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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

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

Index 297

‘Preghiera di Maria Stuarda’, 190, 200, 201–10, Volo di notte, 71, 72, 142–93, 196, 199, 200, 201, 213, 215, 216–19, 220, 223–4, 227, 213, 214, 216, 219, 220, 233 230, 273 backcloth and stage set, 143 proportions, 223–4 and Casella’s Il deserto tentato, 148, 151–2 La canzone del Quarnaro,60–1, 176 crescendo and catharsis, 161–3, 166–70 Cinque canti,87 and fascist realism, 149–50 Cinque frammenti di Saffo, 231 as fascistic, 163–70 Dalla mia terra, 60, 85 initial reception, 188–9, 191–2 ‘Per la sera della Befana’,60 Scene 1, 150, 164–5 Divertimento in quattro esercizi, 75, 76, 121, 190 Scene 2, 165 Due canzoni di Grado, 60, 75 Scene 3, 162, 165 Due liriche dal Kalewala,75 Scene 4, 162–3, 175–6, 181 Estate, 73, 74, 77, 78 Scene 5, 144–8, 151–4, 161–2, 163, 166–8, 182, Fuiri da tapo,60 184–6 Goethe-Lieder, 63, 136 musical idiom, 144, 147–8 Job, 232 Scene 6, 163, 164, 168–70, 175, 180, 181, 186–7, 230 Marsia, 136, 189, 232–3 final climax, 168 Frammenti sinfonici, 232 Dallapiccola, Pio, 59, 60, 121, 199 Tre episodi, 232 Dalrymple Henderson, Linda Musica per tre pianoforti (Inni), 117–23, 124, 131, on the ‘fourth dimension’,21 135, 140, 190, 216 Damerini, Adelmo, 188 Partita, 75, 124, 189 D’Amico, Fedele, 211 ‘Burlesca’, 190 on Casella, 17 ‘Passacaglia’, 140, 190 on Dallapiccola, 123, 154 Piccolo concerto per Muriel Couvreux, 136, 189, Canti di prigionia, 201, 212, 219, 220 190, 214 on Dallapiccola and Casella, 111 Il prigioniero, 110, 232, 233, 234, 235–40, D’Annunzio, Gabriele, 30–1, 32, 38, 40, 41, 54, 55, 56, 247–76 57, 58, 62, 97, 172, 174 initial reception, 235–6, 238, 239 Alcyone,62 and the Nazi death camps, 248–51 ‘I pastori’, 51, 53 performance history, 235, 259–61 ‘La sera fiesolana’,96 plot summary, 247 attack on Mascagni, 30–1 as politically ‘committed’, 236–8 ‘La canzone del Quarnaro’,60–1 ‘Prologo’, 271 Canzoni della gesta d’oltremare psychoanalytical reading, 275–6 ‘La canzone dell’oltremare’, 119–21 Scene 3, 249, 250–1 Fedra, 40, 46, 62 Scene 4, 273, 274 Forse che sì forse che no, 150 musical idiom, 268–9 Francesca da Rimini,62 and Verdi, 269–71 Il fuoco,35–6, 55, 62, 172, 173, 180 Prima serie dei cori di Michelangelo Buonarroti il La Gloria,47 Giovane, 63, 89, 90–2, 190 ‘invasion’ of Fiume, 60 Quaderno musicale di Annalibera,63 irredentism, 60 Rapsodia (studio per ‘La morte del Conte Orlando’), La nave,46–7, 51, 60, 62 75, 190 Le martyre de Saint Sébastien,46 Seconda serie dei cori di Michelangelo Buonarroti il Parisina,40 Giovane, 22, 66, 74, 75, 76, 77, 82–5, 111, Sogno d’un tramonto d’autunno,32–4 118, 124, 190 Dante Alighieri, 62, 167 ‘Capriccio’,83–4 Inferno,78 ‘Invenzione’, 126 De Pirro, Nicola, 119, 213, 214 Sei cori di Michelangelo Buonarroti il Giovane,126 De Sabata, Victor, 97 Sex carmina Alcaei, 231–2 De Santis, Mila, 97 Tartiniana,87–8, 89, 94, 224 on Casella, 17, 95–6 Tartiniana seconda,87 Debussy, Claude, 28, 31, 43, 44, 45, 53, 54, 55, 58, 82, Terza serie dei cori di Michelangelo Buonarroti il 87, 101, 117 Giovane, 63, 72, 190, 195, 210 ‘acoustic scale’,38 ‘I lanzi briachi’, 127–31 Iberia, 210 ‘Il coro degli zitti’, 136–42, 144 incidental music for Le martyre de Saint Tre laudi,76–7, 86, 140, 148, 149, 167, 168, 190, Sébastien,46 199, 213 Pelléas et Mélisande, 54, 55, 72, 161 Tre studi,74–5 Préludes I Ulisse, 167, 256 ‘Danseuses de Delphes’, 17, 32

