Salvatore Sciarrino Research Articles

“The Specter of Drama in the Specter of Another Drama”: The Anamorphosis of the Singspiel and the Palimpsest Effect in Aspern by Salvatore Sciarrino

The article explores the early opera by Salvatore Sciarrino, based on Henry James’s novelette The Aspern Papers. Sciarrino’s Aspern has aroused considerable interest both in the aspect of the transposition of James’s prose into the musical sphere, and in terms of the formation of the poetics of musical theater and the principles of the composer’s dramatic thinking. The experimental character of the singspiel (in the author’s definition) was stipulated by the idea of representation as an act of composition. Rejecting the traditional format, Sciarrino and his co-author of the libretto Giorgio Marini created an intertextual connection between the novelette and the opera, having turned the reading of the text into an element of dramaturgy, along with other components — the singing, the music and the stage decorations. The protagonists of the story (the Narrator, Giuliana, Titta) dissolved in the recitations of various actors. The arias based on the texts of Lorenzo da Ponte from Le Nozze de Figaro, performed by one single singing protagonist, the Female Singer, offstage, created an ironic estrangement on the scenic (between the dramatic performance in spoken dialogues and the music) and the stylistic levels (between da Ponte’s text and Sciarrino’s music). The special optics of artistic imagination established this way, making it possible to view the one through the other, helped the “ghost” of Mozart, the musical equivalent of the “divine Aspern,” appear. Mozart’s “disturbing presence” also explains the unexpected genre-related definition given by the composer to his work. The singspiel becomes an object of anamorphosis, in which elements of the genre projected from the past acquire a strange oneiric form in the present. Reflecting on Sciarrino’s invitation to search for “music in the music and drama in the drama” in Aspern, the author of the article reveals the connections between the Italian maestro’s opera and Piotr Tchaikovsky’s The Queen of Spades, set up by the palimpsest effect hidden in James’ original text. An important connecting link between the two operas is the figure of Mozart as the ideal of “the Composer”, who had managed to absorb and transform the traditions of different eras and national schools of composition. In this light, Sciarrino’s Aspern becomes a musical metaphor of the search for and the finding of oneself in the “traces” of others.

Reimagining Formal Functions in Post-Tonal Music

Modernist concepts of temporality (“non-linear time”) are variously cross-related to conventional concepts and qualities of time (“linear time”) (Kramer 1988, 20–65). This is exemplified by Salvatore Sciarrino’s creative method, which reconciles more conventional elements of discursive organicist design (processes of accumulation, multiplication, and transformation) with strategies of rupture and formal deterioration (“little bang,” “window form”). This unique mixing of “linear” and “non-linear” strategies is staged within a soundscape of mostly minimal dynamics and reduced activity at the edge of silence, sensitizing the listener toward micro-alterations. This article introduces key strategies in Sciarrino’s temporal form based on analytical investigations of three works that differ substantially in duration, density, and genre: Quintettino no. 1 (1976, ca. 3 min.) for clarinet and string quartet, Efebo con radio (1981, ca. 11 min.) for voice and orchestra, and the music theater work Da gelo a gelo: 100 scene con 65 poesie (2006, ca. 110 min.). My analyses are framed by a discussion of the relationships between musical beginnings or endings and constellations of duration and density. Sciarrino’s works prominently feature a semanticization of musical material by metaphorical, agential, or paratextual means that is also evident in his interpretation of Anton Webern’s orchestral piece op. 6, no. 4 (1909). The analyses demonstrate how the composer’s explicit and implicit semanticization of his material allows the listener to understand Sciarrino’s works as reimaginations of conventional formal functions in which the familiar appears unfamiliar.

Creativity and Cognitive Niche Construction in Salvatore Sciarrino’s L’opera per flauto

The emergence of new musical ideas, and new forms of musicality, is described here as the transformation of conceptual spaces in a cognitive niche, a distributed and self-organised set of intergenerational concepts, materials, and actions. According to this approach, there is a direct co-dependence relation, a co-evolutionary causal looping, between new, acceptable (valid) and surprising musical ideas (which define what is creative in a certain context), agents, tools and artifacts (instruments, musical notations, types of equipment, performance space), and conceivable epistemic and pragmatic actions (instrument techniques, dynamics of collaboration, scenic procedures). This co-evolutionary relation defines a conceptual space of musicality. To demonstrate our thesis, we detail the development of extended techniques for transverse flute, a phenomenon strongly dependent on performer-composer collaboration. We focus on Salvatore Sciarrino’s L’opera per flauto (1990), which was developed in an intensive work with the flautist Roberto Fabbriciani, through investigation of sounding possibilities of the instrument. The collaboration resulted in new and surprising sounds for the transverse flute, including the combination of extended techniques, and their notation, largely applied by later repertoire.

