Francesco Castelli
Borromini (anonymous youth portrait)
Born	(1599-09-25)25 September 1599 Bissone, Ticino, Old Swiss Confederacy
Died	3 August 1667(1667-08-03) (aged 67) Rome
Work
Practice	Francesco Borromini
Buildings	San Carlo alle Quattro Fontane, Sant'Agnese in Agone, Sant'Ivo alla Sapienza, Oratorio dei Filippini

Francesco Borromini, byname of Francesco Castelli (25 September 1599 – 3 August 1667) was an architect from Ticino^[1] who, with his contemporaries, Gian Lorenzo Bernini and Pietro da Cortona, was a leading figure in the emergence of Roman Baroque architecture.

A keen student of the architecture of Michelangelo and the ruins of Antiquity, Borromini developed an inventive and distinctive, if somewhat idiosyncratic, architecture employing manipulations of Classical architectural forms, geometrical rationales in his plans and symbolic meanings in his buildings. He seems to have had a sound understanding of structures, which perhaps Bernini and Cortona, who were principally trained in other areas of the visual arts, lacked. His soft lead drawings are particularly distinctive. He appears to have been a self-taught scholar, amassing a large library by the end of his life.

His career was constrained by his personality. Unlike Bernini who easily adopted the mantle of the charming courtier in his pursuit of important commissions, Borromini was both melancholic and quick in temper which resulted in him withdrawing from certain jobs,^[2] and his death was by suicide.

Probably because his work was idiosyncratic, his subsequent influence was not widespread but is apparent in the Piedmontese works of Camillo-Guarino Guarini and, as a fusion with the architectural modes of Bernini and Cortona, in the late Baroque architecture of Northern Europe.^[3] Later critics of the Baroque, such as Francesco Milizia and the English architect Sir John Soane, were particularly critical of Borromini’s work. From the late nineteenth century onwards, interest has revived in the works of Borromini and his architecture has become appreciated for its inventiveness.

Early life and first works[link]

Borromini was born at Bissone,^[4] near Lugano in the Ticino, which was at the time a bailiwick of the Swiss Confederacy. He was the son of a stonemason and began his career as a stonemason himself. He soon went to Milan to study and practice his craft. He moved to Rome in 1619 and started working for Carlo Maderno, his distant relative, at St. Peter's and then also at the Palazzo Barberini. When Maderno died in 1629, he and Pietro da Cortona continued to work on the palace under the direction of Bernini. Once he had become established in Rome, he changed his name from Castelli to Borromini, a name deriving from his mother's family and perhaps also out of regard for St Charles Borromeo ^[5]

Major works[link]

San Carlo alle Quattro Fontane (San Carlino)[link]

Façade of San Carlo alle Quattro Fontane.

In 1634, Borromini received his first major independent commission to design the church, cloister and monastic buildings of San Carlo alle Quattro Fontane (also known as San Carlino). Situated on the Quirinal Hill in Rome, the complex was designed for the Spanish Trinitarians, a religious order. The monastic buildings and the cloister were completed first after which construction of the church took place during the period 1638-1641 and in 1646 it was dedicated to San Carlo Borromeo. The church is considered by many to be an exemplary masterpiece of Roman Baroque architecture. San Carlino is remarkably small given its significance to Baroque architecture; it has been noted that the whole building would fit into one of the dome piers of Saint Peter's.^[6][7][8]

The site was not an easy one; it was a corner site and the space was limited. Borromini positioned the church on the corner of two intersecting roads. Although the idea for the serpentine facade must have been conceived fairly early on, probably in the mid 1630's, it was only constructed towards the end of Borromini's life and the upper part was not completed until after the architect's death.

Borromini devised the complex ground plan of the church from interlocking geometrical configurations, a typical Borromini device for constructing plans. The resulting effect is that the interior lower walls appear to weave in and out, partly alluding to a cross form, partly to a hexagonal form and partly to an oval form; geometrical figures that are all found explicitly in the dome above.^[9][10] The area of the pendentives marks the transition from the lower wall order to the oval opening of the dome. Illuminated by windows hidden from a viewer below, interlocking octagons, crosses and hexagons diminish in size as the dome rises to a lantern with the symbol of the Trinity.

