reduced to the single, primary pitches.

On the basis of the evidence provided by the event structure, motivic content,

composite rhythm, and transcription graphs, it is apparent that the movement can be

divided into three large sections:

Section A Section B Section C

1-44 45-86(88) 87(89)-97

The division between the first two sections is obvious, but that between the second and

third is not. The composite rhythm indicates that the division occurs at m. 86, not m. 89,

while the score indicates a tempo change at m. 86.

Clearly, the formal structure of this movement cannot be discerned by tradition

analytical approaches. The tessitura and degree of “activity” appear to be the most

significant factors in creating form, although the degree of polarization or stratification of

pitch bands and rhythmic structure as found in the composite are also important. It is

obvious, however, that a variety of approaches must be used to get a clear picture of this

music. The techniques used to determine the structure of this movement will be used on

subsequent movements with more tangible results.

130
Second Movement

The second movement makes use of the full complement of winds without

percussion. It is ninety-four measures in length with a tempo of quarter-note equals sixty

beats per minute. There are no internal divisions or tempo changes indicated in the score.

Several meter changes occur, as in the first movement.

Pitch

A clear focal pitch for this movement is shown in Chart A.2 (Appendix A). The

focal pitch is F, or more correctly, the pitch band that includes F, F quarter-tone sharp,

and G-flat. The only large-scale addition to this band occurs in mm. 45-62, where there is

an appearance of several additional pitches, primarily D-flat. As the chart also indicates,

not all chromatic pitches are used (there is no A-flat), and only five quarter-tones are

used. The limited pitch collection and the static quality of the pitch content are major

characteristics of this movement. Table 4.4 provides details of the pitch content and

frequency:

Table 4.4
Pitch Frequency/Movement II
Rank Pitch Frequency Rank Pitch Frequency
1 F 82 9 C 5
2 Gb 74 10 D 4
3 F╪ 68 Db 4
4 E╪ 26 12 B 3
5 Gb* 19 Eb 3
6 Db 14 14 G 2
7 E 12 15 A 1
8 C╪ 6 Bb 1

* - Italics (Gb) indicates quarter-tone flat.

** - ≠ indicates quarter-tone sharp

Quarter-tones are used in the same way as in the first movement. Never alone,

they appear in conjunction with an adjacent chromatic pitch, and often are displaced by

131
an octave. Example 4.4 (mm. 21-30) provides an illustration. Trombone II enters on an F

in m. 22 followed by trombone I on F quarter-tone sharp in m. 24. Horn II and saxophone

also enter in m. 24, but with G-flat. This pitch band remains through m. 25. At this point,

horn I enters on F and horn II enters on E quarter-tone sharp, and in m. 28 tubas enter on

F and trombone II enters on E quarter-tone sharp. In m. 28 trombone I circumscribes the

F with F quarter-tone sharp followed by E quarter-tone sharp. In m. 29 trombone II and

trumpet I enter on G-flat, followed by trombone I on F quarter-tone sharp. This example

illustrates the use of quarter-tones and also the pervasive nature of the F/G-flat pitch

band.

132
 Example 4.4
Movement II, Measures 21-30

133
 One exception to the practice that quarter-tones only appear with adjacent

chromatic pitches is found in mm. 87-92 (Example 4.5) where a C quarter-tone sharp

appears in the part for horn I. Scelsi indicates that it should be played very softly (ppp)

with a mute and like a harmonic (come un armonico). The lowest pitch occurring

simultaneously is F1. The C quarter-tone sharp is the twelfth partial of the harmonic

series on F, albeit “out-of-tune.” The inclusion of F quarter-tone sharp as a simultaneous

pitch may account for the use of C quarter-tone sharp rather than C. By incorporating this

pitch Scelsi created a unique sound that is similar to the effect of string harmonics. If he

did create this work first on a keyboard, one would have to speculate that this partial was

prevalent in the spectrum of F1 on that particular instrument.

134
 Example 4.5
Movement II, Measures 87-94

135
Rhythm

The composite rhythm is less complex than that of movement I (Refer to Example

C.2 in Appendix C). Although a variety of subdivisions are used, triple and duple

subdivisions coexist in few places. The degree of rhythmic activity corresponds to the

static nature of the pitch structure as discussed earlier. Two significant issues concerning

rhythm in this movement, however, are not observed in movement I: the inclusion of

silence and of repetition.

This movement contains several points of measured silence that never occur in

movement I. The points of silence are found in the following measures: 20, 43-44, 47, 50,

56-57, 62-63, and 83-84. The points of silence serve to stop motion and enhance the static

nature of the movement. They also serve to articulate structure on some level, although

they do not necessarily articulate the large-scale structure of the movement, as will be

shown later.

The use of repetition is the most significant issue discovered through examination

of the composite rhythm. Measures 75-83 are a literal repetition of mm. 35-43. The area

of repetition could be extended to include mm. 66-74 as a repeat of mm. 26-34, although

these two sections are merely similar, not exact repetitions. At this point, it is interesting

to note the proximity of the repeated sections to the moments of silence in m. 20 and m.

63. Although there are no indications of repetition in the rest of the movement, the

limited use of repetition obviously will be significant in determining the large-scale

structure of the movement.

136
Timbre/Instrumentation

As in movement I, Scelsi employed a large number of timbral alterations (Refer to

Chart B.2 in Appendix B). Timbral alterations occur in 80% of the measures played.

Trumpets and trombones are muted throughout the movement, although as in the first

movement a variety of mutes is designated. The use of glissandi and trills is more

common in this movement, but the frequency of use of wide vibrato and flutter-tongue is

the same. Muting and stopping remain the most significant timbre-altering devices.