Hearing Durational Process in A Huli Song

Hearing Durational Process in A Huli Song

The Hypnotic Garden: Repetition and Trance in Salvatore Sciarrino’s Works for Flute

"Salvatore Sciarrino creates what could be described as an isolated, mysterious “sonic garden”: a ghostly world of sounds where the archetypal corporal processes, such as breathing or heartbeat, are transformed into music. His conceptual thinking – refreshing the musical perception, the ecological hearing, the persistence of repetition, the figures of music (formal archetypes that can be adapted to any kind of art) – as well as his very particular, non-traditional sound make Sciarrino’s music an incredibly rich world to explore. The flute seems to be his favourite instrument, due to its ability to incorporate so many corporeal noises of the performer (from voice to fingertips), becoming almost an extension of his body. The many and ingenious ways of applying repetition in his work, as well as the play with time length – taken to almost unbearable boundaries – make Salvatore Sciarrino one of the true explorers of musical trance today. Keywords: Sciarrino, flute, contemporary music, repetition, persistence, musical figures "

Функция-автор в поэтике современной музыки

The term “author function,” derived from the famous work of Michel Foucault What is an author?, is projected in this work on a number of works by contemporary composers in Russia and other countries. The theme of discussion is music: Sounding Letters by Alfred Schnittke, Clavier Music by J. S. Bach (The Zagny Collection) by Sergei Zagny, Bridges to Bach by Giya Kancheli, Quartet Fragmente-Stille, an Diotima by Luigi Nono and Anamorphosi by Salvatore Sciarrino. The problem of authorship is included in the mainstream of urgent issues associated with the study and interpretation of the meaning of contemporary musical compositions. In some of them, the composer’s figure is marked in the music itself, while in others, on the contrary, it marks its absence. Various diverse ways of functioning of the composer’s voice often arise in the intertextual space, which makes it possible to capture the distance between different works and composers’ styles. Our field of vision also includes the composer’s words dedicated to the problem of authorship.

Musik von einem fremden Planeten?. Variationen über Struktur, Wahrnehmung und Bedeutung in der Musik des 20. und 21. Jahrhunderts

The relationship between musical structure, perception and musical meaning can be understood as a key to the development of a theory of post-tonal music. Preliminaries of this theory are developed in three “variations”. First, a review of the difficult relationship between music theory and new music in the 20th century is explained by (1) an increasingly diverse compositional practice that has lead to a composer-centred “theory”, often amounting to nothing more than a scantily contextualized documentation of a composer’s intentions and techniques, and (2) the universalist and dogmatic tendency of music-theoretical discourse around 1900 which, however, has since developed into an “epistemological pluralism” (Nicholas Cook). The Graz research project “organisation of sound”, initiated and headed by the author, pursues just such a pluralistic methodology by integrating author- and listener-perspectives on post-tonal music based on a morpho-syntactical conceptual framework with references to gestalt theory. This approach emerged not least from the observation that new music, especially after 1945, has increasingly been conceived of “morphologically” with a strong focus on music perception, as argued in the second variation. The idea that musical structure, perception and “worldliness” [Welthaltigkeit] are inseparable allowed composers to retain the idea of musical auto-referentiality while at the same time claiming the social-political impact of contemporary music. This is illustrated by a short discussion of the relationship between structural coherence and (political) meaning in works by Brian Ferneyhough, Helmut Lachenmann and Salvatore Sciarrino. The third variation discusses these questions in more detail through an examination of two recent works by Chaya Czernowin and Isabel Mundry. In Czernowin’s Excavated Dialogues – Fragments Western and Chinese instruments are organized in a culturally hybrid space saturated with conflict emerging from a highly gestural material; in Mundry’s Ich und Du solo piano and orchestra go through several stages of an ambiguous identity discourse informed by an essay of Japanese philosopher Kitarō Nishida. Antinomies between the composers’ self-interpretations and the morpho-syntactical analysis can be understood as results of a music-specific polyvalence that should inform any theory of post-tonal music.

