Contemporary Music Review

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Nuclei and dispersal in Luigi Nono's ‘A Carlo Scarpa

architetto, ai suoi infiniti possibili’ per orchestra a
microintervalli

Nicolaus A. Huber

To cite this article: Nicolaus A. Huber (1999) Nuclei and dispersal in Luigi Nono's ‘A Carlo
Scarpa architetto, ai suoi infiniti possibili’ per orchestra a microintervalli, Contemporary Music
Review, 18:2, 19-35, DOI: 10.1080/07494469900640181

To link to this article: http://dx.doi.org/10.1080/07494469900640181

Published online: 20 Aug 2009.

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 ContemporaryMusicReview
1999,Vol.18,Part 2, pp. 19-35
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Nuclei and Dispersal in Luigi Nono's

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"A Carlo Scarpa architetto, ai suoi

infiniti possibili" per orchestra a
microintervalli

Nicolaus A. Huber

The following paper gives an analysis of the quantitative organisation of instrumental timbres
and the compositional treatment of 'enclosed sounds' as a model of approach for its under-
standing as well as an analysis of the concept of time that results from this. Complete tables are
given of the organisation of the core note(s), the octave structuring, the microtonal 1/16th
note material and its conceptional distribution over the 'thematic' octave registers in the 21
sections of the piece. A short historic survey is given on the octave and the unison; I also speak
of the 'problem of unity'; leading on to Nono's solutions, serving as an insight to his creative
command.

KEY WORDS: endosed sound, mierotonality, 1/16th note material (its conception and us-
age), octave, unison, problem of unity, time concept, Fibonacci.

T h e c o m p l e t e d m a n u s c r i p t of the score A Carlo Scarpa architetto, ai suoi infin-

iti possibili is d a t e d at the end: Venice 13-12-1984. W i t h 71 bars, 21 sections
(each indicated b y a d o u b l e bar) a n d a l e n g t h of scarcely 10 m i n u t e s , it is o n e
of N o n o ' s shortest w o r k s ; b r i n g i n g to the listener a great sense of clarity. 1 It
is d e d i c a t e d to his friend the architect Carlo Scarpa ( w h o w a s b o r n 1906 in
Venice, a n d d i e d in 1978 in T o k y o ) a n d s i m u l t a n e o u s l y m as well as a m o t t o
for the c o m p o s i t i o n - - to his 'infinite possibilities'.
This m o t t o of d e d i c a t i o n indicates a richness of possible differentiations
a n d combinations. Nevertheless, the m u s i c f r o m A Carlo Scarpa, in contrast,
g i v e s r a t h e r the i m p r e s s i o n of cosmically scattered f r a g m e n t s of sonic m a -
terial; of a m u s i c a l chain of terse or e v e n coarse a n d l e a d e n s o u n d blocks,
s e p a r a t e d f r o m one a n o t h e r b y v a r i o u s pauses. O n l y after s o m e reflection,

19
 20 Nicolaus A. Huber

can one recognise the differentiations and dispersals that go with them, as
well as the "infinite possibilities'.
The organisation of the sonic materialitself (usually referred to as orches-
tral casting), obeys the following principle:

3 woodwind colours (4 flutes and 3 piccolos, 3 clarinets, 3 bassoons)

3 brass colours (3 trumpets, 4 horns, 4 trombones) and
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4 string colours (made up of 8 violins, violas, cellos, double bass)

adding up to a total of 10.