The use of altered tone combined with unaltered continues as in movement I, as

does the simultaneous use of different effects. Example 4.6 (mm. 40-48) illustrates this

point. In mm. 40-41 the trombones use open wa-wa mutes, the horns are stopped, the

tubas are not muted, and trumpet II uses a fibre straight mute. In addition, tuba I employs

wide vibrato and the tenor saxophone has a trill. As a second example, in m. 45, the tubas

are muted and trumpet II and trombone I and II now employ straight metal mutes, horn II

is muted, and horn I is open. At the same time trumpet II, trombone II, and tuba II flutter-

tongue, and tuba I has a trill. The result is a unique, complex timbre.

137
 Example 4.6
Movement II, Measures 40-8

138
 This example provides an illustration of another technique used by Scelsi that

appears to affect the rhythmic structure, but in fact is a timbre-altering device. In mm. 40-

41, the trombones and tuba II have a series of rapidly repeating pitches as the saxophone

and horn hold a sustained pitch. This serves to change the color by providing a rapid

pulsation, an effect that serves to enhance the intensity of the sound. This effect always is

found in conjunction with a sustained pitch so that the intent is to color the sound, not to

create a significant rhythmic structure.

Loudness

Levels of loudness play a significant structural role in this movement. In Table

4.5, the levels of loudness for each measure are listed either as soft (ppp-mp) or loud (mf-

fff). Upon examination of the data one sees that the soft levels are more frequent than

loud levels in all of the movement except mm. 44-62. This section is also the area of

greatest pitch activity in the movement (see Chart A.2, Appendix A, and the discussion

above) and the section that includes the majority of the points of silence. By examining

the loudness levels along with the rhythmic structure and pitch content, it is clear that this

section is unique within the movement and a distinct section.

The areas of repetition described above (mm. 26-43 and 66-83, included in the

shaded areas of Table 4.5) are distinguished by similar loudness schemes. By comparing

mm. 35-43 with 75-83 one sees that the sequence of loudness levels is almost the same in

both. The exception is that m. 39 is loud, whereas m. 79, the corresponding measure, is

soft. The loudness schemes of mm. 21-34 and 63-74 are also similar. In this case both are

characterized by a soft beginning followed by a measure by measure alternation,

concluding with two soft measures. The only differences are that the first section is

139
 Table 4.5
I Presagi, Movement II
Dynamics Table

ppp-
1 2 3 4 5 6 7 8 11 12 13 15 18 19 20 21 22 23 24 25 27 29 31
mp
mf-fff 9 10 14 16 17 26 28 30 32

33 34 36 37 38 42 43 44 54 57 58 63 64 65
35 39 40 41 45 46 47 48 49 50 51 52 53 55 56 59 60 61 62

66 67 68 69 71 73 74 76 77 78 79 82 83 84 85 86 88 89 90 91 92 93 94
70 72 75 80 81 87

- Structural repeated section - Measures that are an exact repeat

140
longer and has two additional alternating measures (28-29), and m. 26 is loud and m. 68

is soft. The repetition of both the rhythmic structure and the loudness scheme indicates

that these sections have structural significance.

The opening and closing sections are similar to each other in that they provide a

soft beginning (mm. 1-8) and closing (mm. 88-94) of similar durations. The examination

of the loudness scheme of this movement indicates that the movement is a modified arch

form (ABCB¹A¹) with A mm. 1-20, B mm. 21-43, C mm. 44-62, B¹ mm. 63-83, and A¹

mm. 84-94. Although other issues must be addressed concerning form, it is clear that

loudness is an important structural element in this movement.

Form

On the smallest level this movement is constructed as a series of events, much

like movement I. The events in this movement are more clearly articulated and of greater

duration than those in movement I. Some events start at the beginning of a measure and

others in the middle. Table 4.6 provides the outline of the event structure.

Table 4.6
Event Structure of Movement II
Event Measures Event Measures
1 1-8 10 50-54
2 8-12 11 54-56
3 12-20 12 57-62
4 20-26 13 63-68
5 26-28 14 68-71
6 28-31 15 70-76
7 31-36 16 76-83
8 36-43 17 85-89
9 44-50 18 89-94

The events in this movement have a similar shape. In most cases a single voice or

small number of voices enter, followed by the others in some type of succession. The

141
order of entries is not significant. The event increases in density then dissipates, creating

the effect of a wave of sound. The waves often overlap, sometimes for more than a

measure (e.g., Events 14 and 15). Example 4.7 (mm. 21-30) provides an illustration of the

event structure used in this movement. Event 4 begins with horn I (m. 20), then trombone

II entering in m. 22 and horn II, saxophone, and trombone entering in m. 24. As this

event dissipates in mm. 25-26, event 5 begins in the horns and tubas in m. 26. Event 5

reaches its climax in m. 28 (beat 1) and quickly dissipates (beat 2) as event 6 begins with

the saxophone (beat 2). The next entries are trombone II and trumpet I, horn II and

trombone I, horn I, and tuba I.

142
 Example 4.7
Movement II (Measures 21-30)

143
 The event structure has a direct correlation to the structure based upon the

loudness scheme (Table 4.5): Section A includes events 1-3, section B includes events 4-

8, section C includes events 9-12, section B¹ includes events 13-16, and section A¹

includes events 17-18. The beginnings of the sections of the large-scale structure

illustrated in Table 4.5 correspond to the beginnings of events. A comparison of sections

B and B¹ with the corresponding event structures reveals the relationship between the two

analytical approaches:

Section B Section B¹

Event 4 Event 13
Event 5
Event 6 Event 14
Event 7 Event 15
Event 8 Event 16

Four events from section B correlate with four events from section B¹. B is two measures

longer than B¹, with the added length equal to the length of event 5. As the additional

material, event 5 does not correspond to anything in B¹. This example provides evidence

of the significance of the event structure, because Scelsi increased the length of a section

by adding a clear event, not merely extending one.

The transcription graph (Chart D.2, Appendix D) adds evidence in support of the

structure as it is outlined above. Measures 35-41 are identical to mm. 75-81, while mm.

