Salvatore Sciarrino

Salvatore Sciarrino

born on 4/4/1947 in Palermo, Sicilia, Italy

Salvatore Sciarrino

From Wikipedia, the free encyclopedia.
Salvatore Sciarrino (born Palermo, Italy, on April 4, 1947) is an Italian composer of contemporary classical music.


In his youth, Salvatore Sciarrino was attracted to the visual arts, but began experimenting with music when he was twelve. Though he had some lessons from Antonino Titone and Turi Belfiore, he is primarily self-taught as a composer. After his classical studies and a few years of university in his home city, in 1969 he moved to Rome, where he attended Franco Evangelisti's course in electronic music at the Accademia di Santa Cecilia (Osmond-Smith 2001).

In 1977, Sciarrino moved from Rome to Milan, where he taught at the conservatory until 1982. By this time his compositional career had expanded to the point where he could withdraw from teaching, and he moved to Città di Castello, in Umbria, where he has lived ever since. He nevertheless has continued to teach occasionally in Florence and Bologna, as well as in Città di Castello. Some of his notable students include Francesco Filidei, Lucia Ronchetti, and Maurizio Pisati.

He has composed for: Teatro alla Scala, RAI, Teatro del Maggio Musicale Fiorentino, Biennale di Venezia, Teatro La Fenice di Venezia, Teatro Carlo Felice di Genova, Fondazione Arena di Verona, Stuttgart State Opera, Brussels La Monnaie, Frankfurt Opera Theatre, Amsterdam Concertgebouw, London Symphony Orchestra, Tokyo Suntory Hall. He has also composed for the following festivals: Schwetzinger Festspiele, Donaueschinger Musiktage, Witten, Salzburg, New York, Wien Modern, Wiener Festwochen, Berliner Festspiele Musik, Holland Festival, Alborough, Festival dAutomne (Paris), Ultima (Oslo).

He was published by Ricordi from 1969 to 2004. Since 2005, Rai Trade has had exclusive rights for Sciarrinos works.

Sciarrinos discography is extensive: there are over 70 CDs, many of which have won awards.

Apart from being author of most of the librettos of his operas, Sciarrino has written many articles, essays and texts, some of which have been chosen and collected in Carte da suono, CIDIM Novecento, 2001. His book about musical form: Le figure della musica da Beethoven a oggi (Ricordi 1998) is particularly important.

From 1978 to 1980, he was Artistic Director of Teatro Comunale di Bologna, Academic of Santa Cecilia (Roma), Academic of Fine Arts of Bavaria and Academic of the Arts (Berlin).

Sciarrino has won many awards, among the most recent are: Prince Pierre de Monaco (2003) and the prestigious Feltrinelli Prize (2003). He is also the first prizewinner of the newly created Salzburg Music Prize (2006), an International Composition Price established by the Salzburg Land. He has received the 2011 BBVA Foundation Frontiers of Knowledge Award of Contemporary Music for renewing the possibilities of vocal and instrumental music and for the singularity of his sound materials. Sciarrino has developed a new and unique syntax and a manner of combining extreme synthesis with richness of detail.

Musical style

Sciarrino's work is avant-garde, and he is known for his use of isolated sonorities, extended playing techniques, frequent silences, and ironic or confrontational quotation of previous music (for instance, American pop music) or stories (such as in Lohengrin).

His works include a large body of chamber music, including many pieces for wind instruments, five piano sonatas, and several operas or theatrical works: Da gelo a gelo, Infinito nero, Macbeth, Perseo ed Andromeda, Lohengrin, and Luci mie traditrici.


