Giacinto Scelsi: Orchestral Works 1961-1974

Giacinto Scelsi
Aion / Pfhat / Konx-Om-Pax

Accord 200402

Recorded on June 23 & 24, 1988 at St. Catherine's Church, Krakow

Scelsi: Hurqualia / Hymnos / Chukrum

Scelsi: Hurqualia / Hymnos / Chukrum

Orchestre de la Radio-Télévision de Cracovie - Jürg Wyttenbach
Accord 201 112

Contents:

Hurqualia (1960; orchestra)
1. I
2. II
3. III
4. IV
5. Hymnos (1963; orchestra)

Chukrum (1963; string orchestra)
6. I
7. II
8. III
9. IV

Performers: Orchestre de la Radio-Télévision de Cracovie; Jürg Wyttenbach (direction)
Playing time: 49'
Recording date: June 1990 (Cracovie)

1 - Aion (1961)
2 - Pfhat (1974)
3 - Konx-Om-Pax (1969)


Krakow RSO
Krakow Philharmonic Choir
Jürg Wyttenbach, Conductor

Relevant excerpts from Todd M. McComb articles:
 

Scelsi's next great orchestral masterpiece is Aion (1961). As opposed to the epic nature of Hurqualia, Aion corresponds even more closely to the classical idea of the symphony. It is also in four movements, and totals slightly over twenty minutes in length. This work is one of Scelsi's most profound even among the other masterpieces -- it is also his first major composition which I heard, one of the most powerful musical experiences in my life, and initiated this review project in early 1990. The scoring is quintessential for Scelsi and consists of: woodwinds by threes excluding flutes, six horns, three trumpets, four trombones, four tubas, timpani, six percussionists (whose instruments include a two-hundred liter metal can rubbed violently across its lateral grooves), harp, viola, four cellos and four double basses. The brass is almost always in the foreground, sometimes giving way to the other winds; the strings are rarely independently audible. Scelsi's use of percussion is rather complex and sometimes ingenious (the huge can is found also in Uaxuctum); there is never a glittering or crystal sound in his percussion section as one might find in other modern symphonic works which make a heavy use of percussion, rather there is a dark background muttering which is sometimes violent and othertimes subdued. Aion is the name of the personification of eternity in Ancient Greek mythology, and this work is Scelsi's most effective portrayal of immense lapses of time. It is subtitled "Four Episodes of a Day of Brahma," making explicit reference to Indian mythology (as in the Quattro Illustrazioni for piano; in fact Aion corresponds to Scelsi's perfection of the symphony in the same way as that work marks his conclusion in the genre of piano sonata) -- a day of Brahma is a very long time, and in fact contains an entire cycle of existence for our world. It is unclear exactly how much Indian classical music Scelsi knew, and he never makes explicit reference to it, however as in Hurqualia there is a rhythmic sophistication about this piece (and really more so here) that is comparable only to the most complex Indian music -- but of course extended to a truly polyphonic idiom. It is also unclear what the 'episodes' of the subtitle are: the sequence of movements corresponds closely to a symphonic form. The first movement is a passacaglia establishing interval relationships, and complete with intense percussive outbursts; it is the longest of the four and an extremely intense introduction to Aion, ending with a mysterious coda initiated by the harp. The second movement is a sort of scherzo in ABABA form: the brutal discordant outbursts in quarter tones of the B sections are framed by more quiet melodic sections. The slow third movement is the most eternal of the set (despite being the shortest). As with the Quattro Pezzi, it seems to emerge out of itself in the smallest harmonic space and moves by microtonal fluctuations through quarter tones developing into loud climaxes in the brass, ending on the interval of a minor second. It provides one with a mystical look at eternity. The last movement is a sort of rondo, complete with dramatic cadences leading into an extended climactic episode in E-major harmony which dissolves away to the opening rondo theme in the slow quiet ending. Aion is undoubtedly one of the greatest orchestral masterpieces of this century, and marks Scelsi's total command of his new style.