28-34 and 68-74 are very similar to each other, as are mm. 23-27 and 63-67. It is

significant that the pitch structure does not correspond to the event structure or the

loudness scheme in mm. 23-27 and 63-67. While the event structure points to mm. 27-28

as the added measures in section B, the transcription graph points to mm. 21-22 as the

144
added measures. Scelsi appears to have retained the pitch content while altering the event

structure and loudness scheme.

The transcription graph also illustrates the high degree of contrast provided by

section C (mm. 44-62). In this section D-flat3 and D-flat5 are used prominently along

with F3, F4, and F5. Not only is a new pitch added, the tessitura also is higher. Prior to

this section, F3 was the pervasive pitch with occasional appearances of the F4 pitch band.

In this section F3 is present but much weaker, while F4 and F5 are stronger. The rise in

tessitura, the use of several layers, the use of a new pitch that only appears in this section,

and the frequent use of silence to articulate events (see above) are unique to section C. In

many respects it appears as though Scelsi treated this section as a type of “development.”

There appear to be two plausible formal structures for this movement. The first is

that it is an arch form, as described above. The second is not as convincing, yet more

intriguing: It could be viewed as a type of “sonata” form, with m1-20 serving as the

introduction, mm. 21-43 as the exposition, mm. 44-62 as the development, 63-83 as the

recapitulation, and 84-94 as the coda. The interpretation as a type of sonata form is

possible because of the developmental nature of section C (mm. 44-63) and the fact that

Scelsi was well grounded in traditional Western forms. In either case there are five

distinct sections with the second and fourth the same.

Third Movement

The third movement uses the full complement of winds, timpani, bass drum, and

wind machine. In addition, the winds are required to blow air through their instruments

(soffiando nel tubo) at two points (mm. 1-4 and 47-48), a technique not required in the

145
previous movements. The movement is eighty-nine measures in length with an initial

tempo of quarter-note equals sixty beats per minute. There are two areas where tempo

modifications are indicated in the score, mm. 18-21 and 72-75. In both cases the first

measure is labeled movendo with an increase in tempo to seventy-two beats per minute;

the third measure is labeled ritenuto and the fourth measure is labeled al tempo with a

return to sixty beats per minute.

Pitch

The pitch structure of this movement is more difficult to ascertain than that of

previous movements. The pitches are organized in clearly defined pitch bands, often with

two distinct bands occurring simultaneously. In this case, however, the two bands are not

always the same. As illustrated in Chart A.3 (Appendix A), three pitches emerge as

possible focal pitches: B-flat, F, and A, all present in more than 50% of the measures.

Close examination of the pitch chart does not provide clarity, only the revelation that

there appears to be a greater equality and density of pitches in this movement. Table 4.7

illustrates the pitch frequency of this movement.

146
 Table 4.7
Pitch Frequency/Movement III

Rank Pitch Frequency Rank Pitch Frequency

1 Bb 71 11 B╪ 18

2 F 61 12 F╪ 10

3 A 56 13 Gb 13

4 A╪** 46 14 Ab 7

5 C 44 15 Ab 5

6 E 37 16 G 3

7 E╪ 27 D 3

8 Bb* 20 18 Eb 2

9 B 19 19 C╪ 1

Db 19

* - Italics (Bb) indicates quarter-tone flat.

** - ≠ indicates quarter-tone sharp

The transcription graph (Chart D.3, Appendix D) does provide clarity to the pitch

structure. Two pitch bands are present, one that incorporates E and F and one that

incorporates A and B-flat. In both cases the emphasis within the pitch band shifts from

one pitch to the other. Both chromatic pitches of each pair occur simultaneously only

during the period of transition from one to the other. The transitions are accomplished by

“sliding,” and often include a glissando or a trill (e.g., mm. 3-5 in the A3 pitch band; mm.

21-23 in the A2 pitch band). The pitch bands often occur in more than one octave

simultaneously (e.g., mm. 22-24, where B-flat1, B-flat2, and B-flat3 appear together).

The transcription graph also illustrates the relative strength of each pitch band.

The A3/B-flat3 band is the most prevalent, appearing in all measures except 1-2, 41, 45-

147
49, and 89. It has the greatest density, particularly in mm. 25-40 and 56-88, and thus

emerges as the strongest. The A/B-flat band appears in octaves one and two as well, often

simultaneously with octave three, although the strength of octaves one and two is never

as great as that of octave three. Because of its lesser density, the E/F pitch band is rarely

as strong as the A/B-flat band.

The pitch bands can be used to clarify the large-scale structure of the movement.

The A pitch band is prevalent in mm. 1-21 in octaves two and three. Although the F3

pitch band is also present, it is not as strong as the A band. The A pitch band is also

prevalent in mm. 71-89. In this case the B-flat is included at times, but never without the

A; there is no shift in the band, only an expansion. The F2 pitch band is prevalent only in

mm. 43-50. In mm. 22-42 and 51-70 the A/B-flat pitch band prevails, although the band

shifts from A to B-flat and at times expands to include B and C. Examples of this are

found in mm. 33-35 (octave three), mm. 38-42 (octave two), mm. 50-56 (octave three),

and mm. 58-60 (octave three). The E/F band rarely expands, although in mm. 59-61 G-

flat 2 and G2 are present. There are few instances where pitches outside the bands have

significance. One exception is the inclusion of an unadorned D-flat3 in mm. 24-30 and

again in 63-68.

Rhythm

The rhythmic structure of this movement is complex. As mentioned earlier, the

composite rhythm is too complex to notate coherently and does not appear to yield any

significant insights. The purpose of the heightened rhythmic activity of this movement is

to create intensity. The rhythms are irregular, and different types of subdivisions are

layered, creating much ambiguity. As a result, the rhythmic structure does not provide

148
any sense of forward motion. In other words, the complex nature of the rhythmic

structure creates greater stasis.