Oratory of Saint Phillip Neri (Oratorio dei Fillipini)[link]

Oratory of Saint Phillip Neri

In the late sixteenth century, the Congregation of the Filippini (also known as the Oratorians) rebuilt the church of Santa Maria in Vallicella (known as the Chiesa Nuova -new church) in central Rome. In the 1620s, on a site adjacent to the church, the Fathers commissioned designs for their own residence and for an oratory (or oratorio in Italian) in which to hold their spiritual exercises. These exercises combined preaching and music in a form which became immensely popular and highly influential on the development of the musical oratorio.

The architect Paolo Maruscelli organised the general layout of the site and in 1637, Borromini was appointed as architect, possibly as the result of a competition.^[11] He was employed in the task for thirteen years. By 1640, the oratory was in use and by 1643, the library was complete. The striking brick curved facade adjacent to the church entrance has an unusual pediment and does not entirely correspond to the oratory room behind it. The white oratory interior has a ribbed vault and a complex wall arrangement of engaged pilasters along with freestanding columns supporting first level balconies. The altar wall was substantially reworked at a later date.

Borromini’s relations with the Oratorians were often fraught; there were heated arguments over the design and the selection of building materials. By 1650, the situation came to a head and in 1652 the Oratorians appointed another architect.

However, with the help of his Oratorian friend Virgilio Spada, Borromini documented his own account of the building of the oratory and the residence and an illustrated version was published in Italian in 1725 ^[12]

Wikimedia Commons has media related to: Francesco Borromini

Sant'Ivo alla Sapienza, courtyard and façade.

Sant' Ivo alla Sapienza[link]

From 1640-1650, he worked on the design of the church of Sant'Ivo alla Sapienza and its courtyard, near University of Rome La Sapienza palace. It was initially the church of the Roman Archiginnasio. He had been initially recommended for the commission in 1632, by his then supervisor for the work at the Palazzo Barberini, Gian Lorenzo Bernini. The site, like many in cramped Rome, is challenged for external perspectives. It was built at the end of Giacomo della Porta's long courtyard. The dome and cochlear steeple are peculiar, and reflect the idiosyncratic architectural motifs that distinguish Borromini from contemporaries. Inside, the nave has an unusual centralized plan circled by alternating concave and convex-ending cornices, leading to a dome decorated with linear arrays of stars and putti. The geometry of the structure is a symmetric six-pointed star; from the center of the floor, the cornice looks like a two equilateral triangles forming a hexagon, but three of the points are clover-like, while the other three are concavely clipped. The innermost columns are points on a circle. The fusion of feverish and dynamic baroque excesses with a rationalistic geometry is an excellent match for a church in a papal institution of higher learning.

Sant'Agnese in Agone[link]

Borromini was one of several architects involved in the building of the church of Sant’Agnese in Agone in Rome. Not only were some of his design intentions changed by succeeding architects but the net result is a building which reflects, rather unhappily, a mix of different approaches.

The decision to rebuild of the church was taken in 1652 as part of Pope Innocent X’s project to enhance the Piazza Navona, the urban space onto which his family palace, the Palazzo Pamphili, faced. The first plans for a Greek Cross church were drawn up by Girolamo Rainaldi and his son Carlo Rainaldi, who relocated the main entrance from the Via di Santa Maria dell'Anima to the Piazza Navona. The foundations were laid and much of the lower level walls had been constructed when the Rainaldis were dismissed due to criticisms of the design and Borromini was appointed in their stead.^[13]

Borromini began a much more innovative approach to the facade which was expanded to include parts of the adjacent Palazzo Pamphili and gain space for his two bell towers.^[14] Construction of the façade proceeded up to the cornice level and the dome completed as far as the lantern. On the interior, he placed columns against the piers of the lower order which was mainly completed.

In 1655, Innocent X died and the project lost momentum. In 1657, Borromini resigned and Carlo Rainaldi was recalled who made a number of significant changes to Borromini’s design. Further alterations were made by Bernini including the façade pediment. In 1668, Carlo Rainaldi returned as architect and Ciro Ferri received the commission to fresco the dome interior which it is highly unlikely that Borromini intended. Further large scale statuary and coloured marbling were also added; again, these are not part of Borromini’s design repertoire which was orientated to white stucco architectural and symbolic motifs.^[15]

The Re Magi Chapel of the Propaganda Fide[link]

The College of the Propagation of the Faith or Propaganda Fide in Rome includes the Re Magi Chapel by Borromini, generally considered by architectural historians to be one of his most spatially unified architectural interiors.^[16]

The chapel replaced a small oval chapel designs by his rival Bernini and was a late work in Borromini’s career; he was appointed as architect in 1648 but it was not until 1660 that construction of the chapel began and although the main body of work was completed by 1665, some of the decoration was finished after his death.