In addition to this, there is a percussion group of 4 colours (celeste, harp, 2

tubular bells, 2 timpani) and 7 different pitched triangles. This gives a cen-
tral order based on the number 21:3 + 3 + 4 -- 10, 4 + 7 ---11, 10 + 11 -- 21. If
one counts the 7 triangles as one basic colour, then the thematic combina-
tions move from 21 to 15 -- 10 + 4 + 1, thus giving another Fibonacci quantity
arrived at by: (2 x 5) + (1 x 5) ~ 3 x 5 = 15. Meaning that at the same time,
there is ambiguity and un-ambiguity.
Such open differentiations can also be found to govern the functions of
the groups. Tile above mentioned percussion group, consists mainly of
pitched instruments. This mixed percussion group, working in reverse,
draws the string group away from the functions of pitch, to those of percus-
sion, where crini, legno battuti and pizzicati play an extremely important role
throughout the piece.
I do not know a single composer who has composed sounds of such
heaviness and massiveness as Nono did, during his last creative period.
This inner density is especially marked in Prometeo and in A Carlo Scarpa. It
is especially remarkable since it is not related to the density of the setting, or
of the sounds, nor to the 'eerie' atmosphere, nor the impenetrability of 'the
depths', nor to the lack of event. The impression rather results, from the
dense slowness of the sounds, to which Nono adds the concentrically com-
bined 'forces' at high velocity of battuti and pizzicatti. These beaten and vio-
lently plucked sounds, which can become Mahler-like in appearance,
combined with leaden, often even melancholy sounds, result in an image of
energy, time and velocity as we can only find in 'mother nature' and which
can only be observed at great distance (in order not to pay with one's own
biological destruction) and thereby making the (human) impression of
time possible; i.e. the unimaginable mass of the stars and their velocity,
when our perceptiveness is extremely reduced due to the great distance
separating us from them; or the devastating power and speed of the wave
of pressure of an atomic explosion from which simultaneously a mush-
room cloud slowly develops at its own p a c e - - recorded forever in the now
world famous film and TV images. In A Carlo Scarpa this becomes
developed into a model of understanding which I, (whilst it also acts as an
 A~Scarpa21

expression of grief and reflection on the life and death of the architect)
would like to call the 'enclosed sound'.
The long sustained sounds (the actual harmonic sounding), are frequent-
ly framed by such percussive beats and often driving right inside the
sound. Like no other, Nono uses this oppressive 'model of enclosure' as a
compositional expression of his new projection of time, in such a way, that
this percussive model develops its own specific time concept, but never
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appears as a continuous beginning and ending of structural or even formal

consequences, which would no longer allow the parts and blocks to be set
in an energetically flowing relationship to the whole piece. As such, the
model is expressive, but the emotional interaction with its particular form,
is withdrawn from the differentiations of the locations of the rhythmic
event and also from the model's aspect of repetition as a model in context.
It is thus emancipated from place-specific expression, and it is therefore in
this sense equally important, vital and unsentimental throughout the piece.
This time concept gives a freedom for constructive dispersal. During lis-
tening, the quantitative distribution is surprising and not immediately
comprehensible, since it is not all the time specifically led by emotion. Its
overall organisation can only be understood at art elementary level, in the
sense of a simple 'yes" or 'no' decision (as set out below in figure 1):

battuti/pizz, yes no horizontal total

in section: 1,2,3,4,5, 6,7, 7
8,9,10,11, 12 5
13,14 15 3 18
16 17 2 ~
18 19 2
20 21 2 13
proportion 14 7 (2:1)

Figure I

The 7 triangles show a second percussive level (as set out in figure 2):
The two classifications of the triangles as one group or as 7 instruments,
which have been described above, are given further meaning by these
tables. The number 21 is divided according to Fibonacci (which includes
the usual doubling and halving of individual numbers), as well as into 3 x
7. In the Fibonacci row 1, 2, 3, 5, 8,13, 21 the 21 is also the seventh number.
 22 Nicolaus A. Huber

triangle: yes no horizontaltotal

in section i 1,2,3, 4 4
8 5,6,7, 8 4
, 9,10, 11,12 2 4
13 14 5 2
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t 15,16,_1_7_,
18 19 5
9 20 21 2

proportion: 14 : 7 (2:1)

Figure 2

The battuti events gain velocity from the rapidity of the beat itself. In sec-
tion 17, the triangle sound is frequented, it is heard at its m a x i m u m in sec-
tion 20 along with tremolo. From that, Nono develops a fast, rhythmic series
of impulse as a further layer. As early as in bar 1, the first flute.plays flutter
tongue, the first solo violin plays the same note tremolo. This results in a
third organisation of m o v e m e n t (as set out below in figure 3):

fluttertonguedtrcm, yes no horizontaltotal

in section: 1,2,3, 4 --l~ -
5,6,7, 8
13
9,10 11 [
12 13 (3+2)
14 15,16,17,18,19~ 86+2~) 8
20 21
proportion: 11 : 10 (comparethe organisation of the
instrumentalsound)