Although the rhythmic structure of this movement does not appear to have

significance outside of serving to create stasis, the metric structure has great significance.

As illustrated in table 4.8, the metric structure creates a palindrome. While the

palindrome is not exact, there is enough evidence to conclude that one exists. Measures

7-26 and 66-85 create an exact metric palindrome, as do mm. 1-4 and 86-89 and mm. 46-

47 and 48-49. Measures 28-43 and 50-65 are very close, in that each has the same total

number of beats, although mm. 28/65 and 38/55 are reversed. The only variations are a

result of additional measures found in the forward half of the palindrome (mm. 5-6, 27,

44-45).

Timbre/Instrumentation

The same types of timbral alterations are employed in this movement, but the

emphasis is different than that of the previous movements (Refer to Chart B.3 in

Appendix B). Timbral alterations are employed in 79% of the possible measures, a

frequency much higher than that of movement one and very similar to that of movement

two. The difference in this movement is found in the frequency of the types of alterations

used. Whereas the use of mutes was the primary alteration employed in movements one

and two, in this movement the frequency of wide vibrato is equal to that of muting. In

addition the frequency of trills is much greater and that of flutter-tongue much less.

Vibrato and trills enhance the intensity created by the rhythmic structure.

149
 Table 4.8
I Presagi, Movement III
Pitch Focus Areas
Measure 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25
Meter 4 4 4 4 3 3 4 4 3 2 3 3 3 3 3 3 4 3 4 4 2 2 3 4 4
Meter 4 4 4 4 4 4 3 2 3 3 3 3 3 3 4 3 4 4 2 2 3 4 4
Measure 89 88 87 86 85 84 83 82 81 80 79 78 77 76 75 74 73 72 71 70 69 68 67

26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47
4 2 3 4 4 3 3 3 4 4 3 3 4 3 3 3 3 3 3 3 3 4
4 4 4 4 3 3 3 4 4 3 3 3 3 3 3 3 3 3 4
66 65 64 63 62 61 60 59 58 57 56 55 54 53 52 51 50 49 48

- Focal pitch A - Focal pitch F

Table 4.9
I Presagi, Movement III
Wind Machine
Measure 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25
Meter 4 4 4 4 3 3 4 4 3 2 3 3 3 3 3 3 4 3 4 4 2 2 3 4 4
Meter 4 4 4 4 4 4 3 2 3 3 3 3 3 3 4 3 4 4 2 2 3 4 4
Measure 89 88 87 86 85 84 83 82 81 80 79 78 77 76 75 74 73 72 71 70 69 68 67

26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47
4 2 3 4 4 3 3 3 4 4 3 3 4 3 3 3 3 3 3 3 3 4
4 4 4 4 3 3 3 4 4 3 3 3 3 3 3 3 3 3 4
66 65 64 63 62 61 60 59 58 57 56 55 54 53 52 51 50 49 48

- Measures in which wind machine is used

150
 There are other features that distinguish the timbre of this movement. First,

significantly fewer rests appear in the individual parts than in movements one and two.

This creates a sound mass of greater density than in the other movements, with an

increased level of energy that also enhances the intensity created by the rhythmic

structure. Although loudness does not play a structural role in this movement, the effect

of the density is an increase in loudness.

Second, the tessitura is much lower than the other movements. The highest pitch

in this movement is B4, but excursions into the fourth octave are rare. In addition, the

inclusion of timpani and bass drum strengthens the low tessitura. As a result the overall

color is “darker” than in previous movements, which serves to enhance the higher degree

of intensity of this movement.

Third, two types of non-pitched colors are incorporated. As mentioned earlier, the

wind players must blow air through their instruments at two points, mm. 1-4 (Example

4.8) and mm. 47-48 (Example 4.9). This provides an unusual color, and the points at

which it is used have structural significance, which will be illustrated later. A wind

machine is added at several points, with a much greater impact on the color than does the

air through the tubes. The use of the wind machine is illustrated in Table 4.9. It appears

that the entrances of this instrument can be explained as part of the palindrome, with two

clear exceptions. First, the wind machine is used in mm. 87-89 (Example 4.10) because it

is the end of the work and provides a louder and stronger conclusion than would air

blown through the instruments, as found in mm. 1-3. Scelsi seems to have considered the

wind machine as a louder variant of air through the tubes. The explanation for the second

(mm. 55-56) is less sound, but possible when one considers Scelsi’s strong interest in

151
mysticism. Measures 55-56 are the Golden Mean of the movement, and the wind

machine may be used to highlight this fact.

Example 4.8
Movement III, Measures 1-6

152
 Example 4.9
Movement III, Measures 42-9

153
 Example 4.10
Movement III, Measures 84-9

154
Form

There is significant evidence that this movement is a palindrome. As already

mentioned, Table 4.7 illustrates the palindrome created by the metric structure and the

way the pitch structure clearly fits, and Table 4.8 illustrates how the use of the wind

machine can be explained as a part of the palindrome. There is more evidence to be found

through close examination of the transcription graph and the score.

At first glance it appears that the movement is divided into two sections (mm. 1-

47 and 48-89), the beginning of each articulated by the use of air through the tubes. One

might conclude that the movement is in a binary form, except that the material on either

side of the air through the tubes in m. 48 is similar, with that of mm. 48-50 like that of

43-46, not like that which begins in m. 2. Measures 47-48 appear to be an axis rather than

the beginning of a recapitulation.

The second point of curiosity is to determine the purpose for the two segments in

which a tempo change is indicated. Upon examination it is clear that mm. 71-74

(Example 4.11) is the reverse of mm. 18-21 (Example 4.12). This fact is masked by the

use of voice exchange, although it is clear that the parts for tuba II and both trombones

are exact palindromes. The transcription graph provides further evidence of the nature of

these measures. (Chart D.3, Appendix D; the segments in question are shaded on the

graph.)

