Drawing inspiration from Paul Simon’s poetic line, “But my words like silent raindrops fell, and echoed in the wells of silence,” a vivid depiction emerges that aptly describes the musical philosophy of contemporary Italian composer Salvatore Sciarrino. His compositions spring forth from the notion that silence is not merely an absence, but a fertile ground from which sound arises and becomes part of a larger sonic tapestry.
Born in Palermo in 1947, Sciarrino began composing at the young age of twelve. Prior to this, he had explored contemporary visual and figurative arts, which instilled in him a keen sense for discovering imaginative realms—both visual and auditory—that are deeply intertwined with reality. For Sciarrino, music first comes to life within the composer’s mind and doesn’t require a scaffolding of rigid rules or pre-set structures. The compositional process, in his view, should seamlessly integrate the inner world of the composer with the external world around them.
According to Sciarrino, the composer’s initial duty is to set a course, to define a destination within the cosmic expanse of potential soundscapes. Only then can the mystery embedded in these auditory realms be revealed. He remains faithful to the sonic images conceived within his own imagination for each musical endeavor. To him, the clarity of the intended work takes precedence, while the finer details and execution are of secondary importance.
Sciarrino views a composer not as a mechanized producer of vast quantities of music, but as an artist who first conjures mental images and then breathes life into these conceptions through the medium of music. He believes that without a strong, clear mental image, the resultant music would be devoid of meaning.
Contrary to the notion of “tabula rasa” suggested by the Darmstadt school, Sciarrino’s approach to music is rooted in a dynamic understanding of its history. Rather than imitating previous styles or techniques, he paves new paths, living in the present while honoring and understanding the past, and thus shaping the future. His music is a reflection of real-world influences, uninhibited by academic dogma, imbuing his compositions with unique timbral and dynamic qualities.
This adds a synesthetic layer to his work, engaging and invigorating all the senses, and aiming to bridge the gap between art and nature. For Sciarrino, silence isn’t merely the absence of sound as often defined in music theory; it serves as the incubator for all sonic elements. Without the presence of silence, sound would lack a space from which to emerge. In this view, silence becomes the canvas that enables the imagination to wander into previously unexplored auditory landscapes.
Sciarrino often speaks of the need to “clean the ears,” or rid the listening experience of preconceived notions, as essential to appreciating contemporary works. He argues that audiences find it easier to enjoy familiar pieces because they bring fewer prejudices to the listening experience. His music, rich yet restrained, invites the listener to become an active participant in the unfolding soundscape, allowing their imagination to fill in the blanks.
For Sciarrino, his compositions are less about the physical environment in which they are performed and more about the interior, imaginary spaces they evoke. Over the years, he has boldly forged his own musical path, developing novel, insightful, and brave theories that resonate with broader artistic movements, especially those that have unfolded since World War II.
