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Abstract
This paper contains biographical information about Giacinto Scelsi (1905–1988), analysis of his solo works for saxophone, discussion of the extensive use of the saxophone in his orchestral and large ensemble music, performance practice issues, a discography and a bibliography. A discussion of the international uproar resulting from claims that Italian composer Vieri Tosatti (b. 1920) was Scelsi's “Ghostwriter” is included. The analysis of the solo pieces Tre pezzi (1956), Ixor (1956), and Maknongan (1976) deals primarily with phrase structure, pitch class accumulation, and migration through fundamental structural pitches. The analysis of the second movement of the Tre pezzi also examines the retrograde passages found in this piece. The orchestral and large ensemble works that incorporate the saxophone are Yamaon (1954–1958), I presagi (1958), Quattro pezzi (ciascuno su una nota) (1959), Hurqualia (1960), Anahit (1965), and Pranam I (1972). Performance practice issues discussed include vibrato, the improvisational quality versus strict notation of Giacinto Scelsi's music, and flexible instrumentation and pitch level for performance of the solo works. The preparation of the saxophone used in movements five and seven of the song cycle Canti del capricorno (1962–72) is also mentioned.
