Giacinto Scelsi – Aitsi for amplified piano (1974)

In 1974 Scelsi employed the piano for the last time when he created Aitsi for amplified piano and To the Master (two improvisations in collaboration with Victoria Parr) for cello and piano. Assuming a special position within Scelsi’s compositional output, his works for piano shed not only light on his outstanding pianistic talent and his abilities as an improviser, but they indicate major changes in his compositional development. Twelve-tone procedures in his early piano works reveal the influence of Schoenberg, Berg and Webern. In his search of the “depth” of sound and its microtonal qualities, the piano with its half-tone step limitation could no longer correspond to his artistic ideas; and as a consequence he stopped composing for this instrument in 1956. However, Scelsi did not discard the piano, which had served as one of his imperative composing aids since the mid-forties. Instead, he employed the “ondiolina,” an electric keyboard instrument which made possible quarter-tone differentiation. Aitsi, Scelsi’s last work for amplified piano solo of 1974, in which the sustained pitches are distorted, incidentally originated due to a malfunction of his tape recorder. It was ultimately arranged for string quartet in 1985. [Source]



[via Thomas Bjørnseth on ATONALITY.NET]

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