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Giacinto Scelsi rejected the term ‘composer’, preferring to call himself ‘a postman – one who sometimes receives messages, which he then delivers’. In the early 1950s, he received these ‘messages’ through improvising at the piano. These suites predate Scelsi’s fascination with microtonality that brought him belated recognition. His interest in the resonances of a single sound – inspired by his study of Asian and Oriental musical mysticism – is already evident here: Ttai,is named after the I Ching hexagram for ‘Peace'; Ka, from a Sanskrit word for ‘Essence’ . Sabine Liebner, an acclaimed Cage interpreter, faces stiff competition here, both from the excellent Hat ART recording by Marianne Schroeder, who worked with Scelsi, and from later Mode releases by Louise Bessette and Aki Takahashi. While Liebner’s disc impresses, it is perhaps less vividly engaging than the others.

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