298 Index

Della Corte, Andrea, 134, 233 Galuppi, Baldassare, 42 on Volo di notte, 188 Gasco, Alberto Depero, Fortunato, 115 on Casella, 25 DeVoto, Mark on Dallapiccola, 76, 122 on Ravel, 82 Gatti, Guido M., 75–6, 148 Di Marzio, Cornelio, 77, 190, 212 on Dallapiccola, 123, 124, 126 Diderot, Denis, 220 on Pizzetti, 48 D’Indy, Vincent Gavazzeni, Gianandrea, 78, 192 Fervaal,47 on Dallapiccola, 124, 126 Dissonanza (journal), 56–7, 90 Canti di prigionia, 211 Döblin, Alexander, 149, 150 Volo di notte, 191–2 Donizetti, Gaetano, 58 on Dallapiccola and Berg, 142 Dos Passos, John, 149, 150 on Pizzetti, 51 Duccio di Buoninsegna, 243 Gentile, Emilio, 199 Dukas, Paul, 44, 55 Gentile, Giovanni, 162, 183, 192, 241, 244 Ariane et Barbebleu,55 La filosofia dell’arte, 159–60 Durante, Francesco, 42 ghost-writer for Mussolini, 167 Gesualdo, Carlo, 194 Einem, Gottfried von Ghedini, Giorgio Federico Dantons Tod, 260 Le baccanti,70 Einstein, Albert, 21 Ghislanzoni, Alberto, 69 Elgar, Edward, 28, 29 Ginsborg, Paul, 252 Estero, Andrea, 252 Giordano, Umberto, 70 Etlin, Richard ‘Giovinezza’ (anthem of the fascist party), 116, on Piacentini, 93 119, 166 Euripides, 194 Giuranna, Barbara Evans, Joan, 109 Decimo legio,73 expressionism, 122, 124, 258 Gluck, Christoph Willibald Adorno on, 27–8, 240, 244–5, 268 Orfeo ed Euridice, 123 Hermann Bahr on, 243–4 Goebbels, Joseph, 191 in Berg, 161 Goethe, Johann Wolfgang von, 240 in Casella, 10, 27–8 Goldbeck, Fred Dallapiccola on, 243–5 on Dallapiccola, 118, 122–3 in Dallapiccola, 144, 236, 262, 264–8, 269 Goldman, Henry F., 212 Thomas Harrison on, 27, 134 Gregor, Joseph, 163 in Schoenberg, 28, 135, 240, 244–5 Weltgeschichte des Theaters, 161–2 in Webern, 240 Griffin, Roger on fascism, 181, 196–9 Falasca-Zamponi, Simonetta, 165 Modernism and Fascism, 230 the fascist leader as artist, 180–1 Gruppo Strumentale Italiano, 76 on Mussolini, 164–5 Guarnieri Corazzol, Adriana Falkenhausen, Susanne von, 166 on D’Annunzio, 31 Falla, Manuel de, 117 Guerrini, Guido, 74 Pièces espagnoles Tre pezzi,74 ‘Andaluza’, 115 Gui, Vittorio, 56, 71, 75 Farinacci, Roberto, 188 Gundle, Stephen, 252 Fauré, Gabriel, 9, 58 Flamm, Christoph Handel, George Frideric, 105 on the Canti di prigionia, 200–1, 210, 211, 221 Harrison, Thomas Ford Foundation, 256 on ‘the anti-aestheticist turn’,46 Forges Davanzati, Roberto on La voce,54–5 on Casella, 103–4 Hegel, Georg Wilhelm Friedrich, 237 Frazzi, Vito, 57, 73, 78–82, 85, 87, 127, on art and the Absolute, 133 208–10, 231 Henze, Hans Werner, 239 Piano Quintet, 79–82 Hepokoski, James, 30 Preludio magico,73 Hindemith, Paul, 28, 86, 93 Scale alternate, 210 Clarinet Quintet, 103 on twelve-note technique, 78–9 Der Lindberghflug, 149 Frescobaldi, Girolamo, 45, 123 Mathis der Maler, 155 Freud, Sigmund, 276 Hitler, Adolf, 69, 105, 199, 220, 238, 251, 254 Fubini, Enrico, 155, 156, 157 visit to Florence, 77

