Giacinto Scelsi: Orchestral Works 1960-1963

Giacinto Scelsi
Hurqualia / Hymnos / Chukrum

Orchestre de la Radio-Télévision de Cracovie - Jürg Wyttenbach

Accord 201 112

This is a third and last album of the Scelsi's orchestral music set released by Accord. The music is masterly performed by the Radio-Television Orchestra and Choir of Krakow, directed by Jurg Wyttenbach. Most of these works are world premier recordings. The works recorded on this set belong to Scelsi's later phase, and attest to a supreme contribution in redefining classical music.

The three discs were recorded in 1988, 1989 and 1990 - shortly following Scelsi's death - and then packaged as a set. The first disc (Aion (1961), Pfhat (1974), Konx-Om-Pax (1969)) is the most powerful and characteristic of the set. Here we find Scelsi's most abstract and symphonic work, followed by his most singular and specific, followed by his most majestic and effective. Starting with the awesome rhythmic power of the first movement of Aion, the disc ends in the peaceful triumph of the final om-ing of Konx-Om-Pax, an incredible journey in sound. The second disc (Quattro Pezzi (1959), Anahit (1965), Uaxuctum (1966)) is the most varied and experimental of the set. It begins with Scelsi's most revolutionary exploration of the power of a single sound -- the piece which unlocks his great series of masterpieces during the 1960s, followed by his most beautifully lyrical orchestral work, and climaxing in the incredible mystic drama of his most complex and difficult creation. The third disc (Hurqualia (1960), Hymnos (1963), Chukrum (1963)) fills out the set. It begins with the epic return to full orchestra in Hurqualia, followed by the healing return to harmony in Hymnos, and ends the entire set with the symphonic 'quartet' Chukrum presenting all aspects of his mature style. Scelsi's music for orchestra is his supreme contribution to the most characteristic genre of western classical music -- these are pieces which will be heralded far into the future of music.

CD1: Aion, Pfhat, Konx-Om-Pax
CD2: Quattro Pezzi, Anahit, Uaxuctum
CD3: Hurqualia, Hymnos, Chukrum 

CD1:

Hurqualia (1960)

Hymnos (1963)

Chukrum (1963)


Orchestre Et Chœur De La Radio-Télévision Polonaise De Cracovie
Conductor – Jürg Wyttenbach

Recorded st St.Catherine's Church, Krakow, June 1989

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The relevant exerpts from the Todd M. McComb articles, which will hopefully serve as an introduction for interested listeners: 

Giacinto Scelsi (1905-1988) had a creative life lasting fifty-three years during which he composed a huge assortment of pieces in two distinct styles, the last of which has been divided into four phases. Much of his musical contribution consists of a re-intensification of chamber music -- however, his series of orchestral works is among his most impressive testimony. Scelsi developed a style in which microtonal writing not only found a place, but formed the core of his expression. He successfully combined musical styles from around the world, incorporating them into his personal view of the mystical power of sound. It should be apparent from this article that the traditional language of music theory is largely inadequate for describing Scelsi's music; at the very least, these ideas must be modified into an entirely different context. I have tried to refrain from engaging in continual flowery epithets, though this has not always been successful: words are really foreign to this music, and in describing my own feelings for it I have sometimes relied on the vaguest of mystical descriptions -- hopefully this will serve to prompt other listeners to discover these pieces for themselves. Scelsi's influence on contemporary music is only beginning, and the 3-CD set of orchestral music from Accord marks the major inauguration of this era. This series is one of the most important recording projects of our time.

Scelsi's mature music is marked by a supreme concentration on single notes, combined with a masterly sense of form. Scelsi revolutionized the role of sound in western music -- his best known work is the Quattro Pezzi per Orchestra, each on a single note. These single notes are elaborated through microtonal shadings, harmonic allusions, and variations in timbre and dynamics. It is impossible to express the immense power of this apparently simple music in words.

