Re: Re: Scelsi

To my knowledge, Scelsi didn't endorse 24-TET as a tuning. He was interested
in the color of a musical tone and quartertone variations were ways to
increase interest in color. I don't think he was thinking in terms of
quartertonal harmony. A certain Mr. Zeller from Munich introduced me to
Scelsi's music. He had edited a special edition on Scelsi's music. The
official guardian of Scelsi's music now is a conductor from Rome, though his
name escapes me ( I was introudced to him in Paris by composer Gad Barnea).

Still, when categorizing composers by tuning, in a general way, Giacinto
Scelsi is certainly a microtonalist utilizing quartertones and timbral shifts
(from dark to bright).

Johnny Reinhard
AFMM

Johnny Reinhard wrote,

>To my knowledge, Scelsi didn't endorse 24-TET as a tuning. He was
interested
>in the color of a musical tone and quartertone variations were ways to
>increase interest in color. I don't think he was thinking in terms of
>quartertonal harmony. A certain Mr. Zeller from Munich introduced me to
>Scelsi's music. He had edited a special edition on Scelsi's music. The
>official guardian of Scelsi's music now is a conductor from Rome, though
his
>name escapes me ( I was introudced to him in Paris by composer Gad Barnea).

>Still, when categorizing composers by tuning, in a general way, Giacinto
>Scelsi is certainly a microtonalist utilizing quartertones and timbral
shifts
>(from dark to bright).

Well, then, if Joe Monzo is going to include Ives and Ferneyhough under
24-tET, he should include Scelsi as well, shouldn't he?

Perhaps Ives should be listed under polymicrotonalist. Ferneyhough has a
flute work "Unity Capsule" in 31-TET but he is apparently very loose about
its precision.

I'm not sure forcing a composer into a category is always the best approach.
Scelsi certainly seems to be more of a quartertonalist than a quartertone
ornamentist.

Johnny Reinhard
AFMM