Index 299

Hoare, Samuel, 220 Lascelles, George, 7th earl of Harewood L’homme libre (newspaper), 58 on Il prigioniero, 262 Horace, 194 League of Nations, 121 Carmen saeculare, 194 Leibnitz, Gottfried Wilhelm, 213 Horkheimer, Max, 272 Leibowitz, René, 88, 246–7, 255 Hulme, Thomas Ernest, 88 ‘Igor Strawinski ou le choix de la misère Huyssen, Andreas musicale’,88 on Adorno, 32 Leonardo (journal), 40, 42 on Bürger and Adorno, 22 Leonardo da Vinci, 241 Leopardi, Giacomo, 231 Incagliati, Matteo, 213 Leroux, Xavier, 9 ‘Inno Mameli’ (Italian national anthem), 26 Letteratura (journal), 149, 192 ISCM (International Society for Contemporary Levi, Erik, 117, 191 Music), 69, 72 Liceo Musicale di Santa Cecilia (Rome), 26 Festivals Lindbergh, Charles, 149 Salzburg (1923), 94, 97 Luther, Martin, 249 Venice (1925), 72 Lux, Simonetta, 187 Frankfurt (1927), 94 Siena (1928), 72, 83 Maderna, Bruno, 3, 4, 65 Florence (1934), 72, 75, 135 Maggio Musicale Fiorentino, 72, 76, 148, 155, Prague (1935), 76, 133, 135, 141 188, 189 Paris (1937), 118 I (1933), 71 London (1938), 134 II (1935), 71, 72, 220 London (1946), 211 III (1937), 72, 135, 143, 148 Istria, 1, 59–61, 85, 122, 126, 127 IV (1938), 72 VI (1940), 72, 143, 192 Jachino, Carlo, 194 VIII (1942), 189 Jacobshagen, Arnold, 186, 233 XIII (1950), 235 Jameson, Fredric International Congresses on Music, 72 on Adorno, 21, 272 IV (1939), 155, 156–8 on the dialectic, 237 Mahler, Gustav, 2, 9, 29, 30 on historiographical beginnings, 19 Symphony No. 7, 14 Jarman, Douglas, 224 ‘Nachtmusik I’,14 Malipiero, Gian Francesco, 14, 32–40, 56, 57, 67, 70, Kafka, Josef 76, 89, 90, 97, 111–17, 170, 173 Der Proceß, 274–5 aristocratism, 41 Kämper, Dietrich, 166, 186 audience with Mussolini, 67 Kant, Immanuel, 248 and D’Annunzio, 32–5 on ‘diabolical evil’, 247, 248 on music and fascism, 119 on the sublime, 132 on The Rite of Spring,32 Kay, Sarah, 249 Malipiero, Gian Francesco, musical works Keller, Hans Antonio e Cleopatra,70 on Il prigioniero, 235, 274 I capricci di Callot,70 Koechlin, Charles, 9 La cimarosiana,87 Koestler, Arthur Ecuba,70 Darkness at Noon, 257 La favola del ﬁglio cambiato, 116–17 Krenek, Ernst, 75, 136 Giulio Cesare, 70, 117, 194 Jonny spielt auf, 155 Inni, 117 String Quartet No. 3, 103 Pantea,34–5, 39 Pause del silenzio,35–9, 71, 89, 115 Labroca, Mario, 76, 125, 189 Rispetti e strambotti,97 on Dallapiccola, 76 Sette canzoni, 111 Lacan, Jacques ‘I vagabondi’, 112, 114–15, 117, 124 jouissance, 249 Sogno d’un tramonto d’autunno,32–4, 39 Lacerba (journal), 40, 42 Torneo notturno,89–90, 111, 116, 256 Lambert, Constant, 72 Malipiero, Riccardo Lamette, André, 15 on Il prigioniero, 235, 236, 276 Lanza Tommasi, Gioacchino Mallarmé, Stéphane, 30, 35 on Malipiero, 39 Manifesto di musicisti italiani per la tradizione Large, Duncan dell’arte romantica dell’ottocento, 67, 74, on Proust and Nietzsche, 242 76, 179, 254

