Konx-Om-Pax (1969) for orchestra and mixed choir
« Trois aspects du Son : comme premier mouvement de l’Immuable ; comme Force Créatrice ; comme la syllabe OM »
Composer: Giacinto Scelsi (1905 - 1988)
Performers: Orchestre et Chœur de la Radio-Télévision Polonaise de Cracovie, dir. Jürg Wyttenbach
0:00 I.
7:33 II.
9:35 III.
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"Konx-Om-Pax est composé (de trois parties) qui se suivent pratiquement sans interruption.
Dans la première, la complexité croissante du son central avec les quarts de tons et les harmoniques supérieurs et inférieurs qui en résultent, est évidente. Le son est le premier mouvement de l’Immobile.
Dans la seconde le Son, où repose la puissance cosmique, se réveille, laisse alors sa condition d’équilibre statique et devient une force dynamique créatrice que nul n’arrêtera.
Dans la troisième, le son se manifeste avec la syllabe OM, le Son total, qui, avec ses harmoniques, repris finalement également par le chœur, embrasse la symphonie de l’Univers puisqu’OM signifie la Vérité Impersonnelle."
~Giacinto Scelsi
"The first movement is based entirely on C, first treated as in inner pedal, and fans out harmonically at first symmetrically and then asymmetrically with the addition of quarter tones, rising to a great climax completely elaborating the underlying C. This movement is a gradual gathering of harmonic forces, with great calming effect. The short second movement begins on F, slowly builds until unleashing a great explosion of power in the form of rapid chromatic scales engulfing everything in their path, and ends again on F. The third movement is on A (and recall that the movement from C to A was the basic feature of Quartet No. 4 (1964)) and marks the entrance of the chorus, chanting only the syllable Om, and supported by the orchestra. This movement gives the impression (however absurd it may seem) of process-music or even a fugue on the single note theme, 'Om.' This is accomplished by a tight interior chromaticism with microtonal variations, a careful consideration of length of utterance and inflection, and by the building of a countersubject out of harmonic resonances. The entries of 'Om' continue steadily throughout the slowly-paced movement. The movement is in three sections: the first builds slowly, sticking almost entirely to 'Om' with single note responses; the second is an extended episode dominated by the orchestra, with percussive punctuation, in which harmonic associations are worked out in more detail; and the third re-introduces the chorus on 'Om' along with the longer countersubject developed in the previous episode, slowly fading away in a profound ending to this majestic work."
~Todd McComb
Source: www.classical.net/music/comp.l...
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