Scelsi's Third Period begins with the great orchestral masterpiece, Hurqualia (1960). The work is in four movements, lasting under eighteen minutes, and scored for piccolo, two flutes, two oboes, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, two trombones, two tubas, timpani, four percussionists, strings excluding violins, and three sets of amplified instruments: microphone one: oboe, english horn, Eb clarinet; microphone two: horn, tenor saxophone, musical saw, viola, double bass; microphone three: two trumpets, trombone. Hurqualia was not performed until June 18th, 1986 at the Holland Festival in Amsterdam directed by Arturo Tamayo -- Scelsi attended every rehearsal. It has been impossible to trace the origin of the term Hurqualia to this point; a Sanskrit origin was conjectured, but now abandoned. It would seem to have some sort of dramatic (or perhaps rhythmic) connotation -- Hurqualia is a tensely dramatic epic in sound. As opposed to the Quattro Pezzi of the previous year, intervals play a definite role here, particularly the third: hence there are harmonic references, though true harmony has to wait until Scelsi's later orchestral music. Still there is an underlying unity of sound, at times admitting contrasts contained therein. Hurqualia reaches a new level of rhythmic sophistication -- Harry Halbriech likes to take every opportunity to compare Scelsi's massive sound and seemingly immense lapses of time with Bruckner, though this comparison is quite overdone by the second mention of Bruckner's 9th Symphony. Scelsi's rhythmic constructions emerge out of breathing rhythm, even when quite intense; and the sophistication with which he constructs episodes outside of time and subtle time relationships within the piece is far beyond Bruckner. The closest comparison is with the extreme rhythmic complexity of South Indian Carnatic music (please see the Indian Classical Discography posted some time ago, and in particular one is referred to Dr. Semmangudi Srinivasa Iyer for the kind of rhythmic sophistication which is found in this music.) So, in Hurqualia we have a massive (despite its length) orchestral masterpiece, an epic in sound. It is subtitled simply as "A Different Realm" and one could probably read into it various dramatic interpretations: here the epic of choice will be the Ramayana, the world's leading epic. The first movement is a sort of overture, beginning with low and quiet sounds reminiscent of the syllable 'om', and gradually building into a massive fanfare of foreboding on brass and percussion. The world is in chaos as the Demon King is extending his power -- yet there is a glimmer of hope expressed by the woodwinds as it is decided that the great god Vishnu will descend to earth in the guise of the Prince Rama to defeat the Demon. The fanfare continues, ending abruptly to start the story in the next movement. The second movement is the beginning of the epic proper: Rama and his wife Sita leave for the wilderness, Rama is tricked into leaving Sita alone for a moment at which time she is kidnapped by the demons; the movement ends in quiet, tense realization of this event, hanging on the major second. The mysterious and contemplative third movement is a time of gathering information for Rama and forming alliances; Sita's whereabouts are discovered and her serenity is played on flutes. Overall, though, there is an extreme fatalism about the horrible battle which lies ahead, and of course Rama knew all that would come to pass before he was even born. The fourth movement gradually gains momentum, complete with a march to battle starting pizzicato on the strings, and the first part ends with a composed confidence resting on Rama's incredible prowess as the battle proper is about to begin. The second part of the fourth movement is the battle, complete with intense percussive outbursts and brass fanfares -- it ends with the total defeat of the demons, and a view of the horrible carnage. This rather far-flung interpretation might act to undermine the absolute quality and unity of thought behind Hurqualia, however it is included simply as an entrance which one might take into this 'different realm' which certainly admits of an epic interpretation of one kind or another. Regarding the instruments which are provided with specific amplification, it is unclear from the recording exactly what role they play: whether they are meant to represent characters, or simply to be heard above the din of brass and percussion.