The influence of the converter system on the contemporary accordion performance

Abstract. In the second half of the XX century the accordion experienced significant changes that would change the instrument’s destiny, its practice, sound range and potential. One of these changes was the creation of a converter system that opened doors to performance on this instrument, such as: hands independence, polyphony realization, new compositions, technical and artistic development of the performer’s skills. In addition to highlighting the mechanisms and aspects related to the performance of the converter system, the study discusses some techniques common in modern accordion compositions (clusters, glissando, ricochets, vibrato, portamento, percussion effects, etc.) and ways of their notation, identifies benefits and limitations of performing different types of articulation and sound effects on the instrument. It is concluded that the use of the converter system in the accordion has expanded the range of possibilities of the instrument and made its study much more interesting for performers, composers and listeners; fruitful collaboration with outstanding masters (Sofia Gubaidulina, Edison Denisov, Franco Donatoni, LucianoBerio, Magnus Lindberg, MauricioKagel, ToshioHosokawa, Salvatore Sciarrino, Christopher Bochmann and others) led to the cultural rise of the instrument. Finally, the inclusion of the accordion with a converter system in the programs of chamber and symphony concerts has accelerated the process of introducing the accordion into classical music.

„Ja” na pięć głosów rozpisane? Wielogłosowość madrygału od 1950 roku

Surprisingly, since 1950, at least 500 works connected to the madrigal, and among them at least 454 madrigals, have been written. Unfortunately, a comprehensive musicological or theoretical-musical approach to that issue has been lacking so far. Using the genre studies perspective, the article aims to show how some composers working in the second half of the 20th–century and in the 21st–century respond to the early madrigal in terms of one of the most important madrigal characteristics – its polyphonic scoring and texture. That aspect, criticised by theorists at the end of the 17 th century, became the source of diverse musical reinterpretation in contemporary pieces by, among others: Luciano Berio, Christophe Bertrand, Harrison Birtwistle, George Crumb, Beat Furrer, Roman Haubenstock-Ramati, Paul Hindemith, Mauricio Kagel, György Ligeti, Luigi Nono, Henri Pousseur, Grażyna Pstrokońska-Nawratil, John Rutter, Johannes Schöllhorn, Salvatore Sciarrino, Marek Stachowski, Alfred Schnittke, Pēteris Vasks, Agata Zubel. A number of aspects of polyphony are taken into consideration: type of polyphonic means (canons, fugue, passacaglia, etc.), their function (structural, semantic, emotional, etc.), and their meaning (c.f. their role in the process of constructing the subject of given works).

HEADLESS MUSICAL SEEDS AND GESTURES WITH ADJECTIVES: AN INTERVIEW WITH KEIKO DEVAUX

AbstractKeiko Devaux (b. 1982) is a Canadian composer, originally from British Columbia, who now lives in Montréal. She began her musical career in piano-performance studies as well as composing, touring and recording several albums in independent rock bands. Her concert music is widely performed throughout Canada and Europe. From 2016–18, Keiko was the composer in residence of Le Nouvel Ensemble Moderne. She joined Salvatore Sciarrino's masterclasses at L'Accademia Musicale Chigiana in Siena, Italy, between the years 2017 and 2019. Keiko was commissioned by music@villaromana festival, Florence, to create Echoic Memories. She is the inaugural winner of the Azrieli Commission for Canadian Music (2020) and is also engaged in a two-year residency as a Carrefour composer with the National Arts Centre Orchestra (2020–22). This interview was conducted over Zoom in late spring 2020, in the midst of the Covid-19 pandemic.

Sciarrino in dialogo con Laforgue

This paper aims to offer an ‘other-view’ of the relationship between myth and opera. With a transversal perspective, the major objective of this pages is to unravel some of the elements that can (or could) lead to a queer interpretation, referring to Perseus and Andromeda’s mythological plot re-elaborated by Jules Laforgue (Persée et Andromède, ou le plus heureux des trois, 1887) and Salvatore Sciarrino (Perseo e Andromeda, 1991).