His façade to the Via di Propaganda Fide comprises seven bays articulated by giant pilasters. The central bay is a concave curve and accommodates the main entry into the college courtyard and complex, with the entrance to the chapel to the left and to the college to the right.

Other works[link]

Borromini's works include:

• Interior of Basilica di San Giovanni in Laterano
• Cappella Spada, San Girolamo della Carità (uncertain attribution)
• Palazzo Spada (trick perspective)
• Palazzo Barberini (upper-level windows and oval staircase)
• Santi Apostoli in Naples - Filamarino Altar
• Sant'Andrea delle Fratte
• Oratorio dei Filippini
• Collegio de Propaganda Fide^[17]
• Santa Maria dei Sette Dolori, Rome
• San Giovanni in Oleo (restoration)
• Palazzo Giustiniani (with Carlo Fontana)
• Facade of Palazzo Falconieri
• Santa Lucia in Selci (restoration)
• Saint Peter's Basilica (gates to Blessed Sacrament Chapel and possibly parts of baldacchino)

Death and epitaph[link]

In the summer of 1667, and following completion of the Falconieri chapel (the High Altar chapel) in San Giovanni dei Fiorentini, Borromini committed suicide in Rome.^[18] possibly as a result of nervous disorders and depression,

In his testament, Borromini wrote that he did not want any name on his burial and expressed the desire to be buried in the tomb of his kinsman Carlo Maderno in San Giovanni dei Fiorentini. In recent times, his name was added on the marble plaque below the tomb of Maderno and a commemorative plaque was placed on a pillar of the church. This Latin inscription reads:

FRANCISCVS BORROMINI TICINENSIS
EQVES CHRISTI
QVI
IMPERITVRAE MEMORIAE ARCHITECTVS
DIVINAM ARTIS SVAE VIM
AD ROMAM MAGNIFICIS AEDIFICIIS EXORNANDAM VERTIT
IN QVIBUS
ORATORIVM PHILLIPINVM S. IVO S. AGNES IN AGONE
INSTAVRATA LATERANENSIS ARCHIBASILICA
S. ANDREAS DELLE FRATTE NVNCVPATUM
S. CAROLVS IN QVIRINALI
AEDES DE PROPADANDA FIDE
HOC AVTEM IPSVM TEMPLVM
ARA MAXIMA DECORAVIT
NON LONGE AB HOC LAPIDE
PROPE MORTALES CAROLI MADERNI EXUVVIAS
PROPINQVI MVNICIPIS ET AEMVLI SVI
IN PACE DOMINI QVIESCIT
^[19]

Honours[link]

Borromini on a 100 francs note

Francesco Borromini was featured on the 6th series 100 Swiss Franc banknote, which was in circulation from 1976 till 2000.^[20]

Notes[link]

External links[link]

• A map giving the location of Borromini's buildings in Rome
• Columbia University: Joseph Connors, Francesco Borromini: Opus Architectonicum, Milan, 1998: Introduction to Borromini's own description of the Casa dei Filippini
• Borromini's own account of his eventually successful suicide attempt
• Marvin Trachtenberg and Isabelle Hyman. Architecture: from Prehistory to Post-Modernism. pp. 346–7. http://www.greatbuildings.com/buildings/S_Carlo_Alle_Quattro_Fonta.html. 

Robert de Visée (ca. 1655 – 1732/33) was a lutenist, guitarist, theorbist and viol player at the court of Louis XIV, as well as a singer, and composer for lute, theorbo and guitar.

Biography[link]

Robert de Visée’s origin is unknown, although a Portuguese origin of his surname had been suggested.^{[citation needed]} He was likely to have studied with Francesco Corbetta. He was first mentioned in 1680, and at about that time became a chamber musician to Louis XIV, in which capacity he often performed at court. He was appointed in 1709 as a singer in the royal chamber, and in 1719 he was named “Guitar Master of the King” (Maître de Guitare du Roi). Rousseau reported in a letter of 1688 that he was a respected musician at Versailles, and also played the viol (Strizich and Ledbetter 2001).

