The above quote, extracted from his L'Opere per Flauto (1977–1990), provides not only a colorful introduction to the effusive imagination of Italian composer Salvatore Sciarrino, but also a preview of what an unfamiliar listener may expect to find in his music. His largely unchanging musical language has slowly yet deliberately – like the four-minute unbroken cello glissando found near the end of his Vanitas for voice, cello and piano (1981)– captured the attention of composers, performers, scholars, and new music enthusiasts for over 30 years. Moreover, examination of Sciarrino's music provokes consideration for fascinating compositional comparisons, particularly in 20th-century Italian music, as his oeuvre demonstrates similarities with, and advancements of, the music of his compatriots. In this article, we will ‘reconnoiter’ the music of Sciarrino on two different levels, by: 1) contextualizing the formulization of his compositional language from developmental and sociological perspectives, and 2) conceptualizing these investigations in All'Aure in Una Lontananza (1977), a work which would perhaps forecast goals of his life output.