155
 Example 4.11
Movement III, Measures 67-77

156
157
 Example 4.12
Movement III, Measures 13-24

158
159
 The third point is to examine the dense A3 pitch band found in mm. 25-40 and

53-67, as illustrated by the transcription graph. The most identifiable feature of these

sections is the expansion of the band to include B and C in mm. 33-35 and 58-60. In

examining these segments, it is clear that m. 60 corresponds to m. 33 because of the

absence of B-flat3, which is present in the other measures; m. 59 corresponds to m. 34

because of the limited inclusion of B-flat3; and m. 58 corresponds to m. 35 because of the

strength of B-flat3. It is clear that mm. 33-35 are the opposite of 58-60. With this

determined it is possible to trace the palindrome through mm. 25-40 and 53-67.

Although this movement is not an exact palindrome, the evidence is strong

enough to conclude that Scelsi designed the movement as a palindrome. Even though on

the surface a palindrome is a binary form, Scelsi chose to highlight the binary nature in

such a way as to mask the palindrome. The structure of this movement is determined by

the character, that of intense stasis, as has been described earlier. A structure based upon

a series of events as found in the previous movements would disrupt the character, so a

different approach was required. For this reason Scelsi turned to a structure that would

negate any sense of forward motion and enhance the intense, static character of the

movement.

160
Comparisons with Tibetan Music

I Presagi has clear and strong connections to the music of the Tibetan Buddhist

Ritual as described in Chapter 3. There are clear connections in the treatment of pitch,

rhythm, timbre, and loudness. In both Tibetan music and I Presagi, time is suspended;

there is no sense of forward motion. The approaches taken to analyze I Presagi are

similar to those that would be used to analyze Tibetan music. The following are

descriptions of the similarities found in each of the four elements outlined above.

Pitch

As in Tibetan music, there is no scalar pitch collection used. Instead Scelsi used

focal pitches and pitch bands as the defining pitch element of each movement. The use of

pitch bands is very similar to the concept found in Tibetan music of a single line played

not quite in unison. As described in Chapter 3, the Tibetan Ritual Orchestra consists of

pairs of instruments, with the pairs often playing quite “out of tune” to Western ears.

Scelsi utilized pitch bands of chromatic pitches and adjacent quarter-tones as the building

blocks of pitch structure, creating the effect of the out-of-tune pairs. Because of this he

rarely used the quarter-tones independent of the chromatic pitches. They serve to imitate

the pitch structure of Tibetan music.

The range of the pitch bands is narrow, much like the ranges of the Tibetan

instruments. These instruments have a very limited range as compared to Western

instruments, so Scelsi exploited this sound by using layers of pitch bands, rather than

Western melodic structures. In addition, the pitch bands, especially in the third

movement, appear to slide rather than move in discrete steps. This is much like the

dbyangs-type melodic structure used in Tibetan music. Scelsi also incorporated the

Tibetan concept of pitch expansion in movements one and three. This is illustrated in the

161
gradual pitch expansion in mm. 1-12 of movement one and in the expansion and

contraction of the A3 pitch band in mm. 32-36 and 56-61 of movement three.

Rhythm

The rhythmic structure of I Presagi is much like that of Tibetan music. There is

no sense of pulse and no audible metric structure. The rhythms are non-repetitive as in

Tibetan music and incorporate a variety of subdivisions. Thus, the rhythm is very fluid

and does not provide a sense of forward motion. In addition, Scelsi increased the

rhythmic complexity of his work through layering, much like the technique used in

Tibetan music.

Timbre/Instrumentation

The most obvious similarity between I Presagi and Tibetan music is found in the

orchestration. In both cases an ensemble of paired wind instruments is used, with most

coming from the brass family. One difference is that Scelsi did not use a double reed

instrument in the same way as the rgya gling is used in Tibetan music. The saxophone

does not serve the same function as does the rgya gling, that of playing rapid,

improvisatorial lines. Another difference is that the pairs employed by Scelsi are not

always utilized in the same way as are the instrument pairs in Tibetan music. The pairing

of chromatic and quarter-tone lines appears both within and across pairs of instruments in

I Presagi, whereas pairs of like instruments always work together in Tibetan music.

Timbral alteration is prevalent in Tibetan music, as it is in I Presagi. In Tibetan

music timbral alteration is used to invoke and/or please divine beings. Thus it is of

primary importance in this music, much as it is in Scelsi’s music. The extensive use of

timbral alteration by Scelsi cannot be accounted for in any other clear way.

162
Loudness

Loudness is an important aspect of Tibetan music that serves a melodic function.

Scelsi did not employ degrees of loudness in this way, nor does loudness appear to play a

significant role in movements one and three. It does play a role in movement two, but it

serves a role that helps define form. There is no indication that changes in loudness

correspond to any other element or serve a melodic function.

Form

The main similarity between I Presagi and Tibetan music is the use of the event

structure. In Tibetan music the passage of time in music is measured by the passing of

events. There is no other type of formal structure in most Tibetan music. Scelsi used this

structure in movements one and two. He appears to have straddled both the Tibetan and

Western worlds in his handling of form, utilizing event structures along with more typical

Western formal structures such as repetition and palindrome.

The purpose of the three-movement structure is not clear. Scelsi used movements

in most of his works, including both the solo works from the years preceding I Presagi

and the ensemble works that followed. Although most works are constructed in three

movements, not all are For example, Quattro Pezzi is in four movements, as the title

indicates. The Tibetan ritual, as described in chapter three, has three parts: “Motivation,”

Sacrifice,” and “Dedication.” It is not clear that Scelsi used this idea as the basis for this

work, because the music in each movement does not always reflect the mood or purpose

of the three corresponding sections of the ritual.

163
 Chapter 5
Conclusions

The music of Scelsi is the closest we have to the transcription of Tibetan Ritual

Music into Western terms. The similarities are too great to be attributed to chance.