Visée published two books of guitar music which contained twelve suites between them, as well as a few isolated pieces: Livre de guitare dédié au roi (Paris, 1682) and Livre de pièces pour la guitare (Paris 1686). He composed many suites of pieces for theorbo and Baroque lute (the bulk of which are preserved in the Saizenay Ms.), as well as a collection of ensemble pieces.^{[citation needed]}

Works[link]

Complete index of de Visée’s pieces for the guitar:

• 1682 “Livre de Guitarre, dédie au roi”:
• Suite № 1 in A Minor

Prélude Allemande Courante Sarabande Gigue Passacaille Gavotte Gavotte Bourrée

• Suite № 2 in A Major

Allemande Courante Sarabande

• Suite № 3 in D Minor

Prélude Allemande Courante Courante Sarabande Sarabande Gigue Passacaille Gavotte Gavotte Menuet Rondeau Menuet Rondeau Bourrée

• Suite № 4 in G Minor

Prélude Allemande Courante Double de la Courante Sarabande Gigue Menuet Gavotte

• Suite № 5 in G Major

Sarabande Sarabande Gigue

• Suite № 6 in C Minor

Prélude Tombeau de Mr. Francisque Corbet Courante Sarabande Sarabande en Rondeau Gavotte

• Suite № 7 in C Major

Prélude Allemande Courante Sarabande Gigue, a la Maniere Angloise Gavotte Menuet

• Chaconne (F Major)

• Suite № 8 in G Major

Prélude (Accord Nouveau) Allemande Courante Sarabande Gigue Sarabande Chaconne Gavotte Menuet Bourrée

• 1686 Livre de Pieces pour la Guitarre:
• Suite № 9 in D Minor

Prélude Allemande Courante Sarabande Gigue Gavotte Bourrée Menuet Passacaille Menuet

• Suite № 10 in G Minor

Prélude Allemande Courante Sarabande Gigue Menuet Chaconne Gavotte Bourrée Menuet

Sarabande (A Minor)

Gigue (A Minor)

Sarabande (A Major)

Menuet (A Major)

• Suite № 11 in B Minor

Prélude Allemande Sarabande Gigue Passacaille

Suite № 12 in E Minor Sarabande Menuet Passacaille

Menuet (C Major)

• Manuscript Pieces:

• Pieces in A minor

Prélude Allemande Villanelle (& Contrepartie)

• Pieces in A major

Prélude Rondeau

• Pieces in C major

Courante Gigue

• Pieces in D minor

Allemande “La Royalle” Sarabande Masquerade Gigue Gavotte Chaconne

• Pieces in D major

Sarabande Gavotte Chaconne Gavotte Rondeau (& Contrepartie)

• Pieces in G minor

Prélude Prélude Allemande Sarabande Gavotte Gavotte en Rondeau Ouverture de la Grotte De Versaille (de Lully) Entrée d’Appollon (de Lully)

• Pieces in G major

Allemande Courante Sarabande Gigue Gigue Musette (Rondeau)

Sources[link]

• Strizich, Robert, and David Ledbetter. 2001. "Visée, Robert de". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
• Hélène Charnassé - Rafael Andia - Gérard Rebours, The guitar books of Robert de Visée, Editions Musicales Transatlantiques, Paris, 2000, 235 pages

External links[link]

• Free scores by Robert de Visée in the Werner Icking Music Archive (WIMA)
• Works by or about Robert de Visée in libraries (WorldCat catalog)
• Media:theorbo pieces played by Yair Avidor

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Salvatore Sciarrino (born Palermo, Italy, on April 4, 1947) is an Italian composer of contemporary classical music.

Salvatore Sciarrino

Biography[link]

In his youth, Salvatore Sciarrino was attracted to the visual arts, but began experimenting with music when he was twelve. Though he had some lessons from Antonino Titone and Turi Belfiore, he is primarily self-taught as a composer. After his classical studies and a few years of university in his home city, in 1969 he moved to Rome, where he attended Franco Evangelisti's course in electronic music at the Accademia di Santa Cecilia (Osmond-Smith 2001).