Salvatore Sciarrino’s music at the Beethoven Festival in Bonn: actualization of the classical heritage in conteporary art projects

Problem statement. Contemporary art space creates special conditions for the functioning of the classical musical heritage. The principle of the classics, which results in the formation of certain ideas about the criteria of the “reference” work and the ways of interaction with it undergoes a radical transformation. The turn of the XX and XXI centuries became a time of experiments, including experimental dialogues of the contemporary artists with the classical artistic artifacts. The relevance of the study is due to the growing scientific interest in the specifics of the implementation of contemporary art projects. The scientific novelty of the article is connected with the attempt to analytically comprehend the process of actualization of classical musical works in the conditions of the modern artistic environment. Theoretical Background. In the context of our study, the views of P. Sloterdijk (1986) on the autonomy impossibility of the classical text and the study of U. Eco (1986), focused on the dynamism of the artistic universe of the postmodern era and the multiplicity of its possible interpretations, are recognized as the most essential. Objectives. The purpose of this study is to reveal the specifics of the actualization of classical heritage in contemporary art projects (based on “Quando ci risvegliamo” by S. Sciarrino, presented at the Beethoven Festival in Bonn, 2015). Results and Discussion. The specifics of creative rethinking of L. van Beethoven’s works, done by contemporary European composers (S. Sciarrino, H. Dufourt, V. Tarnopolsky, B. Lang, E. Poppe) during the European cycle of the Beethoven Festival (2015–2019) are analyzed. The content of the multi-layered work “Quando ci risvegliamo” by S. Sciarrino’s is revealed as it is caused by the allusions to Fantasia for piano, soloists, choir and orchestra Op. 80 by L. van Beethoven and the symbolic drama “Når vi døde vågner” (“When We Dead Awaken”) by H. Ibsen. The interaction between the texts takes place on a structural, symbolic and semantic levels. The space of silence on the imaginary border of sleep and awakening, modeled by S. Sciarrino in “Quando ci risvegliamo”, builds cross-cultural connotations, appealing at the same time to the work of the German composer and the Norwegian playwright. Conclusions. The conclusion on the actualization of the classical text in the conditions of the modern art environment at the expense of employment of other classical texts is made. It is noted that the appropriate level of cultural training and experience in perception of artistic texts, expected from the hypothetical recipients, should allow them to perceive the cultural and artistic connotations of the new work, which are included in the hypertext of postmodernism.

An Image of the Cosmos: Repetition and Temporality in Sciarrino’s Instrumental Sillabazione Scivolata

An Image of the Cosmos: Repetition and Temporality in Sciarrino’s Instrumental Sillabazione Scivolata Antares Boyle (bio) Introduction: Sillabazione Scivolata in Sciarrino’s String Music Salvatore sciarrino’s recent music is characterized by a special type of repetition in which brief, distinctive melodic figures are minutely and unpredictably varied across their many recurrences. Example 1 shows a family of utterances from String Quartet No. 8 (2008) that loosely resemble each other in rhythm, pitch, melodic contour, and dynamic shape. These statements have been aligned vertically in the figure, with the precise duration of each initial long glissando removed, in order to make the varied repetition visually apparent. The excerpts are typical of a style of writing that has come to dominate Sciarrino’s recent work, which the composer once termed sillabazione scivolata, or “gliding syllable articulation.”1 My analyses of three passages from the Quartet will demonstrate how the distinctive features of this style can shape temporal experience by creating a [End Page 129] dynamic tension between the immediacy of familiar gestures and more elusive long-range continuities. But first, a preliminary description of the sillabazione scivolata technique, its transferal from the vocal to the instrumental realm, and its implications for periodization and analysis of Sciarrino’s output will provide context and motivation for this analytical claim. Click for larger view View full resolution Example 1. A FAMILY OF UTTERANCES IN THE SILLABAZIONE SCIVOLATA STYLE, STRING QUARTET NO. 8, MM. 85–100 Sciarrino has said that sillabazione scivolata, originally conceived as a vocal style, imitates the rhythms and inflections of natural speech.2 It involves melodies performed by an individual voice or by multiple voices in unison or octaves. Although consecutive melodic statements may overlap somewhat, they are only rarely presented in harmony or counterpoint—Sciarrino has called the style “absolute monody.”3 Its identifying features are listed in Example 2. [End Page 130] Click for larger view View full resolution Example 2. FOUR ESSENTIAL FEATURES OF SILLABAZIONE SCIVOLATA The extensive varied repetitions of the style establish families of utterances such as those in Example 1, and these excerpts can be considered paradigmatic instances of the technique.4 Such families are often defined by the position of specific pitches within a recurring series of gestures—such as, in Example 1, the F♯4 and F4 that end the first and last glissando of each excerpt—rather than by intervallic consistency. Canonical post-tonal operations such as transposition and inversion seem to play little to no role in this music. Although scholars have described the style as “modular,” repeated gestures are not reordered entirely freely: complexes like those in Example 1 are defined by a basic series of event types, although recurrences are subject to variation.5 The sillabazione scivolata style was originally developed for the vocal parts in Sciarrino’s operas of the 1990s; the composer first used it in Perseo e Andromeda (1990) and perfected it in Luci mie traditrici (1996–98).6 He began to apply the technique to his string writing shortly thereafter. String Quartet No. 7 (1999)—the composer’s first full-length quartet—repurposes a significant amount of material from Luci mie traditrici, and might even be considered a kind of overture to the opera, although Sciarrino makes no mention of this in his program note.7 String Quartet No. 8, from which the three analytical examples in this article are drawn, is written in a similar style but without any clearly recycled material. However, because sillabazione scivolata generates particular kinds of musical gestures, which are then subject to extensive variation, the line between self-referentiality and new [End Page 131] composition (or between “content” and “style”) is blurred in these works. Quotation and allusion have always been part of Sciarrino’s aesthetic practice—his published output includes homages to artists ranging from Hoagy Carmichael to Mozart—and his recent sillabazione scivolata works might be variously interpreted as a new frontier in intertextuality, an abundant flowering of a highly distinctive style, a strategy for compositional efficiency (one that has taken Sciarrino’s oft-noted productivity to new levels), or some mixture of the above. The composer himself does...

