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Cambridge University Press 978-0-521-84403-1 - Luigi Dallapiccola and Musical Modernism in Fascist Italy Ben Earle Index More information Index Abbate, Carolyn, 184, 271 Augustus (Roman emperor), 194 Abbiati, Franco, 252 Auschwitz, 248 Accademia di Santa Cecilia (Rome), 61, 213 avant-garde Adamson, Walter L. Adorno on, 22–3, 24–5 on Florentine modernism, 40, 42, 45 Peter Bürger on, 3–4, 22–5 Adorno, Theodor Wiesengrund, 22–5, 26, 95, 136, in Casella, 25, 26 181, 188, 239, 246, 269 Florentine, 40 Ästhetische Theorie,24 and modernism, 3, 22–5 on Berg, 269 in Russolo, 2–4 on Casella, 9, 94 in Stravinsky, 23 on fascist propaganda, 273–4 Avanti! (newspaper), 253 on Il prigioniero, 268–9 Philosophie der neuen Musik,23–4, 25, 27–8, Bacci, Baccio Maria 104–5, 123, 179, 240–1, 244–5, 246, 268, backcloth for Volo di notte, 143 269, 271, 272 Bach, Johann Sebastian, 101, 131 politicization of musical styles, 94 Bahr, Hermann, 29 ‘Rückblickend auf den Surrealismus’,22–3 Expressionism, 243–4 on Schoenberg, 16, 238, 244–5 Baldacci, Luigi, 45 on Schoenberg and Stravinsky, 25, 104 Ballo, Ferdinando, 194 on Stravinsky, 23–4, 104–5 on Dallapiccola, 122, 124 on Stravinsky and Casella, 104 Banfi, Antonio, 157 on Webern, 134 Barbaro, Umberto, 150 Adorno, Theodor Wiesengrund (with Max Bardi, Giovanni de’,1 Horkheimer) Il Bargello (newspaper), 188 Dialektik der Aufklärung, 272, 274 Barilli, Bruno, 57, 213 aestheticism Bartók, Béla, 95 Adorno on, 32 The Miraculous Mandarin,72 in D’Annunzio, 30–1 Music for Strings, Percussion and Celesta,72 in Malipiero, 39 Bastianelli, Giannotto, 42–6, 55, 58, 82, 114, 241 in Pizzetti, 40, 53–4 collaboration with Pizzetti, 56–7 in Verdi, 30 La crisi musicale europea,42–7, 51, 56, 55–8 in Zandonai, 31 on Debussy, 54 Alessi, Rino on decadence, 44–7 Savonarola, 220 on French music, 44, 82 Alfano, Franco, 97 on Mascagni, 43–4 Sinfonia seconda,74 on Pizzetti, 51, 82 Ansermet, Ernest, 97 on Scriabin, 44 Antonello da Messina, 178 on Strauss, 44 Arblaster, Anthony Terza sonata per pianoforte,57 on Il prigioniero, 236, 251, 263 on Torrefranca, 42–3 Archivio Contemporaneo ‘Alessandro Bonsanti’ Baudelaire, Charles (Florence), 76 Les fleurs du mal, 159 Arendt, Hannah ‘Le Soleil’, 159 The Origins of Totalitarianism, 248–9, 254 Beethoven, Ludwig van, 43 Aristotle Fidelio, 272 Poetics, 161 Symphony No. 9, 246 Ars nova (journal), 40 Ben-Ghiat, Ruth Augusteo (concert hall, Rome), 4, 39, 71, 73, 75 on fascist appropriation of foreign cultural trends, Augustine, 167 178–9 Confessions, 167 on fascist pluralism, 66–7 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-84403-1 - Luigi Dallapiccola and Musical Modernism in Fascist Italy Ben Earle Index More information Index 295 on fascist realism, 148–9, 150, 157 Bürger, Peter, 26, 29 on Novecento (artistic movement), 148–9 on Adorno, 22, 24–5 Berg, Alban, 2, 95, 135–6, 144, 148, 224, 245, 270 on Stravinsky, 23 Hauptrhythmus, 244 Theorie der Avantgarde, 3, 4, 22, 23, 24–5, 40 Kammerkonzert,94 Busoni, Ferruccio, 87 Lulu, 135, 141, 169 Berceuse élégiaque,26 ‘Ostinato’, 144, 224 Doktor Faust, 181, 256 Symphonische Stücke, 135 Entwurf einer neuen Ästhetik der Tonkunst, 183 Lyric Suite, 135 Turandot, 188 Violin Concerto, 72, 135 Der Wein, 135, 141 Campanella, Tommaso, 219 Wozzeck, 72, 135, 136, 141, 161, 256, 264–8, 269 Dispregio della morte Bergson, Henri, 21 ‘Madrigal I’, 219 Berio, Luciano, 3, 65 Camus, Albert, 264 Nones,65 L’homme révolté, 257 Berlin Philharmonic Orchestra, 72 Le mythe de Sisyphe, 263–4 Berliner Tageblatt (newspaper), 131 Canudo, Ricciotto, 110 Bernardoni, Virgilio Caplin, William on Casella, 9, 25–6 Classical Form,79 on Dallapiccola, 80–1 Carducci, Giosuè, 10, 44, 45 on Malipiero, 34, 116, 117 Rime nuove Bernini, Gian Lorenzo, 93 ‘Notte di maggio’,10–14, 16 Biblioteca Nazionale (Florence), 83 Carisch (publishing house), 63, 75 Blanchot, Maurice, 151 Carpitella, Diego, 253 Bloom, Harold Carroll, Mark, 258 anxiety of influence, 87 Carter, Elliott Boccioni, Umberto, 21 Piano Concerto, 256–7 Boethius, 215, 216, 233 Casella, Alfredo, 9–22, 32, 39, 40, 56, 58, 66, 67, 68–9, Consolatio philosophiae, 216 70, 74, 76, 79, 93–111, 117, 124, 133, 173, Bontempelli, Massimo, 148–9 179, 194, 212–14, 231, 233 Nembo, 148 and D’Annunzio, 32 on Volo di notte, 192 on Dallapiccola, 123 Borghetti, Vincenzo, 56 on ‘I tre’, 123 Borio, Gianmario, 177, 178 L’evoluzione della musica a traversa della cadenza Borodin, Alexander perfetta,16 In the Steppes of Central Asia,14 ‘L’evoluzione del linguaggio musicale e i problemi Bosworth, Richard J. B., 166, 181 della musica contemporanea’, 213 Bottai, Giuseppe, 178, 189, 191, 214 and the ISCM, 97 Boys, Henry, 212 on music and fascism, 93, 94, 96 Brahms, Johannes, 29 and Mussolini, 100 Brandi, Cesare, 210 ‘Nell’ora di Roma’,26 Braque, Georges, 23 ‘Scarlattiana’ (article), 94–5 Braun, Emily seconda maniera, 10, 22, 39, 96, 103, 144 on ‘cultural freedom’ under fascism, 67–8 and Stravinsky, 15, 83, 101, 103, 104, 105–9 on fascist art policy, 67 terza maniera, 96, 110, 132 Brecht, Bertolt Casella, Alfredo, musical works Der Lindberghflug, 149 L’adieu à la vie,39 Brinkman, Reinhold, 174 Cinque pezzi Brioschi, Giancarlo, 152, 161 ‘Fox-trot’,24 Britten, Benjamin, 28 Concerto per due violini, viola e violoncello,96–100, Peter Grimes, 260 101, 110 Brooks, Peter Concerto romano, 93, 109, 110 on melodrama, 270, 271, 276 Le couvent sur l’eau Buck-Morss, Susan, 181 Fragments symphoniques,9 Buonarroti, Michelangelo, 63 Il deserto tentato, 143, 148, 151–2, 165, Buonarroti, Michelangelo the Younger, 63, 126 169–70 Indovinelli Elegia eroica,4–9, 25–8,36,38,39,40,65,71, ‘I balconi della rosa’, 126 76, 100 La Tancia, 126 La giara, 125 Le mascherate Introduzione, aria e toccata,74 ‘Il coro degli zitti’, 137–40 Italia,9 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-84403-1 - Luigi Dallapiccola and Musical Modernism in Fascist Italy Ben Earle Index More information 296 Index Casella, Alfredo, musical works (cont.) Dallapiccola, Laura, 59, 61, 67, 121–2, 141, 172, 200, Notte di maggio,10–15, 16, 20, 39 214, 232, 234, 237 Nove pezzi Dallapiccola, Luigi ‘In modo funebre’,16–20, 32, 39 and Adorno, 133, 134, 240–1, 244–5 Paganiniana,87 on art and truth, 241–2, 243–4, 245–6, 256 Pupazzetti, 103 and Baudelaire, 158–9 Scarlattiana, 87, 94 and Berg, 135–6, 141, 142, 144, 264–8, 269 La sera fiesolana, 32, 96 on the Canti di prigionia, 199–200, 208, 210–11, Sonatina, 24, 25 219–20 Suite in C, 9 career under late fascism, 189–91 ‘Bourrée’, 101, 103, 110 and Casella, 110–11, 115–16 Symphony No. 2, 10 and Roberto Casiraghi, 78 Tre canzoni trecentesche on the ‘central idea’ of all his works, 232–3 ‘Giovane bella, luce del mio core...’, 111, and ‘commitment’, 246–7 114, 124 on the composer’s need for faith, 183–4 Triple Concerto, 93 correspondence with Casella, 212–14, 215–16, 221 Casiraghi, Roberto, 78 correspondence with Malipiero, 170–1, 173 Castelnuovo-Tedesco, Mario, 1 ‘Credo nel teatro moderno’, 201 Cézanne, Paul, 243 and D’Annunzio, 119–21 Chabrier, Emmanuel on Debussy, 183 Bourrée fantasque, 101 diary, 78 Chiarelli, Luigi, 