See also: List of compositions by Salvatore Sciarrino


  • Bartolini, Donatella . 1999. "La genialità? Il segreto è nell'universo infantile: Intervista a Salvatore Sciarrino". Nuova rivista musicale italiana 33, no. 2 (Apr-June): 22732.
  • Boni, Monica, and Luigi Pestalozza. 1997. "La musica in Italia dal 1945 ad oggi: Un archivio vivente" Musica/Realtà 18, no. 54 (November): 17384.
  • Borio, Gianmario. 1991. "Der italienische Komponist Salvatore Sciarrino". Neue Zeitschrift für Musik 152, no. 5 (May): 3336.
  • Carapezza, Paolo Emilio. 1989. "De musices novissimae extremis elementis (Sciarrino, Donatoni)". In Polsko-woskie materiay muzyczne, edited by Micha Bristiger, Jarosaw Iwaszkiewicz, Paolo Emilio Carapezza, and Renato Guttoso, 302309. Kraków: Polskie Wydawnictwo Muzyczne.
  • Claren, Sebastian. 2002. "Musikalische Figurenlehre: Salvatore Sciarrino als Analytiker und Komponist". Musik & Ästhetik 6, no. 22 (April):10611.
  • Geraci, Toni. "La sonatina per violino e pianoforte di Salvatore Sciarrino"."In L'analisi musicale: Atti del convegno di Reggio Emilia, 16-19 marzo 1989, edited by Rossana Dalmonte and Mario Baroni. Milan: Unicopli.
  • Giomi, Francesco, and Marco Ligabue. 1998. "The 'Enchanted' Sound Objects: Aesthetic-Cognitive Analysis and Musical Signification Strategies". In Les universaux en musique: Actes du quatrième congrès international sur la signification musicale, edited by Costin Mireanu and Xavier Hascher, with a foreword by Michel Guiomar.[page number needed] Paris: Publications de la Sorbonne.
  • Helgeson, Aaron. 2013. "What Is Phenomenological Music, and What Does It Have to Do with Salvatore Sciarrino?" Perspectives of New Music 51, no. 2 (Summer): 436.
  • Kager, Reinhard. 1998. "Salvatore Sciarrinos Oper Die tödliche Blume: UA 19.5. in Schwetzingen; 29.-31.5. in Wien". Österreichische Musikzeitschrift 53, no. 5 (May):.5051.
  • Lanza Tomasi, Gioacchino. 1969. "I due volti dell'alea". Nuova rivista musicale italiana. 3, no. 6 (NovemberDecember): 1076-95.
  • Leydon, Rebecca. 2013. "Narrativity, Descriptivity, and Secondary Parameters: Ecstasy Enacted in Salvatore Sciarrino's Infinito nero". In Music and Narrative since 1900, edited by Michael L. Klein and Nicholas Reyland.[page number needed] Bloomington: Indiana University Press.
  • Ligabue, Marco, and Francesco Giomi. 1996. "Gli oggetti sonori incantati di Salvatore Sciarrino: Analisi estesico-cognitiva di Come vengono prodotti gli incantesimi?" Nuova rivista musicale italiana 30, nos. 12 (JanuaryJune):15579.
  • Mazzolino, Marco. 1990. "Incontro con Salvatore Sciarrino di Marco Mazzolini: Dell'interrogare" Sonus: Materiali per la musica contemporanea 2, nos. 3 & 4 (JuneAugust): 4556.
  • Müller, Patrick, and Grazia Graccho. 2000. "Zwischen Raum und Zeit: Zu den 'Figuren' von Salvatore Sciarrino". Dissonanz, no. 65:2025.
  • Osmond-Smith, David. 2001. "Sciarrino, Salvatore". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Pais, João Miguel. 2007. "Salvatore Sciarrinos Variazione su uno spazio ricurvo", translated by Hermann J. Metzler. Musik & Ästhetik 11, no. 41 (January): 6279.
  • Petazzi, Paolo. 1997. "'...isola, mare, prigionia, spazio...': Il Perseo e Andromeda di Salvatore Sciarrino". In Paolo Petazzi, Percorsi viennesi e altro Novecento, 24152. Potenza: Sonus Edizioni Musicali. ISBN 88-86341-01-6
  • Pinzauti, Leonardo. 1977. "A colloquio con Salvatore Sciarrino" Nuova rivista musicale italiana 11, no. 1 (JanuaryMarch): 5057.
  • Saxer, Marion. 2006. "Scheiternde Verständigung: Melancholie im Musiktheater Salvatore Sciarrinos" Neue Zeitschrift für Musik 167, no. 6 (November-December): 2629.
  • Sciarrino, Salvatore. 1998. Le figure della musica: da Beethoven a oggi. Milan: Ricordi. ISBN 88-7592-534-8
  • Sciarrino, Salvatore. 2000. Après "Giovanna d'Arco": Deux réflexions. In Arrangements, dérangements: La transcription musicale aujourd'hui, edited by Peter Szendy, 9799. Paris: L'Harmattan.
  • Stuppner, Herbert. 1993. "Salvatore Sciarrinos archaisierende Sphärenklänge". In Brennpunkt Nono: Programmbuch Zeitfluß 93, edited by Josef Häusler. Zürich, Switzerland: Palladion.
  • Vidolin, Alvise. 1996. "I suoni di sintesi nel "Perseo e Andromeda" di Salvatore Sciarrino". In Nell'aria della sera: Il Mediterraneo e la musica, edited by Carlo de Incontrera, 35387 . Monfalcone: Teatro Comunale di Monfalcone.
  • Vinay, Gianfranco, Philippe Gontier, and Marylène Raiola. 2000. "La construction de l'arche invisible: Salvatore Sciarrino à propos de dramaturgie et de son théâtre musical". Dissonance, no. 65 (August):1419.
  • Zavagna, P., A. Provaglio, SalvatoreSciarrino, andAlviseVidolin. 1991. "Perseo e Andromeda, opera lirica in un atto per mezzosoprano, tenore, baritono, basso e sistemi informatici di Salvatore Sciarrino: Composizione, realizzazione ed esecuzione". In IX Colloquium on Musical Informatics/IX Colloquio di Informatica Musicale, edited by Corrado Canepa and Antonio Camurri. Genoa: Associazione di Informatica Musicale Italiana.

External links

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