300 Index

March on Rome, 57, 74, 94, 96, 100, 166 Mondo europeo (journal), 252 ‘Marcia reale’ (Italian national anthem), 119 Monteverdi, Claudio, 16, 42, 44, 55, 111, 125, Marcuse, Herbert 172, 240 on ‘aﬃrmative culture’, 261 Il ritorno d’Ulisse in patria, 189 on Sartre, 272–3 Montjoie! (journal), 110 Margaritone d’Arezzo, 243 Moravia, Alberto, 150 Marin, Biagio, 60 Mostra Aeronautica (1934), 166 Marinetti, Filippo Tommaso Mostra della Rivoluzione Fascista (1932), 166–7, 168 parole in libertà,44 Mostra Nazionale di Musica Markevitch, Igor, 72 Contemporanea. See Sindacato Mascagni, Pietro, 30, 31, 32, 43–4, 46, 57, 70, 132, 161 Nazionale Fascista dei Musicisti L’amico Fritz, 31, 43 Mozart, Wolfgang Amadeus Cavalleria rusticana, 30, 43, 235 Don Giovanni, 244 Iris, 30, 43 Mulè, Giuseppe, 74 Act II, 43 Musica d’oggi (journal), 100 Act III, 44 Il musicista (journal), 69 Parisina,40–1 Mussolini, Benito, 57, 69, 97, 100, 110, 111, 116, 119, I Rantzau,31 149, 167, 181, 196, 220, 254, 261 Massarani, Renzo, 74, 127–31 characteristics recognisable in Volo di notte, 164–5 Due canzoni corali, 125 cultural policy, 67 incidental music for 18BL,74 dedicatee of music by Casella, 143 Sonatina for Cello and Piano, 126 dedicatee of music by Malipiero, 117 Meine, Sabine, 246 La dottrina del fascismo, 175 Menotti, Gian Carlo and the ISCM, 72 The Consul, 260 invasion of Ethiopia, 121 Michelucci, Giovanni, 125 and the Maggio Musicale Fiorentino, 71 Mila, Massimo, 85, 93, 136 and Malipiero, 67, 116 on Casella, 10, 26, 27, 95 as modernist artist, 180–1 on Dallapiccola, 85, 92, 123, 274 and Pizzetti, 71 Il prigioniero, 235–6, 261–3, 269, 270 and Savonarola, 220 on Dallapiccola and Berg, 142 symbolized in Petrassi’s Salmo IX, 196 Milhaud, Darius, 72 urges artistic populism, 173 Christophe Colomb, 161 urges artistic realism, 149 La mort d’un tyran, 220 Mussolini, Vittorio Milloss, Aurel M., 232 on Dallapiccola, 190 Ministero della Cultura Popolare (MinCulPop), 70, 71, 214 Nabokov, Nicolas, 255, 256 modernism neoclassicism, 35, 66, 93, 94 Adorno on, 15–16, 22–5, 28, 39, 46, 133 Adorno on, 104–5 and avant-garde, 2–4, 22–5 in Casella, 93–111 Peter J. Burkholder on, 29 Dallapiccola and, 66, 86, 87–8, 89, 90–3, in Casella, 4–15, 19, 20, 24, 25–8 123–5, 179 T. J. Clark on, 132 and fascism, 86, 104–5, 109–11 and the cold war, 254–60 as modernism, 20, 66, 88–9, 104–9 and dehumanization, 16–19, 20, 21 in Schoenberg, 88 as domination, 179–80 in Stravinsky, 103–9 as fascist, 180–1, 187, 230–1 Richard Taruskin on, 88, 101, 103 Florentine, 1–2, 40–7, 54–5, 56–7 Neue Sachlichkeit, 149 James Hepokoski on, 28–9 Nicholls, Peter in Italy, 65–6 on decadence, 33 Fredric Jameson on, 20, 21, 88, 132, 133 on Mallarmé, 30 in Malipiero, 32 Nicolodi, Fiamma, 77, 117, 192 Robert P. Morgan on, 21 bipartite periodization of fascism, 68 as negation, 28, 132–4, 231 on Casella, 68–9, 96, 103, 104 and Pizzetti, 56–7 on Dallapiccola, 60–1, 62, 136, 154–5, 171 in Il prigioniero, 264–9, 271–3 on late-fascist performance statistics, 70 and ‘progressivism’,28–32, 57 on Malipiero, 117 in Schoenberg, 15–16 Nietzsche, Friedrich, 42, 45, 51, 56, 174–7, 183, in Volo di notte, 142–3, 187–8 242, 243 Molinari, Bernardino, 39, 74, 97, 195 Also sprach Zarathustra, 174, 175, 176, 180, 242 Il mondo (journal), 252 Jenseits von Gut und Böse, 175