Figure 3

The flickering m o v e m e n t which is here organised in the Fibonacci series

5,8,13 is also the model for the ordering of the dynamics used (as set out in
figure 4):
Here, I would like to ask the reader to interrupt the reading of the analy-
sis in order to listen to the composition at least once and observe what has
been explained so far... I
 A Carlo Scarpa 23

ff$ ff f mf mp 5 713
p pp ppp pppp ppppp pppppp ppppppp ppossibile 8 J
(a2l~nitedi audibilita)
Figure 4
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Although the materials mentioned up until now, are easy to comprehend

by their basic 'un-ambiguity', it is though extremely difficult t o - - from the
snap pizzicatoffbeat, to the ppppp tremolo with an almost exclusive effect of
t i m b r e - - find and maintain a sense of understanding for the temporal
range. The almost constant tempo (there is only the change between one
quarter = 30 and I quarter = 60), which is not composed as an expression of
energetic successions of emotions, makes an overall view rather more diffi-
cult.
As an homage to Carlo Scarpa, Nono took both of his initials, C and S,
(which are also the names of two notes in German, namely C and Eb) as the
notes on which the whole piece is based.2 Both the spheres of influence of Eb
and C possess a clear structure of succession (as can be seen with reference
to figure 5 below):

' m [ -" d, ,
~'~ ~ ~ ~ , J 9 . . ~ - :

9 ~

Figure 5

The table shows the two spheres becoming enmeshed in one another in
the sense of Bach's Schnitt-Technik) Two groupings of three play the main
role. They are related to each other through various mirrors and permuta-
tions. Except 'for one simultaneous tutti part in section 19 (which can be
seen as.the sum of the Fibonacci series of I + 2 + 3 + 5 + 8) we have what ap-
proximates to a macro melodic tone succession, in which the horizontal
regularities - - each sound layer appears 13 times - - penetrate themselves
with direct melodic progressions from layer to layerl They are clearly
 24 Nicolaus A. Huber

divided into families of figures with the frequencies of 5 and 3 (as indicated
along the bottom of figure 5) and are additionally ordered into 8 sections by
8 general pauses. The general pause always follows the sound.
Nono spreads the Eb and C layer over 7 octaves - - which reminds us of
the 7 triangles and the division of 21 as 3 x 7 - - (as can be seen with refer-
ence to figure 6 below):
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(~

r r r r r r r r ~ ~;~J
t_ 6 6 ~ r 6 t/~

G~ 7. 1, )
A I *
r r r r ~" s r ~J
(

Figure 6

This table of the octave registers, shows when and in which octave registers
(1 -- Eb4fC4, 7 = Ebl/C1) both of the frequency spheres are retrieved. The
determined frequencies of the single octaves reveal numbers already men-
tioned. Nevertheless, I think that particularly here the "blurred' parts, the
small irregularities are the crucial element in Nono's intention, not to let
everything match; to animate beauty. One sum is a Fibonacci number,
namely 55; the other, 56, is very close to it (and can be divided into 8 x 7). A
comparison of the two frequency columns per octave shows inexplicable
differences: 5 / 5, 8 / 7, 8 / 9,11 / 11,11 / 11, 7 / 7 (balance in the middle register),
5 / 6, thus by one in each case.
If one compares the columns starting from the beginning of the piece, cer-
tain progression intentions are discernible, i.e. the motto of exposition of
the spheres of Eb and C in bars 1-2 we have the same octave registers. Next:
additions in the low parts, additions in the high parts, shared sets, omis-
sions, tuttis, rarifications. However, almost all of the columns show that the
ordinal numbers of the octave registers form corresponding sums from ex-
terior to interior (as set out below in figure 7):
 A Carlo Scarpa 25

3 2 3 4 2- 2 2 4
7 5
4 5 0 6 3
9
5
5 5--
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7. 6-

Figure 7

There are in total 7 possible sum branches, with different factors (2 of which
are set out in figure 8 below):

8= 1 7 7 =1 6 etc.

