A gripping work, thank you for uploading it. The name of the piece belongs to the world of esoteric Islam, more specifically to Ismaelism and Sufism. Henry Corbin, the great scholar in this field, spells it Hurqalia. it denotes an emerald-color country belonging to the world of imagination, the Mundus Imaginalis, and intermediary realm between tangible reality of matter (the body) and the world of pure mind (the spirit) and is home to the soul, which, when dwelling there, sees visions and witnesses dreams. In Arabic it is called ’âlam-u ’l-mithâl, literally "The World of The Semblance”. As Giacinto Scelsi was very familiar with the echoes esoteric Islam had received from several French scholars (René Guénon, Louis Massignon and Henri Corbin) and was active as a poet in French he may have become acquainted with the name Hurqalia through direct contact with Corbin. There is an interesting study on the piece consultable as a .pdf on the internet written by Renata Skupin from Gdansk in Poland, entitled: Un Royaume Différent, about Hurqualia in the Context of the Musical Style of Giacinto Scelsi. It can easily be googled if one types "Hurqualia Corbin".
I think you are right. And it's more, it gives the impression that Ligeti learned from him. Ligeti never mentioned that. He spoke a lot about others, like something about Nancarov. Why not about Scelsi ??
I don't know if Ligeti was even aware of Scelsi during the earlier part of his career. Scelsi only became well-known in the 1980s because the Spectralists were interested in his work. I'd assume it's more of a parallel development instead of direct influence one way or the other.
Gracias! ¿No tendrás algún video de las piezas de la primera etapa de Penderecki (De natura sonoris, el capricho para violín, el concierto para cello No.1, Fluorescencias para orquesta, etc.) Te lo agradecería enormemente.
Its good. However I am not enchanted by this curve of Scelsi, away from the most 'zen' pieces (i believe those to be his best). Was this to be expected? Since he left his melodic phrasing style quite eagrly? I mean, this still retains his old expressive sustaining, but the movements are all quite quick and dense.
A contemporaneidade de Scelsi é fascinante! Ótima regência.
A gripping work, thank you for uploading it.
The name of the piece belongs to the world of esoteric Islam, more specifically to Ismaelism and Sufism. Henry Corbin, the great scholar in this field, spells it Hurqalia. it denotes an emerald-color country belonging to the world of imagination, the Mundus Imaginalis, and intermediary realm between tangible reality of matter (the body) and the world of pure mind (the spirit) and is home to the soul, which, when dwelling there, sees visions and witnesses dreams. In Arabic it is called ’âlam-u ’l-mithâl, literally "The World of The Semblance”.
As Giacinto Scelsi was very familiar with the echoes esoteric Islam had received from several French scholars (René Guénon, Louis Massignon and Henri Corbin) and was active as a poet in French he may have become acquainted with the name Hurqalia through direct contact with Corbin.
There is an interesting study on the piece consultable as a .pdf on the internet written by Renata Skupin from Gdansk in Poland, entitled: Un Royaume Différent, about Hurqualia in the Context of the Musical Style of Giacinto Scelsi. It can easily be googled if one types "Hurqualia Corbin".
Perceptive remarks, thanks for the link to Professor Skupin’s monograph.
A great piece of music, path-breaking and inspirational.
This is a true philosophical music. Mysterious and otherworldly.
Scelsi was master of such music.
thanks. never seen a live performance of a scelsi piece. this one sounds unique
Glorioso.Lo Inefable representado,como decia Ginastera la música es el más abtracto de las artes.
incredible!
I can't comprehend what this is
Gabriel Josipovici’s wonderful work, “Infinity”, is based on the life and work of Scelsi.
Excelso!
I've got the feeling that Giacinto Scelsi and Gyorgy Ligeti have something in common.. Am I right? Anyway, I like both of them a lot!
Yes, you're right
I think you are right. And it's more, it gives the impression that Ligeti learned from him. Ligeti never mentioned that. He spoke a lot about others, like something about Nancarov. Why not about Scelsi ??
I don't know if Ligeti was even aware of Scelsi during the earlier part of his career. Scelsi only became well-known in the 1980s because the Spectralists were interested in his work. I'd assume it's more of a parallel development instead of direct influence one way or the other.
Let's put it in this way. When Scelsi was 35 years old, Ligeti was still a young teenager.
Gracias! ¿No tendrás algún video de las piezas de la primera etapa de Penderecki (De natura sonoris, el capricho para violín, el concierto para cello No.1, Fluorescencias para orquesta, etc.) Te lo agradecería enormemente.
Its good. However I am not enchanted by this curve of Scelsi, away from the most 'zen' pieces (i believe those to be his best). Was this to be expected? Since he left his melodic phrasing style quite eagrly? I mean, this still retains his old expressive sustaining, but the movements are all quite quick and dense.
nice
It sounds likes korea traditional music.