Although Scelsi never acknowledged the connection, his affinity for Tibetan Buddhism

as shown through the artifacts and books found in his apartment as well as the references

to travel in Nepal, if not Tibet itself, found in his “autobiography,” suggest that it is

reasonable to infer a strong connection. This explains the unusual character, unlike any

other Western music, of his compositions that appeared following his “period of crisis.”

The claims made concerning Scelsi’s method of composition, however, seem

spurious upon examination of the music itself. In I Presagi he made use of structural

repetition, varied only in orchestration, as well as the complex structure of a palindrome.

While the structural repetition could be attributed to “post-improvisation editing” by

Scelsi or one of his assistants, the palindrome would seem to give lie to the claim that he

“composed without thinking.” The use of complex formal processes gives evidence of

Scelsi’s continued grounding in Western traditions, even as he consciously seemed to be

trying to break away.

While these arguments may take away some of the mystery surrounding Scelsi

and his compositional method, they also bring clarity to the study and discussion of the

music. It is able to be analyzed in a way that allows for greater understanding (the point

of all analysis). Further research and analysis remain in order to determine the continuity

of his compositional style and the universality of the analytical approach employed here,

164
but it is now clear that there is much more to the music than the “hype” of Scelsi’s

admirers would lead us to believe.

Demystifying Scelsi does not reduce his importance; rather, it raises his stature as

a composer of genius who looked to other cultures for inspiration while creating music in

a personal manner that others have had trouble comprehending. He was able to transcend

his time and create a new music without concern for acceptance or acclaim. In this way

he is heir to a long line of composers, including Gesualdo, Beethoven, Ives, and Conlon

Nancarrow, who followed their vision regardless of the consequences. Scelsi was a

visionary, not necessarily of the spiritual variety, as some claim, but of the musical

variety, deserving a place of importance in the history of music in the twentieth century.

This study begins this process.

Issues for further study should include the analysis of the other ensemble works

using the same means employed in this study. This would help strengthen the claims

made here. Listening to recorded performances of other works and preliminary study of

some of the scores have led the author to believe that there is universality to these claims.

Analysis should lead to greater understanding of this unusual music, and the hope is that

this would help to stimulate more interest by other performers.

Other issues for greater exploration should include the creation of a detailed

biography that attempts to recount the actual events of Scelsi’s life. This would need to

be done with the assistance of the Scelsi Foundation, who must make all records and

documents available. The recordings of the improvisations should be included in the

materials to be made available. Within the biography, the details surrounding the creation

and performance of Scelsi’s early works should be explored, as well as the details of his

165
period of mental breakdown (1948-52). Greater understanding of these periods would

shed much light upon his creative process and illuminate the connections between his

early and late music.

Finally, the connection with Tibetan music should be explored further. In order to

move this study beyond one of speculation, Scelsi’s ties to Tibet, including the extent of

his travels in the region, must be documented. Although the circumstantial evidence is

strong, evidence of travel in the region or association with Tibetan musicians would

strengthen the claim.

The music of Scelsi probably will never gain wide acceptance because it sounds

very foreign to Western ears. However, it is worthy of study and performance. The music

has great power, which has been recognized by several performers, including such major

artists as Michael Tilson Thomas, Hans Zender, and the Arditti Quartet. The hope is that

greater understanding will lead to more performances and that Scelsi will be accorded the

stature that he deserves.

166
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Appendix A
I Presagi
Pitch Charts

167
 Chart A.1
I Presagi, Movement I (Pitch Chart)
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37

(X) X X
Ab
X
Ab
X X X X X X X X
A
X X X X X X X X X X X X X X X X
A╪
X X X X X X X X X X X X X X X X X X X X X X X X X X X X X
Bb
X X X X X X X X X X X X X X X X X X X
Bb
X X X X X X X X X X X X X X X X
B
X X X X
B╪
X X X X X X X X X X X X
C
X X X X X X X X X
C╪
X X X X X X X X
Db
X
Db
X X X X X X X
D

D╪
(X)
Eb
X X
Eb
X X X X X X X X X X X X X
E
X X X X X X X X X X X X X X X X X X
E╪
X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X
F
X X X X X X X X X X
F╪
X X X X X X X X X X X X
Gb
X
Gb

G
X
G╪

168
 Chart A.1
I Presagi, Movement I (Pitch Chart)
38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75

X X X X X
Ab
X X
Ab
(X) X X X
A
X X X X X X X X X X X X X
A╪
X X X X X X X X X X X X X X X X X X X X X X
Bb
X X X X X
Bb
X X X X X X X X X X X
B
X X X X X X X
B╪
(X) X X X X X X X X X
C
X X
C╪
X X X X X X X
Db

Db
X X X X X X X X X X X X
D
X
D╪
X
Eb
X
Eb
(X) X (X) X X X X X (X) X X
E
X X X X X X X X X X X X X X X X X X X X X X X
E╪
X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X
F
X X X X X X X X X X X X X
F╪
X X X X X X X X X X X X X X X X X X X X X X
Gb
X X X X
Gb
X X
G
X X X
G╪

169
 Chart A.1
I Presagi, Movement I (Pitch Chart)
76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 Freq % Rank

Ab
X X 10 10 16

Ab 3 3 19

A
X X X X (X) (X) 18 19 12

A╪
X X X X X X X X X X X X X X 43 44 4

Bb
X X X X X X X X X X X X X X X X X X X X 71 73 2

Bb
X X X X X X X X X X X X X X X 38 39 5

B
X X X X (X) (X) 32 33 7

B╪
X X X 14 14 14

C 22 23 10

C╪ 11 11 15

Db 15 15 13

Db 3 3 9

D
X 20 21 11

D╪
X 2 2 22

Eb 2 2 22

Eb 3 3 19

E
X 25 26 8

E╪
X X X X X X 47 48 3

F
X X X X X X X X X X X X X X X X X X 82 85 1

F╪
X X 25 26 8

Gb
X X X 37 38 6

Gb 4 4 18

G 2 2 22

G╪
X 5 5 17

170
 Chart A.2
I Presagi, Movement II Pitch Chart
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37

Ab

Ab

A╪

Bb

Bb

B╪

C╪

Db

Db

D╪

Eb

Eb

E
X X X X X X X X X
E╪
X X X X X X X X X X X X X X X X X X X X X X X X X X X X X
F
X X X X X X X X X X X X X X X X X X X X X X X X X
F╪
X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X
Gb
X X X X X X X X X X
Gb

