AW.: Re: Re: Scelsi

In einer Nachricht vom 11/10/99 6:57:09 PM (MEZ) Mitteleurop�ische
Zeitschreibt Afmmjr@aol.com:

<< Scelsi certainly seems to be more of a quartertonalist than a quartertone
ornamentist. >>

Could you explain these terms?

From the mid-1950's Scelsi composed by recording multi-track improvisations
on an electronic instrument, the ondioline, which Scelsi scholars say allowed
portamenti and "quartertones". The recordings were later transcribed and
orchestrated by hired assistants under Scelsi's supervision. A question that
could perhaps be explored with the assistance of the Scelsi Foundation is
that of the accuracy of these "quartertones", and the degree of deviation or
tolerance from 24tet to be found in both the original tapes and in
performances of the completed scores under the composer's supervision. Since
one idea basic to Scelsi's later music is that of an inflected unison (listen
to, for example, the _Quattro Pezzi_ for orchestra), and the notated interval
of that inflection is a quartertone, it would be useful to know whether he
really intended a ration of the 24th root of two or just any old pitch which
divides a 12tet semitone.

BTW, Johnny Reinhard, I presume that the conductor who leads the Scelsi
Foundation is Aldo Brizzi, and the musicologist in Munich is Hans-Rudolf
Zeller.

Also, Ferneyhough's _Unity Capsule_ uses pitches culled from 12tet, 24tet,
and 31tet collections, with precise fingerings given from 24tet and 31tet
pitches required. However, most of F.'s works are notated with quartertones,
and it is extremely difficult to say whether he really wants 24tet pitches
or just notes inflecting and "in-between" 12tet pitches. Since the
overnotation of his scores necessarily leads to failure by performers to play
what is written with any precision in every other parameter, it seems
reasonable to wonder whether accuracy in pitch production should somehow be
excluded from this lack of accuracy. Would any list members in the San Diego
area be willing to give F. a call and ask?

When programming for the AFMM, I often have to consider works that use
quartertones in an ornamental capacity (Robert Priest's music immediately
comes to mind). Ornamenal microtonality was of more interest to me when
there was less repertoire to choose from. Things have boomed, relatively.

Yes, Dan you presume correctly regarding the individuals I was referring to.

Incidentally, where did F. get his precise flute fingerings? The Bartolozzi
"New Sounds for Woodwinds" offered poor fingerings for flute. Toru Takemitsu
was really burned when he used Bartolozzi fingerings for his solo flute
pieces. Maybe players can only get close based on F.'s fingerings?

Johnny Reinhard