Index 301

Nono, Luigi, 3, 4, 65, 95 Pirotta, Nino Northcott, Bayan, 259 on Malipiero, 35 Novecento (artistic movement), 109–10, 125, 148 Pius XI, 196 Pius XII, 251 Opéra (Paris), 72 Pizzetti, Ildebrando, 40, 45, 46, 47–59, 60, 62, 67, 70, Orchestra del Maggio Musicale Fiorentino, 72 72, 82, 97, 204, 213, 216 Orchestra della Regia Accademia di Santa Cecilia collaboration with Bastianelli, 56–7 (Rome), 4, 71, 73 collaboration with D’Annunzio, 46, 47–56 Orchestra Sinfonica Milanese, 71 on Puccini, 41, 85 Orff, Carl, 29 Pizzetti, Ildebrando, musical works Orwell, George Débora e Jaèle, 57, 151 Nineteen Eighty-Four, 257 Due canzoni corali, 57, 61 Osmond-Smith, David, 77, 195 ‘La rondine’,90 on Dallapiccola, 59, 62 Fedra,40–1, 46, 54–6, 57, 58, 61, 82 Il prigioniero, 236 ‘Trenodia per Ippolito morto’,55 on Petrassi, 122, 196 incidental music for La nave, 46, 47–51, 55, 60, 61 ‘Coro di catecùmini e di cucutrici’,48–51 Paganini, Niccolò, 87 ‘La danza dei candelabra e la danza di Basiliola’, Palestrina, Pierluigi da, 42, 45, 202 47–8 Pannain, Guido, 134 incidental music for La Pisanelle ou la Mort Papini, Giovanni, 40, 42 parfumée,46 Parente, Alfredo, 155, 156–7, 158, 182 Orsèolo, 61, 71 ‘Aspetti della cattiva musica novecentesca’, 156 ‘I pastori’,51–4, 55 La musica e le arti, 157 String Quartet in A major, 82 Parrino, Francesco Tre liriche,61 on Casella, 21, 25, 26, 110 Vanna Lupa,61 Partito Comunista Italiano, 95, 238, 252–3 Violin Sonata, 57 Pasticci, Susanna, 24 Platti, Giovanni Benedetto, 42 Pavolini, Alessandro, 1, 69, 77, 143 Plautus, 140 Pavolini, Corrado, 143, 148 Poe, Edgar Allan Pecci, Riccardo, 56 ‘The Pit and the Pendulum’, 269 Pedrotti, Antonio Polignac, Edmond de, 210 on Dallapiccola, 126–7 Il politecnico (journal), 252 Pergolesi, Giovanni Battista, 87 Il ponte (journal), 252 Perle, George, 21 Il popolo d’Italia (newspaper), 67 Pèrseo (journal), 69 Porrino, Ennio, 73 Peskó, Zoltan, 141 attack on Casella, 68–9 Pestalozza, Luigi, 116, 253 Pratella, Francesco Balilla, 40 on Casella, 93–4, 95 L’aviatore Dro, 143 on Dallapiccola, 178, 188, 201 Pravda (newspaper), 239 on Malipiero, 35, 36, 115, 116, 117 Previtali, Fernando, 201 Peters, Edward, 269 Prezzolini, Giuseppe, 40, 42, 56 Petrassi, Goffredo, 2, 72, 122, 133, 188, 189, 194, 231 Primato (journal), 191 Concerto per orchestra, 122, 231 La prora (journal), 100 Coro di morti, 231 Proust, Marcel, 241, 242–3, 245, 254 on Dallapiccola, 121 À la recherche du temps perdu, 242, 243 Partita,74 Puccini, Giacomo, 28, 30, 32, 42, 57, 132, 161 Salmo IX, 195–9, 213, 220 La Bohème,41 and Stravinsky, 195, 196 Tosca, 41, 236, 269 Petrobelli, Pierluigi, 89, 92 Turandot, 3, 235 on Dallapiccola, 87 Pezzotti, Alessandra, 154, 161 Quasimodo, Salvatore, 231 Pfitzner, Hans Palestrina, 155 La rassegna musicale (journal), 75–6, 156, 201 Philip II (King of Spain), 238, 269 Rassegna Nazionale di Musica Piacentini, Marcello, 93 Contemporanea. See Sindacato Picasso, Pablo, 23 Nazionale Fascista dei Musicisti Piccardi, Carlo Rava, Carlo Enrico, 179 on Massarani, 125, 127–31 Ravel, Maurice, 9, 17, 44, 45, 58, 85, 87 Piccardi, Oreste, 75 L’Enfant et les sortilèges, 161 Pirandello, Luigi, 116 Introduction and Allegro,82