G╪

171
 Chart A.2
I Presagi, Movement II Pitch Chart
38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75

Ab

Ab
X
A

A╪
X
Bb

Bb
X X X
B

B╪
X X X X X
C

C╪
X X X X X X X X X X X X X
Db
X X X X
Db
X X X X
D

D╪
X X X
Eb

Eb
X X X X X X X
E
X X X X X X X X X
E╪
X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X
F
X X X X X X X X X X X X X X X X X X X X X X X
F╪
X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X
Gb
X X X X X X X X
Gb
X X
G

G╪

172
 Chart A.2
I Presagi, Movement II Pitch Chart
76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 Freq % Rank

0 0 -
Ab
0 0 -
Ab
1 1 15
A
0 0 -
A╪
1 1 15
Bb
0 0 -
Bb
3 3 12
B
0 0 -
B╪
5 5 9
C
X X X X X X 6 6 8
C╪
13 14 6
Db
4 4 10
Db
4 4 10
D
0 0 -
D╪
3 3 12
Eb
0 0 -
Eb
X X X X 11 12 7
E
X X X X X X 24 26 4
E╪
X X X X X X X X X X X X X X X 77 82 1
F
X X X X X X X X X X X X X X X X 64 68 3
F╪
X X X X X X X X 70 74 2
Gb
18 19 5
Gb
2 2 14
G
0 0 -
G╪

173
 Chart A.3
I Presagi, Movement III Pitch Chart
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38

X (X) (X) (X) X (X) (X) (X) (X)

Ab
X X
Ab
X X X X X X X X X X X X X X X X X X X X X X (X) (X) X X X X (X) (X) (X) (X)
A
X X X X X X X X X X X X X X X X X X X X
A╪
X X X X X X X X X X X (X) (X) (X) X X X X X X X X X X X X X X X X X
Bb
X X X X X X X
Bb
X X X X
B
X X X X
B╪
X X X X X X X X X X (X) (X) X X X X
C
X
C╪
X X X X X X X X X X X
Db

Db
X
D

D╪
X
Eb

Eb
X X X X X (X) (X) (X) X X X X (X) X X
E
X X X X
E╪
X X X X X X X X X X X X X X X X X X X X X
F
X X X X
F╪
X X X X
Gb

Gb

G╪

174
 Chart A.3
I Presagi, Movement III Pitch Chart
39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76

X X (X) (X) (X)

Ab
X X
Ab
(X) (X) (X) (X) (X) (X) (X) (X) X X X X (X) (X) X (X) X X X X X X X
A
X X X X X X X X X X X
A╪
X X X X X X X X X X X X X X X X X X X X X X X X X X
Bb
X X X X X X X X X X X
Bb
X X X X X X X X X (X) X X X X
B
X X X X X X X X X X X X
B╪
X X X X X X X X X X X X X X X X (X) X X X
C

C╪
X X X X X X
Db

Db
X X
D

D╪
X (X) (X) (X) (X) (X)
Eb

Eb
(X) (X) (X) X (X) (X) X X X X X X (X) X X X X X X X
E
X X X X X X X X
E╪
X X X X X X X X X X X X X X X X X X X X X X X X X X X X
F
X X X X X
F╪
X X X
Gb

Gb
X X X
G

G╪

175
 77 78 79 80 81 82 83 84 85 86 87 88 89 Freq % Rank

4/(10) 5 15
Ab
X X 6 7 14
Ab
X X X X X X X X X X X X 50/(17) 56 3
A
X X X X X X X X X X 41 46 4
A╪
X X X X X X X X X 63/(3) 71 1
Bb
18 20 8
Bb
(X) 17/(2) 19 9
B
16 18 11
B╪
X X X X X X 39/(3) 44 5
C
1 1 19
C╪
(X) (X) 17/(2) 19 9
Db
0 0 -
Db
3 3 16
D
0 0 -
D╪
2/(5) 2 18
Eb
0 0 -
Eb
X X X (X) X X X X X 33/(11) 37 6
E
X X X X X X X X X X X X 24 27 7
E╪
X X X X X 54 61 2
F
9 10 12
F╪
7 8 13
Gb
0 0 -
Gb
3 3 16
G
0 0 -
G╪