115 on dodecaphony and Italianness, 178–9 Cilea, Francesco, 70 early success, 74–5 Cimabue, 243 on ‘experience’, 157–60 Cino da Pistoia, 111 as fascist, 122 Clark, T. J. and Florence, 1, 62, 77–8 on Adorno, 39 and Frazzi, 78–9, 127, 210 on Jameson and Adorno, 133 and Gentile, 159–60 Clemenceau, Georges, 58 on ‘internationalism’, 178 Cocteau, Jean, 245 as Kunstführer, 172–4, 220–1, 233 Colacicchi, Luigi, 191 and Malipiero, 89–90, 111–12, 117–16 Collaer, Paul, 213 on Massarani, 126 Confederazione Fascista dei Professionisti e degli ‘Musica pianificata’, 239, 240, 245, 246, 252, Artisti, 1, 69, 77, 189 254–5 Congress for Cultural Freedom, 255, 256 open letter to Guido M. Gatti, 75–6 Festivals and Alfredo Parente, 155–8, 182 Paris (1952), 255 and Petrassi, 195–9 Rome (1954), 258 and Pizzetti, 61 Conservatorio di Santa Cecilia (Rome), 74 on Il prigioniero, 236, 238–9, 253–4, 260–2 Conservatorio Luigi Cherubini (Florence), 1, 46, 61, and Proust, 241–2, 245 62, 73, 74, 78, 172, 188, 189 realization of Monteverdi’s Il ritorno d’Ulisse in Consolo, Ernesto, 62 patria, 189, 231, 232 Cook, Nicholas, 132 and Schoenberg, 135, 144, 158, 173–4, 177, 179–80 Copeau, Jacques, 220 and the Sindacato Nazionale Fascista dei Musicisti, Copertini, Spartaco, 57 76–8 Coppola, Piero, 57 and Stravinsky, 83–6, 110–11, 142 Corio, Edgardo, 194 ‘Tuscan’ style, 125–31, 141, 144, 149, 204, 216 Corporazione delle Nuove Musiche, 83, 97 ‘On the Twelve-Note Road’, 136, 142 Il corriere della sera (newspaper), 59, 67, 121, 252 on Volo di notte, 170–2, 176–7, 179, 181, 183, 186 Cortese, Luigi, 122 and Webern, 133–4, 135 Corti, Mario, 213 Dallapiccola, Luigi, musical works Coussemaker, Edmond de, 50 Caligo,60 Croce, Benedetto, 42, 45, 157, 158, 159, 160, 192, 211, Canti di prigionia, 110, 189, 190, 199–230, 233, 244, 245, 246, 263, 264, 271 254, 255 aesthetics, 42–3, 155–6, 158, 160, 182, 241 ‘Congedo di Girolamo Savonarola’, 212, Estetica, 42, 155, 182 219–30, 231 ‘religion of liberty’, 262 central palindrome, 224 recomposition of opening of ‘Preghiera di Dahlhaus, Carl, 31 Maria Stuarda’, 221–3 on ‘die musikalische Moderne’,29–30 ‘Invocazione di Boezio’, 212, 213, 214–19, 223, on Wagner, 187 224–7, 230 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-84403-1 - Luigi Dallapiccola and Musical Modernism in Fascist Italy Ben Earle Index More information
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  • Luigi Dallapiccola's Il Prigioniero and Gian Carlo

    Luigi Dallapiccola's Il Prigioniero and Gian Carlo

    LUIGI DALLAPICCOLA'S IL PRIGIONIERO AND GIAN CARLO MENOTTI'S THE CONSUL: A COMPARATIVE STUDY by JENNIFER GRAHAM STEPHENSON PAUL H. HOUGHTALING, COMMITTEE CHAIR SUSAN CURTIS FLEMING NIKOS A. PAPPAS STEPHEN V. PELES JONATHAN WHITAKER ELIZABETH AVERSA A DOCUMENT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2016 Copyright Jennifer Graham Stephenson 2016 ALL RIGHTS RESERVED ABSTRACT As art reflects life, so too does it hold a mirror to the lives of the people who create it. The turbulent events of the first decades of the twentieth century, including two World Wars and the rise of Italian Fascism and German Nazism in the 1920s and 30s, affected millions of lives across several continents. This document explores the ways in which Luigi Dallapiccola (1904– 1973) and Gian Carlo Menotti (1911–2007) voice their reactions to these events in their operas, Il Prigioniero (1948) and The Consul (1950). Italian composer Luigi Dallapiccola spent twenty months in internment during the First World War, and would be forced on several occasions to