In 1977, Sciarrino moved from Rome to Milan, where he taught at the conservatory until 1982. By this time his compositional career had expanded to the point where he could withdraw from teaching, and he moved to Città di Castello, in Umbria, where he has resided ever since. He nevertheless has continued to teach sporadically in Florence and Bologna, as well as in Città di Castello. Some of his notable students include Francesco Filidei, Lucia Ronchetti, Fabrizio De Rossi Rei, and Maurizio Pisati.

He has composed for: Teatro alla Scala, RAI, Teatro del Maggio Musicale Fiorentino, Biennale di Venezia, Teatro La Fenice di Venezia, Teatro Carlo Felice di Genova, Fondazione Arena di Verona, Stuttgart State Opera, Brussels La Monnaie, Frankfurt Opera Theatre, Amsterdam Concertgebouw, London Symphony Orchestra, Tokyo Suntory Hall. He has also composed for the following festivals: Schwetzinger Festspiele, Donaueschinger Musiktage, Witten, Salzburg, New York, Wien Modern, Wiener Festwochen, Berliner Festspiele Musik, Holland Festival, Alborough, Festival d’Automne (Paris), Ultima (Oslo).

He was published by Ricordi^{[disambiguation needed ]} from 1969 to 2004. Since 2005, Rai Trade has had exclusive rights for Sciarrino’s works.

Sciarrino’s discography is pretty extensive and counts over 70 CDs, published by the best international record labels and very often awarded and noted.

Apart from being author of most of his theatre opera’s librettos, Sciarrino wrote a rich production of articles, essays and texts of various genres some of which have been chosen and collected in Carte da suono, CIDIM – Novecento, 2001. Particularly important is his interdisciplinary book about musical form: Le figure della musica da Beethoven a oggi, Ricordi 1998.

From 1978 to 1980, he was Artistic Director of Teatro Comunale di Bologna, Academic of Santa Cecilia (Roma), Academic of Fine Arts of Bavaria and Academic of the Arts (Berlin).

Sciarrino has won many awards, among the most recent are: Prince Pierre de Monaco (2003) and the prestigious Feltrinelli Prize (2003). He is also the first prizewinner of the newly created Salzburg Music Prize (2006), an International Composition Price established by the Salzburg Land.

Musical style[link]

Sciarrino's work is avant-garde, and he is known for his use of isolated sonorities, extended playing techniques, frequent silences, and ironic or confrontational quotation of previous music (for instance, American pop music) or stories (such as in Lohengrin).^{[citation needed]}

His works include a large body of chamber music, including many pieces for wind instruments, five piano sonatas, and several operas or theatrical works: Da gelo a gelo, Infinito nero, Macbeth, Perseo ed Andromeda, Lohengrin, and Luci mie traditrici.

Works[link]

Bibliography[link]