176
 Appendix B
I Presagi
Timbre Effects Charts

177
 Chart B.1
Timbre Effects
I Presagi, Movement I (97 Measures)

Rests None Mute Stopped Vibrato Flutter Glissando Trill Total*

Horn 1 10 31 0 42 10 18 3 0 56
% (all/played) 10 32/36 0/0 43/48 10/12 19/21 3/3 0/0 58/64
Horn 2 9 37 0 34 12 15 2 1 51
% (all/played) 9 38/42 0/0 35/39 12/14 15/17 2/2 1/1 53/58
Trumpet 1 38 3 56 0 4 18 1 0 56
% (all/played) 39 3/5 58/95 0/0 4/7 19/31 1/2 0/0 58/95
Trumpet 2 41 10 46 0 0 6 0 0 46
% (all/played) 42 10/18 47/82 0/0 0/0 6/11 0/0 0/0 47/82
Tenor Sax 11 49 0 0 26 0 2 10 37
% (all/played) 11 51/57 0/0 0/0 27/30 0/0 2/2 10/12 38/43
Trombone 1 26 0 71 0 3 24 11 0 71
% (all/played) 27 0/0 73/100 0/0 3/4 25/34 11/16 0/0 73/100
Trombone 2 31 0 69 0 2 27 10 0 66
% (all/played) 32 0/0 71/100 0/0 2/3 28/41 10/15 0/0 71/100
Tuba 1 33 40 11 0 10 4 1 0 24
% (all/played) 34 41/63 11/17 0/0 10/16 4/6 1/2 0/0 25/36
Tuba 2 43 34 14 0 5 4 0 0 20
% (all/played) 44 35/63 14/26 0/0 5/9 4/7 0/0 0/0 21/37
Total 242 204 267 76 72 116 30 11 427
% of all (873) 28 23 31 9 8 13 3 1 41
% of played (631) 32 42 12 11 18 5 2 57
% of possible 49+ 43++

* - Total number of measures that include at least one timbre alteration. 178
+ - % based upon only those instruments that can use a mute (all brass)
++ - % based upon horns only
 Chart B.2
Timbre Effects
I Presagi, Movement II (94 Measures)

Rests None Mute Stopped Vibrato Flutter Glissando Trill Total*

Horn 1 15 21 21 29 0 7 3 4 58
% (all/played) 16 22/27 22/27 31/37 0/0 7/9 3/4 4/5 62/73
Horn 2 14 14 11 34 0 19 4 7 66
% (all/played) 15 15/18 12/14 36/43 0/0 20/24 4/5 7/9 70/83
Trumpet 1 57 0 37 0 1 8 2 0 37
% (all/played) 61 0/0 39/100 0/0 1/3 9/22 2/5 0/0 39/100
Trumpet 2 62 0 32 0 0 2 2 0 32
% (all/played) 66 0/0 34/100 0/0 0/0 2/6 3/9 0/0 34/100
Tenor Sax 35 27 0 0 15 0 0 21 32
% (all/played) 37 29/46 0/0 0/0 16/25 0/0 0/0 22/36 34/54
Trombone 1 22 0 72 0 4 19 15 1 72
% (all/played) 23 0/0 77/100 0/0 4/6 20/26 16/21 1/1 77/100
Trombone 2 28 0 66 0 21 20 14 0 66
% (all/played) 30 0/0 70/100 0/0 22/32 21/30 15/21 0/0 70/100
Tuba 1 37 17 26** 0 10 13 0 3 40
% (all/played) 39 18/30 28/46 0/0 11/18 14/23 0/0 3/5 43/70
Tuba 2 52 24 5 0 7 6 1 0 18
% (all/played) 55 26/57 5/12 0/0 7/17 6/14 1/2 0/0 19/43
Total 322 103 270 63 58 94 42 36 421
% of all (846) 38 12 32 7 7 11 5 4 49
% of played (524) 20 52 12 11 18 8 7 80
% of possible 58+ 39++

* - Total number of measures that include at least one timbre alteration. 179
** - includes 10 measures marked Coperta con panno
+ - % based upon only those instruments that can use a mute (all brass)
++ - % based upon horns only
 Chart B.3
Timbre Effects
I Presagi, Movement II (94 Measures)

Rests None Mute Stopped Vibrato Flutter Glissando Trill Air** Total*

Horn 1 7 12 0 33 27 4 2 8 4 70
% (all/played) 8 14/15 0/0 37/40 30/33 5/5 2/2 9/10 5/5 79/85
Horn 2 3 18 0 24 30 10 6 9 6 68
% (all/played) 3 20/21 0/0 27/28 34/35 11/12 7/7 10/10 7/7 76/79
Trumpet 1 10 7 64 0 35 3 0 4 3 72
% (all/played) 11 8/9 72/81 0/0 39/44 3/4 0/0 5/5 3/4 81/91
Trumpet 2 10 13 62 0 19 3 0 15 4 66
% (all/played) 11 15/16 70/78 0/0 21/24 3/4 0/0 17/19 5/5 74/84
Tenor Sax 13 18 0 0 20 0 2 40 0 58
% (all/played) 15 20/24 0/0 0/0 23/26 0/0 2/3 45/53 0/0 65/76
Trombone 1 7 14 56 0 20 7 16 0 3 68
% (all/played) 8 16/17 63/68 0/0 23/24 8/9 18/20 0/0 3/4 76/83
Trombone 2 5 14 50 0 15 8 22 0 5 70
% (all/played) 6 16/17 56/60 0/0 17/18 9/10 25/26 0/0 6/6 79/83
Tuba 1 7 28 3 0 33 0 0 14 5 54
% (all/played) 8 31/34 3/4 0/0 37/40 0/0 0/0 16/17 6/6 61/66
Tuba 2 4 29 8 0 39 0 1 10 4 56
% (all/played) 5 33/34 9/9 0/0 44/46 0/0 1/1 11/12 5/5 63/66
Total 66 153 243 57 238 35 49 100 34 582
% of all (801) 8 19 30 7 30 4 6 13 4 73
% of played (735) - 21 33 8 32 5 7 14 5 79
% of possible 37+ 34++

* - Total number of measures that include at least one timbre alteration. 180
+ - % based upon only those instruments that can use a mute (all brass)
++ - % based upon horns only
 Appendix C
I Presagi
Composite Rhythms

181
 Example C.1
I Presagi, Movement I
Composite Rhythm

182
183
 Example C.2
I Presagi, Movement II
Composite Rhythm

184
185
 Appendix D
I Presagi
Transcription Graphs

186
 Chart D.1
I Presagi, Movement I
Transcription Graph

187
188
189
190
191
192
193
194
 Chart D.2
I Presagi, Movement II
Transcription Graph

195
196
197
198
199
200
 Chart D.3
I Presagi, Movement III
Transcription Graph

201
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203
204
205
206
207
208
209