go into hiding during the Second World War. His opposition to Mussolini and the Italian Fascists, coupled with his quasi–obsession with internment and freedom, led to his composition of three works of “protest music,” of which Il Prigioniero is the second. Il Prigioniero tells the story of a prisoner of the Inquisition, his attempt at escape and eventual capture. Italian-American composer Gian Carlo Menotti emigrated to the United States in 1928, at age seventeen, and spent a great much of his time traveling and working in various countries.
  • City Research Online

    City Research Online

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by City Research Online City Research Online City, University of London Institutional Repository Citation: Pace, I. (2017). Luigi Dallapiccola and Musical Modernism in Fascist Italy. By Ben Earle. Music and Letters, 98(1), pp. 163-167. doi: 10.1093/ml/gcx013 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: http://openaccess.city.ac.uk/17632/ Link to published version: http://dx.doi.org/10.1093/ml/gcx013 Copyright and reuse: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. City Research Online: http://openaccess.city.ac.uk/ [email protected] {[email protected]} Luigi Dallapiccola and Musical Modernism in Fascist Italy. By Ben Earle. pp. xv + 304. Music Since 1900. (Cambridge University Press, Cambridge and New York, 2013. £65. ISBN 978-0-521-84403-1.) Extended studies of music, musicians, and musical life in fascist Italy first appeared in the mid-1980s, since when there has been a plethora of studies and essay collections, including three major monographs with diverse methodologies: Fiamma Nicolodi, Musica e musicisti nel ventennio fascista (Florence, 1984); Harvey Sachs, Music in Fascist Italy (New York and London, 1987); Jürg Stenzl, Von Giacomo Puccini zu Luigi Nono. Italienische Musik 1922-1952: Faschismus-Resistenza-Republik (Buren, 1990).
  • Il Quarto Padre Della Dodecafonia

    Il Quarto Padre Della Dodecafonia

    Mario Ruffini, Il quarto padre della dodecafonia, in: «Caffè Michelangiolo», Rivista di discussione e cultura, Accademia degli Incamminati, IX, 2 (maggio- agosto 2004), Firenze, Pagliai Polistampa, 2004, Copertina, Frontespizio, Retrofrontespizio, pp. 4-12 In occasione del primo centenario della nascita di Luigi Dallapiccola (1904-2004), Caffè Michelangiolo ha chiesto a Mario Ruffini uno scritto commemorativo sul compositore e un bilancio delle celebrazioni Nel primo centenario della nascita di Luigi Dallapiccola (1904-2004) uno scritto commemorativo e alcune considerazioni IL QUARTO PADRE DELLA DODECAFONIA di Mario Ruffini Quando in tutto il mondo un personaggio viene ricordato in occasione del centenario della nascita, vuol dire che la sua opera è ormai un valore riconosciuto e condiviso della coscienza collettiva. Questo è il dato forse più rilevante delle celebrazioni dedicate alla figura di Luigi Dallapiccola. È utile pertanto ricordare le opere più significative del grande compositore e sottolineare gli aspetti peculiari del suo dettato etico e estetico. Due sono i capolavori che maggiormente caratterizzano Luigi Dallapiccola: la Trilogia, che percorre il primo periodo come una biografia (Canti di prigionia; Il Prigioniero; Canti di liberazione) e l’Ulisse che segna l’arrivo di tutto il percorso. Negli scritti giovanili Dallapiccola ricorda il periodo di internamento a Graz, quando l’assidua frequentazione del Teatro dell’Opera lo portò a una profonda conoscenza delle opere di Richard Wagner, di cui il quattordicenne istriano dichiara