review by Stefano Lombardi Vallauri
On this record, the complete collection of Scelsi's saxophone pieces (Maknongan being for ad libitum instrument) is interspersed with works by younger composers, who sound in comparison almost more Scelsian than Scelsi himself. The monotonous ascetic, Scelsi, is thus for once closer to the highly whimsical Bussotti. Scelsi's influence on Dazzi is most marked in Le fond de l’eau est parsemé d’étoiles: the intensity of expression is effused in a perpetual present. On to the material of sound Messieri grafts a soft, dreamy melos, so calm that it turns back into timbre: the Fantasie, in relation to reality, is also attained through such merging of categories. Similarly, Lauricella's Ilynx blends saxophone and electronics in a vortex, creating a single instrument: digital sound is transformed into breath, pulsation, and a vibration that is almost alive and animal.