302 Index

Regino of Prüm, 50 on Elliott Carter, 256–7 Reich, Willi, 136 Schiller, Friedrich Rennert, Günther, 176 Don Carlos, 251 Respighi, Ottorino, 61, 67, 68, 70, 73, 74, 97, 124 Schmidt, Franz, 75 La boutique fantasque,87 Schoenberg, Arnold, 2, 16, 21, 28, 35, 44, 56, 79, 87, Rossiniana,87 88, 93, 95, 104, 132, 173–4, 177, 179–80, Semirâma,47 183, 191, 240, 243, 244–5, 246, 260, 269 Rhené-Baton, 4 Blicke, 269 Ricordi (publishing house), 191 ‘fluctuating tonality’, 141, 221 Ricordi, Giulio, 54, 55 Harmonielehre, 15, 21, 135, 141, 158, 159–60, 174, Riemann, Hugo, 194 182, 242, 243 Rieti, Vittorio, 125 on Puccini, 30 Riley, Matthew, 29 Schoenberg, Arnold, musical works Ringer, Alexander, 258 Drei Klavierstücke, 135 Rivista musicale italiana (journal), 55 Erwartung, 20, 27, 35, 256 Robinson, J. Bradford Fünf Orchesterstücke,27 as translator of Dahlhaus, 29 Die glückliche Hand, 244–5 Roderick, Peter, 211, 216 Kammersymphonie, 16, 26 Rognoni, Luigi Moses und Aron, 155, 256 on Dallapiccola, 124 Ode to Napoleon Bonaparte, 220 Volo di notte, 196 Pierrot lunaire, 89, 97–100, 135, 179 Rosati, Giuseppe, 72 ‘Mondfleck’, 224 Rossi, Mario, 66, 72 Suite (septet), 72 Rossi-Doria, Gastone A Survivor from Warsaw, 238 on Casella, 16, 17, 20 Three Satires, 173 Rossini, Gioacchino, 125 Variations for Orchestra, 141, 144 Rosso di San Secondo, Pier Maria, 115 Schopenhauer, Arthur, 42, 158, 243, 260 Rousseau, Henri, 243 Die Welt als Wille und Vorstellung, 242–3 Rufer, Josef, 258, 259 Scriabin, Alexander, 44, 56, 132 on Il prigioniero, 258 Piano Sonata No. 6, 44 Russolo, Luigi, 2–4, 40 Piano Sonata No. 10, 44 L’arte dei rumori,3–4 Senici, Emanuele Convegno d’automobili e d’aeroplani,2 on Verdi, 30 intonarumori, 2, 3, 143 Sereni, Emilio, 253 Il risveglio di una città,2,3,40 Il selvaggio (journal), 210 Si pranza sulla terrazza dell’Hôtel,2 Shostakovich, Dmitri Lady Macbeth of the Mtsensk District, 239 Sachs, Harvey, 71, 192, 196 Symphony No. 7 ‘Leningrad’, 190 on Casella, 66 Shreffler, Anne C., 255 on Dallapiccola, 200 Sibelius, Jean, 28, 29 Saint-Exupéry, Antoine de, 175, 188, 192 Symphony No. 5, 28 on Nietzsche, 174 Sindacato Fascista delle Belle Arti, 70–1 Vol de nuit, 142–3, 151–63 Sindacato Nazionale Fascista dei Musicisti, 66, 68, 69, Sala, Luca, 189, 190 71, 73, 74, 208 Salvetti, Guido, 24 II Mostra Nazionale di Musica Contemporanea Salviucci, Giovanni, 194 (1933), 73–4 Alcesti, 194, 195 III Rassegna Nazionale di Musica Contemporanea Samson, Jim (1935), 66, 76 on Casella, 16–17 IV Rassegna Nazionale di Musica Contemporanea Santoliquido, Francesco, 69 (1937), 73, 76–7 Sanzogno, Nino, 76 V Rassegna Nazionale di Musica Contemporanea Sarfatti, Margherita, 110 (1939), 76, 77 Sartre, Jean-Paul, 196, 236–7, 246, 247, 255, 264, 271 Sironi, Mario, 67 on torture, 264 Slataper, Scipio, 62 on twelve-note music, 255 Il mio Carso,62 Savonarola, Girolamo, 215, 219–20, 221, 233 Società Italiana di Musica Moderna, 40, 96 La Scala (Milan), 41, 57, 173, 189, 259 Società Nazionale di Musica, 40 Scardamaglia, Edoardo, 214 Soffici, Ardengo, 40 Scarlatti, Domenico, 125 Somer, Avo, 82 Scherchen, Hermann, 72, 253 on Debussy, 79 Schiff, David Sonzogno, Edoardo, 40