• Bartolini, Donatella . 1999. "La genialità? Il segreto è nell'universo infantile: Intervista a Salvatore Sciarrino". Nuova rivista musicale italiana 33, no. 2 (Apr-June): 227–32.
• Boni, Monica, and Luigi Pestalozza. 1997. "La musica in Italia dal 1945 ad oggi: Un archivio vivente" Musica/Realtà 18, no. 54 (November): 173–84.
• Borio, Gianmario. 1991. "Der italienische Komponist Salvatore Sciarrino". Neue Zeitschrift für Musik 152, no. 5 (May): 33–36.
• Carapezza, Paolo Emilio. 1989. "De musices novissimae extremis elementis (Sciarrino, Donatoni)". In Polsko-włoskie materiały muzyczne, edited by Michał Bristiger, Jarosław Iwaszkiewicz, Paolo Emilio Carapezza, and Renato Guttoso, 302–309. Kraków: Polskie Wydawnictwo Muzyczne.
• Claren, Sebastian. 2002. "Musikalische Figurenlehre: Salvatore Sciarrino als Analytiker und Komponist". Musik & Ästhetik 6, no. 22 (April):106–11.
• Geraci, Toni. "La sonatina per violino e pianoforte di Salvatore Sciarrino"."In L'analisi musicale: Atti del convegno di Reggio Emilia, 16-19 marzo 1989, edited by Rossana Dalmonte and Mario Baroni. Milan: Unicopli.
• Giomi, Francesco, and Marco Ligabue. " 1998. "The 'Enchanted' Sound Objects: Aesthetic-Cognitive Analysis and Musical Signification Strategies". In Les universaux en musique: Actes du quatrième congrès international sur la signification musicale, edited by Costin Mireanu and Xavier Hascher, with a foreword by Michel Guiomar. Paris: Publications de la Sorbonne.
• Kager, Reinhard. 1998. "Salvatore Sciarrinos Oper Die tödliche Blume: UA 19.5. in Schwetzingen; 29.-31.5. in Wien". Österreichische Musikzeitschrift 53, no. 5 (May):.50–51.
• Lanza Tomasi, Gioacchino. 1969. "I due volti dell'alea". Nuova rivista musicale italiana. 3, no. 6 (November–December): 1076-95.
• Ligabue, Marco, and Francesco Giomi. 1996. "Gli oggetti sonori incantati di Salvatore Sciarrino: Analisi estesico-cognitiva di Come vengono prodotti gli incantesimi?" Nuova rivista musicale italiana 30, nos. 1–2 (January–June):155–79.
• Mazzolino, Marco. 1990. "Incontro con Salvatore Sciarrino di Marco Mazzolini: Dell'interrogare" Sonus: Materiali per la musica contemporanea 2, nos. 3 & 4 (June–August): 45–56.
• Müller, Patrick, and Grazia Graccho. 2000. "Zwischen Raum und Zeit: Zu den 'Figuren' von Salvatore Sciarrino". Dissonanz, no. 65:20–25.
• Osmond-Smith, David. 2001. "Sciarrino, Salvatore". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
• Pais, João Miguel. 2007. "Salvatore Sciarrinos Variazione su uno spazio ricurvo", translated by Hermann J. Metzler. Musik & Ästhetik 11, no. 41 (January): 62–79.
• Petazzi, Paolo. 1997. "'...isola, mare, prigionia, spazio...': Il Perseo e Andromeda di Salvatore Sciarrino". In Paolo Petazzi, Percorsi viennesi e altro Novecento, 241–52. Potenza: Sonus Edizioni Musicali. ISBN 88-86341-01-6
• Pinzauti, Leonardo. 1977. "A colloquio con Salvatore Sciarrino" Nuova rivista musicale italiana 11, no. 1 (January–March): 50–57.
• Saxer, Marion. 2006. "Scheiternde Verständigung: Melancholie im Musiktheater Salvatore Sciarrinos" Neue Zeitschrift für Musik 167, no. 6 (November-December): 26–29.
• Sciarrino, Salvatore. 1998. Le figure della musica: da Beethoven a oggi. Milan: Ricordi. ISBN 88-7592-534-8
• Sciarrino, Salvatore. 2000. Après "Giovanna d'Arco": Deux réflexions. In Arrangements, dérangements: La transcription musicale aujourd'hui, edited by Peter Szendy, 97–99. Paris: L'Harmattan.
• Stuppner, Herbert. 1993. "Salvatore Sciarrinos archaisierende Sphärenklänge". In Brennpunkt Nono: Programmbuch Zeitfluß 93, edited by Josef Häusler. Zürich, Switzerland: Palladion.
• Vidolin, Alvise. 1996. "I suoni di sintesi nel "Perseo e Andromeda" di Salvatore Sciarrino". In Nell'aria della sera: Il Mediterraneo e la musica, edited by Carlo de Incontrera, 353–87 . Monfalcone: Teatro Comunale di Monfalcone.
• Vinay, Gianfranco, Philippe Gontier, and Marylène Raiola. 2000. "La construction de l'arche invisible: Salvatore Sciarrino à propos de dramaturgie et de son théâtre musical". Dissonance, no. 65 (August):14–19.
• Zavagna, P., A. Provaglio, SalvatoreSciarrino, andAlviseVidolin. 1991. "Perseo e Andromeda, opera lirica in un atto per mezzosoprano, tenore, baritono, basso e sistemi informatici di Salvatore Sciarrino: Composizione, realizzazione ed esecuzione". In IX Colloquium on Musical Informatics/IX Colloquio di Informatica Musicale, edited by Corrado Canepa and Antonio Camurri. Genoa: Associazione di Informatica Musicale Italiana.

External links[link]

• Salvatore Sciarrino official site
• (French) A biography of Salvatore Sciarrino, from IRCAM's website.