2 6 2 5
3 5 3 4
4 4

Figure 8

One finds here ample subject matter. Nevertheless, the unpredictable

twists that occur simultaneously, seem more important to me.
At this point, I again advise the reader to put aside the analysis and reflect
on that which has recently been discussed, while listening to the piece once
again... !
Until now the conception of pitch has only been analysed at its most ele-
mentary level. The notes Eb and C however, appear only truly as the fre-
quencies of Eb and C in the percussion group, namely in the harp / celeste /
glockenspiel/timpani. In the other instruments, the notes Eb and C present
themselves as a differentiated field of 14 or 16 different pitches, which
frequency-wise, vary in pitch on bare acoustic grounds; in their musical
meaning however, they are treated equally, thus being conceived and un-
derstood from either Eb or C. In A Carlo Scarpa we have tonal fields which
are split up into 1/16th notes on a microtonal basis.
While I was studying under Nono in Venice during 1967-68, he showed
me a section in Fritz Winckel's book which had helped him in overcoming
the "problem of unity'. 4Winckel says that sounds with the length of 1 / 10th
of a second, with an extended frequency bandwidth of 20Hz, + / - 10Hz, are
 26 Nicolaus A. Huber

perceived regardless of the octave register. This being a 1+ / - 88 tone in the

case of the note middle A, the difference for the G an octave and a minor
seventh below, amounts to nearly a whole tone.
The conceptional hearing space of music can generally be divided into
two different spaces: the one which is planned in octaves and that without
octaves. The latter is exemplified best by Stockhausen's Eleck.tronische Studie
II, which has a frequency progression of ~ds. If one puts the proportional
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ratio 1:5 on top of one other until the identity of octaves is reached again,
one has arrived at the highest frequencies of the range of human hearing.
In the European so-called classical vocal polyphony, where the harmonic
course was controlled on the basis of intervals, the octave simply was an
interval with a certain (also acoustic) interval value, from which the rules
of usage were developed.
In major-minor tonality, the octave was evaluated completely anew. Al-
though still an interval (used for doubling), it was now perfectly integrated
into the next 'higher" unity of the triad, which was now the smallest, indi-
visible (basic) element of the harmony. From then on, the notes of the octave
were regarded in every registral level as identical in their function. In inver-
sion as well, such as in the chord E 1, G 1, C2 the C2 in C major is still the fun-
damental and the tonic, in that, the octave is the acoustically inaudible
controlling interval of the process of inversion. A host of frequencies could
thus develop their various effects in octave relations throughout the total
hearing space, without thereby having to abandon their harmonic identity.
Whether high or low, a tonic remained a tonic.
Wagner's technique of tonal blending, in the sense of his special unison
instrumentation, as for example in Tristan, but thematically more especially
in Parsifal, was an important historical step from the octave, to the unique-
ness of the unison, which then became the only allowed interval (at least for
the duration of a twelve-note unit) in the music with "twelve notes related
only to one another." However, apparently Webern had thought of the uni-
son already as a unity in his 6 Bagatelles Op. 9 for string quartet. Problemat-
ically, since perceived tonally, it now became subject to a specific
compositional treatment. The 5th Bagatelle is remarkable in that it almost
exclusively works with tonal steps and expands by steps. Webern changes
each note which is taken up later, in the other possible parameters. The
equality and independence affects the unison. It becomes split up in terms of
its dynamics, colour or duration and is changed towards variety.
As is well known, Nono carries on this splitting of the unity even further
in his Varianti by subjecting the phenomenon of doubling in the unison to a
differentiated, serial conception of density. From this and from the sugges-
tion in Winckel's book, the basic conception in Per Bastiana Tai-Yang Cheng
(1967) becomes understandable as a further step. Registers are divided into
zones in this piece; these are then further split up into three areas with
 A Carlo Scarpa 27

