§- FRAMMENTO - [flac : 38 mb]
Liner notes from LP, from Time 58003:
This piece by Sylvano Bussotti is called FRAMMENTO only on this record and in corresponding performances. It is actually the piece VOIX DE FEMME from the PIECES DE CHAIR II (1958-59), an expanded cycle for piano, baritone and further instruments adjoining sporadically, occasionally gaining the dimension of a chamber orchestra. The original version of FRAMMENTO is for voice and orchestra rather than, as on this recording, voice and piano. The principle of the entire cycle is its non-economy which reaches possibly its extreme, at least in respect to its performance technique, when a female voice and an orchestra are being introduced solely for this single piece. In context it functions as an isolated fragment. When it is isolated from the context, its fragmentary character is no longer perceivable, and it becomes a fragment (FRAMMENTO) all the more. Equally fragmentary is the representation for voice and piano. The piano adaptation was written by the composer himself, who thereby thought to establish the piano arrangement as an autonomous compositional genre. The fragment again consists of fragments, and the totality of the fragmental universe results in its negation, that is, totality. The compositional procedure remains that of a collage as well in respect to the musical material as to the far-fetched texts taken from various languages and books. If in the orchestral version the principle of instrumentation has been replaced, as it were, by the principle of instrumental dramaturgy, i.e. by a disposition of the instruments' entrances and exits, so does this correspond with the principle of correpetition in the piano version which has been developed to a principle of composition.