Konx-Om-Pax (1969) marks the end of Scelsi's Third Period. As well as summarizing his basic material to that date, it his last piece which uses extended movements and large forms. The music of his Fourth Period was to become increasingly transfigured. Konx-Om-Pax is also one of Scelsi's most effective compositions, using relatively simple material projected on a broad canvas. It is scored for large orchestra (including full strings, and lacking only flutes) along with organ, and in the final movement a mixed chorus. It was premiered on February 6th, 1986 by the Hessian Radio Orchestra in Frankfurt and conducted by Jurg Wyttenbach. [Note: This information is apparently incorrect. Konx-Om-Pax was premiered in Venice in 1970, according to the Scelsi Foundation. - 17 April 2003] The title of the piece is three words meaning 'peace,' in ancient Assyrian, Sanskrit and Latin. It is subtitled: "Three aspects of Sound: as the first motion of the immovable, as creative force, as the sacred syllable 'Om.'" Konx-Om-Pax is especially effective at creating a feeling of peace, and as such is a particularly useful piece for coping with the modern world. The first movement is based entirely on C, first treated as in inner pedal, and fans out harmonically at first symmetrically and then asymmetrically with the addition of quarter tones, rising to a great climax completely elaborating the underlying C. This movement is a gradual gathering of harmonic forces, with great calming effect. The short second movement begins on F, slowly builds until unleashing a great explosion of power in the form of rapid chromatic scales engulfing everything in their path, and ends again on F. The third movement is on A (and recall that the movement from C to A was the basic feature of Quartet No. 4 (1964)) and marks the entrance of the chorus, chanting only the syllable Om, and supported by the orchestra. This movement gives the impression (however absurd it may seem) of process-music or even a fugue on the single note theme, 'Om.' This is accomplished by a tight interior chromaticism with microtonal variations, a careful consideration of length of utterance and inflection, and by the building of a countersubject out of harmonic resonances. The entries of 'Om' continue steadily throughout the slowly-paced movement. The movement is in three sections: the first builds slowly, sticking almost entirely to 'Om' with single note responses; the second is an extended episode dominated by the orchestra, with percussive punctuation, in which harmonic associations are worked out in more detail; and the third re-introduces the chorus on 'Om' along with the longer countersubject developed in the previous episode, slowly fading away in a profound ending to this majestic work. In many ways, Konx-Om-Pax is Scelsi's most perfect creation: it attests to his supreme power of harmony, and above all it is always effective. For many of Scelsi's works, it is necessary to have the proper frame of mind in order to approach, but here that frame of mind is established within the twenty-minute work itself. Hence other pieces can be ineffective at times, but with Konx-Om-Pax this is never the case.

In 1974, Scelsi wrote his final piece for large orchestra, again including chorus & organ and excluding violins: Pfhat. Pfhat was premiered by Jurg Wyttenbach and the Hessian Radio Orchestra in Frankfurt on February 6th, 1986. It is in four movements, totaling under nine minutes. The subtitle reads: "A flash... and the sky opened!" and the title is apparently chosen for its onomatopoeic quality. This is an extremely concise depiction of mystical revelation for full orchestra, divided into four brief movements each of which presents a single gesture in sound. The first movement is based on the choir's breathing sounds, supported by only thirteen instruments. Here we have the emergence of sound from immobility, leading into an 'om'-ing from the tubas, and anticipating the upcoming surge of power. The very short second movement consists of a sudden ringing cluster for full orchestra and chorus, gradually fading away. The slow third movement begins with a quiet fanfare punctuated by ringing intervals, and gradually builds with the om-ing and sighing of the chorus into a large complex of sound elaborating a single note. The eerie fourth movement presents us with revelation from the open sky: the piccolo, flute, celesta, piano and organ play a very high ostinato on a semi-tone while the rest of the orchestra and chorus quickly ring high-pitched dinner bells. The glittering, crystalline and static sound is certainly unique in the symphonic literature. This work (and the last movement in particular!) is Scelsi's most singular attempt at ushering the listener into his sound universe. The succession of movements is highly dramatic, and listening to Pfhat for the first time is certain to be one of one's most intense listening experiences. Whether this highly polished work continues to be effective is debatable, but at times it has really worked for me. Hence it is with an attempt to guide the listener that Scelsi ends his orchestral output -- his creative energy was to ebb away in the face of his increasing age during the mid-70s (though he did spend time working with performers, leading to the performance of much of the chamber music), finally exhausting itself in the re-scoring of Aitsi as String Quartet No. 5 in 1985, and then finding fulfillment in the orchestral premieres of the late-80s.