additional scordatura in order to transform doublings and unities into stat-

istical sonic bands, which then allow Nono a desired, continual 'becoming'
and 'flowing'.
In A Carlo Searpa Nono remains in the above mentioned tradition of the
'problem of unity'. He nevertheless finds a completely new solution,
which is adequate for the forceful expression of this music, by starting
from Eb and C as fundamental notes and microtonally differentiating
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them by 1 / 16th notes higher and lower in mirror image. Amazingly, this
conception (that of treating many pitches in the meaning of one) is very
similar to the technique by which major-minor tonality uses to integrate
chromatic intervals into the harmonic system. As is well known (within
the tonal context), chromatic intervals have no fundamental tone. In or-
der to be able to comprehensibly relate them to a central referencing sys-
tem (i.e. the narrowing down of the notes of the triad to their
fundamental, the relating of the single fundamental notes to one basic
tonic, etc.) chromatic intervals are treated as if they were diatonic in an in-
genious way. Thus, C-G sharp can be an altered perfect fifth C-G: C
thereby remains the fundamental note, G sharp is an 'intended G' al-
though in altered form. In a similar way, we have here two different notes
for a single intended one, from which the harmonies remain calculable.
Such relations of alteration between notes - - high or l o w - - are extremely
suitable for the reflection of emotions, predominantly 'you-related prov-
enance', as so well exemplified in Tristan: longing, lust, wildness, rebel-
ling, collapsing, loneliness, and the transforming of ones character into its
opposite (via enharmonics) etc.
Nono's harmony, on the contrary, is not psychically energetic in the tonal
psychic sense. The 1/16th notes are not altered any more and have no ten-
sion of alteration towards a fundamental note. They have become mere fre-
quencies in a particular tonal field. Their relationship therefore requires
m e a s u r i n g - - the number as the expression of assigned sets, the reflection
as a mutual explanation.
Figure 9 (as set out below) shows all of the notes used by Nono in the
score, as well as their notation and variations, placed into one octave regis-
ter. Plus indicates higher, minus indicates lower. Omissions in the 1/16
note progressions are also marked:
Despite the thematic totals of the notes: 14( = 2 x 7) and 16 (-- 2 x 8), the
general appearance of the notes is everything else but regular. Starting
from the respective 0 - nucleas, each layer shares a structural band up to §
and down to -5 without any gaps. Outside this analogous band, at the
peripheries of the material so to speak, one finds various irregularities.
In the Eb field: between +6 and +12 (which only occurs inbar 10) there is
a gap of 51 / 16th notes. On the opposite side only -6 is missing. This is not
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28

A
 A Carlo Scarpa 29

easy to understand because - 7 only appears in bar 1! All the same, the 14
notes canbe comprehensibly grouped as 2 x 7 : - 7 to 0 / + 1 to +12.
In the C field: the plus side has no gaps, on the minus side -8 is missing;
this is also only understandable as an irregularity. The neighbouring notes
- 9 / - 1 0 appear only in bars 36-38, - 7 in bars 36 / 38 and bars 53 / 54. Despite
these irregularities, these 16 notes can also be grouped, as-10 to-1 -- 9 notes
and 0 to +6 -- 7 notes. Seen diagonally, this order makes general sense (as set
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out below in figure 10):

Eb:

C: 14 ~ 16

Figure 10

Such distorted field edges remind me of the famous temple complex of

Nikko in Japan, where one finds a perfectly and symmetrically designed
carving. However, in one place a mistake is inserted, "so that the gods
would not become envious" implying that the imperfect, the irregular, be-
longs to the human sphere.
In the bottom line of figure 10, all 30 notes from -10 tO +12 are put into a
continuous row. The gaps are I and 1, as well as 10 and 5. Uninterrupted
note progressions show the sets 2 14 12 (2 + 14 + 12 -- 26 -- 2 x 13).
1 2 5 (10) 13 (26) being Fibonacci quantities. Even if one assumes that
the score contains mistakes (which, by the way, are even played on the CD),
this wonderfully unusual construction remains fascinating and completely
in Nono's intention.
Finally, figure 11 (set out below) illustrates h o w the notes numbered in
the last example appear in the 21 sections of the composition and in which
octave registers; Nono, who had already used octaves again in his string
quartet Fragmente-Stille: an Diotima (1979/80) and had elicited new effects
from them, created an octave composition of a completely unique style
with A Carlo Scarpa. The microtonally unusual octave sound is, according
to a message which I received from the Korean composer Koo Bonu in
Seoul in Autumn 1995, originated from traditional Korean music, which
Nono heard during a stay in the country. It is ceremonial music: Chongmyo-
jeryeak, Munmyo-jeryeak and, as I personally assume, especially Haeryong.5
In the structural plan of this example the numbers, of the 21 sections are
written at the top. Between the spheres of Eb and C, the bar numbers and
the tempi are placed. The numbers of the microtones are written in the re-
spective octave register, in which they appear in the score. Their order from
left to right indicates which notes sound at all in this section in one octave
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30