Hymnos (1963) marks the end of Scelsi's great symphonic trilogy: the later orchestral works call for chorus or a solo instrument (in Anahit). It also marks his convincing return to harmony and his consolidation of forces in the mid-60s. Hymnos is a single movement work lasting eleven and a half minutes, and scored for Scelsi's largest group of instruments (including violins for the first time): two flutes, three oboes, three clarinets, three bassoons, six horns, four trumpets, four trombones, two tubas, sixteen first violins, fourteen second violins, ten violas, eight cellos, and six double basses; these instruments are divided antiphonically into two symmetric groups placed about: organ, timpani and three percussionists. The percussion is quite subdued in this piece, and includes a gong on top of a kettle drum; the organ plays a major supporting role; and all timbres are indicated with extreme precision. Hymnos is a Greek word, and is of course the origin of our word hymn: and in this respect the meaning of the work is more clear than in the preceding two. The origin of 'hymnos' in Greek is from the number six, and though it may be coincidence, the piece is made up of three distinct sections multiplied by the two orchestras. The two outer sections are in Scelsi's typical massive style, surrounding a quiet and sublime middle section during which the violins and high winds dominate as never before in Scelsi's mature orchestral music. The first section begins slowly on D, gradually building to a climax which wavers between D minor and Bb major (keys which already had important associations for Scelsi during his First Period). This is broken up by microtonal fluctuations on the violins in the highest register, and the piece gradually dissolves into the ethereal second section on E with dissonant tensions of interior chromaticism. Rumblings in the percussion gradually inaugurate the third section which returns to the harmonic context of D minor/Bb major and finally cadences at about the ten minute mark. This is followed by a recapitulation and above all by a consolidation of the previous uninterrupted development which fades away by the eleven minute mark; the piece then ends in a grand unison on F. Hymnos is one of Scelsi's easiest pieces for analysis, and it is also one of his most simply effective. It has a hymn-like healing quality about it, and one can imagine Scelsi finally conquering his harmonic demons in this hymn. Harmony will continue to play an important role throughout his Third Period -- and this is a harmony which Scelsi was able to develop out of his own style, rather than having it imposed upon him.

The symphonic works Hurqualia (1960), Aion (1961) and Hymnos (1963) form something of an orchestral trilogy, and taken together make a super-symphony of about fifty minutes duration. There is hardly a more intense listening experience than beginning with the dramatic Hurqualia, following with the absolute mysticism of Aion, and concluding with the extended harmony of Hymnos.

Chukrum (1963) seems to have been first performed in connection with preparing Accord's set of Scelsi's orchestral music. It is in four movements, lasting under eighteen minutes, and in many ways is conceived as a string quartet written for extended forces -- and as such would be Scelsi's only late quartet in four movements. Chukrum is written for a full-sized string orchestra, and since it was prior to his employment of string by string notation, the complexity of sound is likely quite similar to the later pieces for smaller forces, discussed above. The origin of the word Chukrum is completely unknown at this point (though the nature of the piece leads me to associate it with 'kernel' or 'fulcrum' and seek the origin in the middle-east.) [Note: Ville Sinkko suggest that "Chukrum" is a misspelling of "chakra" the energy centers of the body as studied in yoga; the idea has some appeal, and fits something of my intuition. The misspelling idea had not occured to me. - 2 March 2000] The piece presents a distilled microcosm of Scelsi's interior harmony: the basic referent is A major, though there is never any vertical harmonic writing. The first and fourth movements are the longest of the set: the first is a strict palindrome beginning on A and reaching to the fifth, complete with dramatic rhythmic elements; the fourth movement is a repetition and recapitulation of the first, not exactly the same, in a way such that an asymmetric form is introduced. The second movement is limited almost entirely to the major third, with a luminous rise to the fifth in its last moments; it contains several percussive effects, interspersed with ethereal microtonal and resonant writing. The third movement, the shortest of the four, is a violent rhythmic surge from the minor third to the fourth, largely obliterating the preceding harmonic references, and ending in an emphatic rhythmic gesture. The varied repetition of the opening in the fourth movement lends a peculiar re-entrant effect (already begun with the strict palindromic form of the first movement) to the piece: on repeated listening it seems to close in on itself, a procedure which actually heightens the timeless quality of this singular work, and is provided a precedent by Scelsi's previous redefinition of material in compositions such as the first and second quartets. In addition, the large group of strings gives at times an overwhelming, massive intensity of sound. Chukrum really stands alone in Scelsi's output, an encapsulation of much of his sense of harmonic form -- though neglecting vertical writing -- but of course including his handling of microtones, his strong sense of rhythm, and his ability and desire to alter his material at the conclusion of a piece.