Italian singer Daisy Lumini as an interpreter of the post-avant-garde music

Italian singer Daisy Lumini as an interpreter of the post-avant-garde music

Western European Contemporary Music in the Art Space of Modern Ukraine (in the work by Salvatore Sciarrino)

The article covers the process of integration of creative legacy of the contemporary Western European composers into Ukrainian art space by the example of the work of Italian composer S. Sciarrino. The specificity of the representation of S. Sciarrino’s works in the art space of Ukraine since 1998 till 2019 has been analyzed. Ukrainian festival movement is a kind of laboratory, where assimilation of the recent European music occurs, as it has been shown in the study.Contemporary music festivals serve as means of intercultural communication and create the conditions for close interaction between the Ukrainian and European art space. This provides Ukrainian musicians a chance to master the current European trends of composing to create large-scale monographic projects representing contemporary European music at a new level.

Sound search tendency in composer’s practice of the second part of 20th — beginning 21st century

Relevance of the study of this article is an attempt to consider the art music of second part of the 20th— beginning of the 21st centuries as a purposeful process inherent for the development of some sounds ideas. One of them concerns some changes at the level of sound material that I propose to define as sound search tendency.The main objective of the study is definition in boundaries of sound search tendency of typical tools of the composer’s work with sound material. In our time these tools have been stabilized and have been widely spread in modern composer’s creativity.Scientific novelty of this article is a proposition of the sound search tendency definition as one of the main ideas that has appeared at the beginning of the 20th century, has been developed in the second part of the 20th century and has the stage of stabilization now. This tendency is demonstrated itself by the sound material research in the process of its creating and working with it.The main attention of composers is focused on experiments with sound and music instruments (or voices) that are produced by means of different timbre mixes, extended techniques and non-typical interpretation of traditional musical techniques. Extended techniques, preparation and amplification of instruments and voices have been emphasized. Traditional music sounds are being used now on equal terms and often even more rarely than different noises.The methodology. In the article the methods of historical, linguistic and structural analysis are used.Results and conclusions. The sound search tendency is directed to creating original acoustic objects. From diversity of methods the most common at the moment are:extended techniques;preparation of instruments;non typical using and original combining of traditional musical techniques;combination of traditional musical techniques, extended techniques and preparation of instruments (in different methods);introduction or making new or non-typical musical instruments;creation of new timbre complexes with aid of using non-musical by their nature sounds, working with electro acoustic material, mixing electro acoustic and acoustic sounds etc.Often result of such work is an original expressive effect that demonstrates main idea of composition. Methods described above are demonstrated by examples of First String Quartet (from “Sei Quartetti Brevi”, 1967–1992) by Salvatore Sciarrino and “Lacrimosa or 13 Magic Songs” for seven violins (2017) by Maxim Shalygin.Understanding the role of sound search tendency in the art music of the 20th –beginning 21st century gives possibility to put in order according certain principle whole variety of composer’s techniques, sound ideas, methods of sound organizing that was created at art music during this time.