[]
~-
[]
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[]
31
 32 Nicolaus A. Huber

register-- not necessarily their actual time-wise distribution among the in-
struments in the composition.
The first glance at this structural plan reveals the great variety of the in-
9dividual sections. Each block has a completely unique, un-repeated note
combination. The composition of this layer is closest to the "infiru'te possib-
ilities", that Nono had regarded so highly in Scarpa. Therefore, it is proba-
bly also in accordance with the objective facts of composition technique
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that I have found no general ordering system (of arrangement) but rather,
principles.
One principle is the mirror-like symmetrical order, horizontal as well as
vertical in one octave register. A good example for horizontal symmetry is
section 21/C: + - 1 / + - 2 / + - 4 . These six notes in the C 3 register, are ar-
ranged as follows (as set out in figure 12): thus halving of the 6 into 2 x 3. But
the symmetry +-1 is taken apart in timbral terms. The time wise arrange-
ment places the +-1 in the middle and results in the following reflection of
rhythmic progression (as set out in figure 13)

groupI(3flutes/3violins):,+4~ +1, groupII (3 elarinets/3 violins): ,2 +2 -1,

I i

Figure 12

group I: +4 -4 +1 -4 +4

groupU: -2 +2 i -I i 52 +21

Figure 13

In bar 71 in the sphere of Eb, the same numbers are used, thus all intervals
are transposed to the same extent. Now however, the change refers to the
octave registers as a mixture of the horizontal symmetry +2/-2 and the ver-
tical symmetry: + 4 / - 1 - 4 / + 1
As a representative example for partial symmetry in vertical structure, I
would like to use section 19 in the sphere of Eb: +1 is placed at the centre,
whilst at both of the outside edges there is -1. Two only partially reflected
pairs are inserted into this mirror: +2+4/-2 +4 (!). In the same section (19) in
the sphere of C, the distribution is at first evenly symmetrical +1-1 (in the
middle) +1 and with the perfectly reflected insertion o f - 2 - 4 / +2 +4 it is also
almost exactly symmetrical. But Nono distorts the symmetry here with the
inclusion of a -7 in the Eb 4register.
 A Carlo Scarpa 33

Bearing in mind the whole concept, one can fully accept this disruption.
Nevertheless, it is also be possible, to think that Nono might have made an
error. He may have seen the C 3 in violins 7/8, as an Eb 1 in the bass clef by
mistake (each with two auxiliary lines[), for without the fiat sign the note
would act as +1 with violins 5 / 6 as a mirror of violins 3 / 4 / 1 / 2. Nono could
also, by mistake, have placed the fiat sign before the C3 when actually
intending to put it before Eb. What still remains is the irregularity in the
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double bass and horns (Eb +4), which is harder to explain, as a writing
error. Nevertheless, I find this version of the score the most interesting, since
Nono's intention of inexact transposing is very obvious, i.e. in bar 1 in the
sphere of Eb and bar 2 in the sphere of C.
As we all know identical numbers always stand for the interval of the mi-
nor third (+ - octaves). If one compares bar I with bar 2 however, only the
top two of the four used octave registers are exactly transposed 0 and + 4 / -
4. But +1/-1 in C, bar 2, goes ahead of-7([)/-1 in Eb, bar 1. One can see here
an astonishing similarity with the exception in section 19. In addition, the
second pizzicato in the solo double bass, bar I is clearly +4, especially as the
simultaneous timpani adjusts its dynamics from ppp to p into line with the
double bass and appears to plainly indicate the intention of a quarter-tone
band through its additional stress. Apart from symmetrical, partially sym-
metrical and unusual mixtures, other characteristics are also important for
sound composition.
In section 9, in the sphere of C, 5 octaves are used. 0 is to be found in 4 oc-
taves, +2/--4 through 2 octaves. Here, we have a sound which is character-
ised by this shared set in its own sphere, as well as by the additions (here +-
1/-2/+4), and of course by where these additions have been made, uniquely
in the direction of being "more or less octavic". If one assumes shared num-
bers, one can easily recognise the degree of the proportion of the third be-
tween the Eb and the C layer and the degree of the tonal alteration in the
transposition, i.e. the similarity, and one can thus control it as a composer.
Furthermore, when searching for an underlying structure, also the quan-
tity itself is to be analysed, how many notes are audible in one block or in
one octave register. In this question of density Nono deliberately created
differences between neighbouring and 'non-neighbouring" notes: i.e. 2 / 3 /
4 in section 8 or in section 19, in which a particularly large amount of neigh-
bouring notes are used in cluster formations on both the plus and minus
side. However, the preferred notes throughout the piece are 0 / + - 1 / + - 2/
+-4. They even exclusively control the harmonies from section 16 on (the
only exception is note - 7 in section 19, which has been discussed before).
Areas of extremely low density for C are to be found in section 18, for Eb in
section 20, which, with its 10 bars, is the longest part of the piece.
In the structural plan (see figure 11 above) all Fibonacci numbers and
possible multiplications are marked in the line of bar information. They
 34 Nicolaus A. Huber

