Salvatore Sciarrino : Allegoria della Notte (1985) 

Salvatore Sciarrino (*1947~) : Allegoria della Notte for Violin and Orchestra (1985)
Salvatore Accardo, violin
Rafael Frühbeck de Burgos, conductor
Orchestra Sinfonica di Torino della RAI
Remastered by Emilio Pessina
Original audio: • SCIARRINO Allegoria de...
Allegoria della Notte by Salvatore Sciarrino © 1985 RICORDI Milano
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The conceptual core dates back to 1976, in contrast to the Six Caprices for Violin. From then on, the solo part was outlined without the harmonic sounds that characterize my writing for strings, and it was almost a fond bet between me and Accardo.
Imagine listening to Mendelssohn's Violin Concerto. Amidst the flashes of consciousness (or the intermittencies of memory) emanates another music, literally generated from the echo of a lyrical impulse. Extending indefinitely, this echo makes perceptible another, parallel space: the uninhabited other side of the Mendelssohn planet.
And when our journey is interrupted, Mendelssohn's Concerto - we'll discover - hasn't finished yet. In the mind, the two sound images, so close yet so incommunicable, seem to struggle desperately, like opposing principles on a black sky.
Every event leaves a mental trail that creates a sense of flow. A life of reflections, fleeting yet persistent, within us parallel to actual happenings, and continuously intermittent with them.
My compositions reconsider the problem of form, repetition, and recognition (recognizability in variation indeed determines the intelligibility of a language) from theoretical and psychological perspectives.
If "form" is understood as a pure path of memory, formal processes become representations of the very processes of memory. The forming of mental echoes collects my pages of music.
As the perceptual investigation thins out, the sound geometry transforms into substance and changes meaning.
Such intense dramatization pervades it that it finds various correspondences in daily life, to the point of even disguising itself under the objective appearance of a tape montage.
When its graduality is evident, the processes are cut off; to immediately show themselves at a subsequent stage, without the triviality of accumulation, without fades. The natural course of continuity is broken, so that developments do not just occur, but are inserted into time.
That's why the bet with Accardo was accepted with the certainty of winning. It's not the sound, even if so characteristic, but rather the conception and organization that suspend such music in its unmistakable dimension.
"Allegoria della Notte (Allegory of the Night)" is dedicated to Resy and Salvatore Accardo.
P.S.
To those considering what the Violin Concerto represents in thought, it will be clear why Mendelssohn. And not Brahms, whose figure is already in the act of citing the past. Nor even the uniqueness of the Beethoven prototype.
Mendelssohn's is the right support: mature but not completely undone, still able to bear the excessive sentimental load with which generations of violinists have burdened it.
The quotations - for the curious - are partially fabricated. The fragments, to appear as such, had to be specifically constructed, and the succession altered.
(Salvatore Sciarrino, 1985)