SALVATORE SCIARRINO On composition

"Modesto" at the end

I was listening to Anamorfosi... but isn't it a rip-off of Debussy and Ravel?!?! Ahahahah

antares86 wrote:

I was listening to Anamorfosi... but isn't it a rip-off of Debussy and Ravel?!?! Ahahahah

Which pieces were you thinking of?

If we reason in terms of "ripping off," there is no way out alive. Influence, quotation, stylistic reconstruction, or plagiarism? 4 hypothetical "nuances" to describe the relationship of a composer's music towards the greats of the past.

For example, your barcarolle that I read about will be performed soon... how do you consider it?

Jeaux d'eau mainly...

The barcarolle will perhaps be performed, I have no certainty yet... it was born as a processing of a small study theme and that is what it remains... without any other pretension

I deduce that we are assuming Anamorfosi has ambitions

However, I renew the question for you: Influence, citation, stylistic reconstruction, or plagiarism?

Because I am curious

I have no idea if it's ambition or not, it seems like influence... but in my opinion, excessive.

Zazza wrote:

I am renewing the question for you, though: Influence, quotation, stylistic reconstruction, or plagiarism?

Quotation ... or rather, an overlap of Jeux d'eau and Singing in the Rain. So - obviously - one cannot say it was copied (imitated), because instead it is copied - literally.

Open content (youtube)

It's not about copying! I find the discovery and the observation that your melodies, so far apart, can integrate with each other to be brilliant. Sciorino always surprises. I knew this piece and I like it

Well certainly, if you don't mind maintaining a bit of harmonic rigor, you can integrate any melody..

And then one must remember that, always in the classical way, one thinks first of the arrival and then of the means, absolutely

Sorry ... I don't understand!

Ricci wrote:

Well certainly if you don't mind maintaining a bit of harmonic rigor you can integrate any melody..

Sciarrino is precisely interested in harmonic rigor!!

Ricci wrote:

And then one must remember that always in the classical manner one thinks first of the arrival and then of the means, absolutely

???

I didn't like that he passed off the fact of setting a goal before asking oneself how to get there as one's own prerogative and not that of the schools, or of teaching (completely false)

Could you link one of his significant pieces from the perspective of harmonic construction?

Ricci wrote:

I didn't like the fact that he passed off setting a goal before asking how to get there as his own prerogative and not that of schools, or teaching (completely false)

Forgive me but I still don't understand ...

Ricci wrote:

Could you link a significant piece of his from the point of view of harmonic construction?

I was referring precisely to this Anamorfosi, which ultimately is built on the harmonic compatibility between Jeux d'eau and Singing in the rain.

In fact, I was saying that if you are not interested in establishing reference points in terms of harmony and tonality, the possibilities of succeeding with other melodies are many....

Ricci wrote:

In fact, I was saying that if you are not interested in establishing reference points at the level of harmony and tonality, there are many possibilities of succeeding with other melodies....

Are the reference points in music two chords? And is it a scherzo?

I didn't say exactly this, but alright.....so would you illustrate them in this piece, Gerardo?

If you write

> if you are not interested in establishing reference points in terms of harmony and tonality

Whoever reads this means that if you want to provide reference points, you must use Tonic and Dominant, precisely 2 chords. I say that the references exist anyway beyond those two chords... you could start from Debussy... but in some ways a certain Scriabin is enough

(Aside from the fact that, however useful it may be to define the form, obviously it has no impact like a 5-1)

I am not saying it is the only way, but in that piece there aren't even rhythmic supports; being composed of two separate melodies, no thematic elements are found, and doing so makes it easy to do with many other melodies