include particular events, even though in very different ways. 1 2 3 5

8 10(2x5) 13 16(2x8) 20 (4 x 5) coindde with the double bars. 26 (2
x 13) marks the noticeable anabasis of the strings/34 the corresponding cata-
basis of the wind instruments. 42(2x21) 48(6x8) 52(4x13) 55 68
(2 x 34) again coindde with double bars. An anabasis and a catabasis frames
the 13th (!) section and bar 34(!) is the exact temporal centre of the piece.
The thematic 7 also leaves behind it formal traces. In section 7Jffappears
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for the first time, so does the concluding catabasis of section 14. In the last
third there are also the two single tuttis "on the edge of audibility" a n d b o t h
the bare 0-places of the C - - and Eb m layer (sections 18/20). The spedal
events in section 7 and 9 as well as in 12 and 14 frame 8 and 13. The horizon-
tal totals of 7+14 and 9+12 are again 21.
As already mentioned above, 8 general pauses scan the music as emphat-
ic pauses, which are intended to stimulate the listener towards more active
and intensive listening. Their duration, like their frequency, is also thema-
tic. Calculated in seconds (as set out in figure 14):

I II III W v Vl vii viii

I .I
10" 4" 4" 6" 8" 6" 8" 2"= 1 quarter +corona lunga
I I I I I I

8" 14" 14"

Figure 14

When listening to this music one will rather decide in favour of diversity.
I believe, however, that the "nuclei and dispersal" model of understanding
works for this piece. The fundamental is the genuine expression of this com-
position. But: the elementary as the simple is considered in a complex way
and it is split into differentiations which, especially through non-repeti-
tion and intended blurring, produce a'centrifugal force', which reaches to the
limit of understanding in the infinity of the lastfermata.: P E R C O N T I N U -
A R E A A S C O L T A R E P R E S E N Z E - - M E M O R I E - - C O L O R I - - R E S P I R I as
it is written at the end of the score. We often simplify our methods of per-
ception by reducing situations that are too complicated and decide instead
that: 'variety is fun'. Yes, and that which is 'fun' is 'simply pleasant'.
But A Carlo Scarpa is unwieldy. For me it is precisely that which makes it
interesting. One can follow so many different directions, ways, moments,
whilst listening to it. The experience of partial clarity suggests that the piece
is still totally penetrable. I hope that you will still wish to hear this
composition... !
 A CarloScarpa 35

Notes
1. The author assumes that the score (Ricordi,Milan)is on hand to the interested reader and
a recording is available (CD Astree/Auvidis E8741, Symphony Orchestra of the SWF
Baden-Baden, conducted by Michael Gielen). It is advised to number the sections 1-21 in
the score.
2. cf. Nicolaus A. Huber, "Luigi Nono: II Canto sospeso VIa/b. Versuch einer Analyse mit
Hilfe dialektischer Montagetechniken?",~m Musik-Konzepte 20, Munchen 1981 p. 58-79, es-
pecially p. 66
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3. cf ibid "Die Kompositionstechnik Bachs in seinen Sonaten und Partiten fur Violine solo
und ihre Anwendung in Weberns Op. 27/2", in Zeitschrift fur Musiktheorie I (1970), Heft
2 p. 22-31 especially p. 29-31.
4. Fritz Winckel PhanOmene des musikalischen Horens, Berlin1960, p. 52-53
5. The pieces mentioned can be found as tracks 1-3 on a CD: Korean Traditional Music Vol 1
(Court Music Highlight) SKCD-K- 0004.