Lucho Fontana’s “Specialist Manifesto” and Salvatore Sciarrino’s Concept of Sound Space

The article is devoted to the relationship between the ideas of spatial organization in contemporary art and music. The spatial category is fundamental in the development of creative strategies for artists, belonging not only to the types of art that were traditionally considered spatial, but also to those that belonged to the field of temporary arts, such as music. The artist in this case is understood not in the context of belonging to the visual arts, but in a broader sense. Art, representing various projections of physical space into art, allows for work with both spatial and temporal characteristics. In the process of analyzing spatial concepts, the author refers to the paintings of the Italian artist Alberto Burri, as well as to the “White Manifesto” and the works of the Italian artist Lucho Fontana. The creative concept of the Italian composer Salvatore Sciarrino is based primarily on the spatial perception of sound and a special composer strategy for the preliminary construction of a graphic equivalent of sound space. In his book “The Figures of Music: From Beethoven to the Present,” the composer turns to the works of the artists mentioned above and considers his spatial ideas as the projection of their paintings in music. Analyzing the works of Sciarrino, such as “Studi per l’intonazione del mare,” “Infinito nero,” sonatas for piano, theoretical works, such as “Le figure della musica: da Beethoven a oggi” and “Carte da suono scritti,” the author comes to a conclusion regarding the generality of ideas of Italian artists and composer.

THE CALL OF THE DISASTER AT THE BORDERLAND OF SILENCE

Blanchot’s Thomas the Obscure (second version) and Death Sentence are marked by the imperative to hear the call of night, of darkness, and death. In each work, the ear is enlisted to undermine the prominence accorded to the eye. If sight is essential to measure and confirm the space separating subjects from objects or subjects from other subjects, Blanchot introduces hearing as a way to collapse this protective distance. The border between inside and outside becomes porous, and the subject is no longer protected by vision’s capacity to establish a neutral and demonstrable distance between itself and the object of sight. As vision becomes catastrophic, hearing assumes an ascendant role. Thomas and Anne each hear the call of death, as well as cries, laments and sudden sounds that burst through silence. The characters of Death Sentence also hear and respond to a variety of calls, including the call to yield to death and the open grave. In both works, Blanchot provides a literary space in which sounds of various intensities resist silence, including the noise of the final rattle, the ultimate struggle with silence. In order to further explore the nature of this literary struggle, in the final section of my paper I compare Blanchot’s interrogation of silence to various musical experiments with the limits of sound, including the twentieth-century works of composers such as Anton Webern, Luigi Nono and Salvatore Sciarrino.

Modelação do tempo: Salvatore Sciarrino, janelas e nublamento

Neste artigo pretendo discutir uma das figuras da linguagem musical do compositor italiano Salvatore Sciarrino: a forma em janelas. Após definir esta figura da maneira como o compositor a explica, procurarei mostrar que, na composição, as janelas podem se abrir tanto para dentro quanto para fora do discurso musical. De um lado, elas apontam para um ambiente interior da composição, constituindo uma remissão interna. De outro, provocam o ouvido a compreender a referência externa, construindo uma intertextualidade. A partir da janela para fora, tratarei de técnicas de distorção, particularmente daquela que chamo de nublamento. Nas conclusões retomarei a questão da memória e da composição enquanto modelação do tempo.

Huddersfield Contemporary Music Festival: 24–29 November 2015

Roughly midway through this year's Huddersfield Contemporary Music Festival, a solo recital performance by the glissando flautist Erik Drescher somehow managed to capture simultaneously much of what makes today's hcmf// both interesting and infuriating. Drescher's choice of four pieces, obviously severely limited by the finite number of works scored for his unusual instrument, managed to forge divisions even through what seemed a somewhat partisan audience. Pairing the by-now somewhat familiar and perhaps predictable stylings of Salvatore Sciarrino's Il pomeriggio di un allarme al parcheggio with his fight to be heard over the wall of blasting electronic noise featured in Dror Feiler's Questions and Stones 3, and then again against the subtle simplicity of Alvin Lucier's Double Himalaya meant that most left in parts satisfied and in parts irritated.