Index 303

Sperenzi, Mario, 192 Stuart, Mary, 200, 202, 215, 233 on Dallapiccola, 164 Stuckenschmidt, Hans Heinz, 85, 259 Stabile Orchestrale Fiorentino, 71, 72, 75 on Il prigioniero, 258 Stalin, Joseph, 254 symbolism, 148, 150 La stampa (newspaper), 67, 188 Carolyn Abbate on, 150–2 Steinberg, Michael, 257 in D’Annunzio, 35–6 Stenzl, Jürg, 151, 169, 172, 187, 199, 233 Thomas Harrison on, 134 Stockhausen, Karlheinz, 29 in Malipiero, 38–9 Stone, Marla, 167, 187, 188 in Volo di notte, 150–4, 188 on fascism as coercive, 68 Saint-Exupéry and, 150–1 on fascist mass exhibitions, 166–7, 168 on fascist patronage, 71 Tanner, Michael on fascist pluralism, 66 on Nietzsche, 176 Stonor Saunders, Frances, 256 Tartini, Giuseppe, 87, 89 Strapaese (artistic movement), 125–6, 149 Taruskin, Richard, 66, 104, 258 Strauss, Richard, 9, 28, 30, 31, 43, 44, 161 on ‘anxiety of inﬂuence’,87 on Elgar, 29 maximalisation thesis, 16–22, 88–9 Stravinsky, Igor, 2, 14, 21, 28, 39, 56, 70, 72, 83–9, on modernist historiography, 15 93, 95, 101, 103, 104–9, 114, 117, 124, 131, on Stravinsky, 39, 83, 101–3 132, 135 Taylor, Charles and Mussolini, 110–11 on Augustine, 167 Poétique musicale,86 Tchaikovsky, Pyotr Illyich Stravinsky, Igor, musical works Overture ‘1812’,26 Apollon musagète, 86, 104, 105, 109, 195 Teatro Comunale (Florence), 61, 75 Cantata,87 Teatro dell’Opera (Rome), 114, 116 Capriccio, 86, 195 Teatro della Pergola (Florence), 188, 192 Circus Polka,86 Teatro delle Arti (Rome), 189 Concertino, 104 Teatro delle Novità (Bergamo), 71 Concerto for Piano and Wind Instruments, 88, Teatro Romano (Fiesole), 126 105, 110 Tebaldini, Giovanni, 50 Divertimento,86 Tedeschi, Rubens, 253 Dumbarton Oaks,86 Tempo (newspaper), 192 Duo concertant, 86, 124 Terence, 140 Histoire du soldat, 23, 86 Il tevere (newspaper), 69 ‘Ragtime’,23 Togni, Camillo Jeu de cartes, 109 on Dallapiccola, 236 Les noces, 83, 86, 90, 97, 118, 204 Tolstoy, Leo, Octet, 88, 103, 104, 105–9 War and Peace, 157, 160 Oedipus rex, 86, 104, 105 Tomlinson, Gary, 181, 188 Perséphone, 86, 124 Tommasini, Vincenzo, 74 Petrushka, 85, 87, 101 Le donne di buon umore,87 Piano-Rag-Music, 23, 24 Toni, Alceo, 67, 179, 188, 254 Pulcinella,87 on Volo di notte, 178 Ragtime for Eleven Instruments, 23, 24 Torrefranca, Fausto, 41, 42, 43, 44, 45, 55, 58, Renard,86 114, 241 Requiem Canticles,87 Giacomo Puccini e l’opera internazionale, The Rite of Spring, 2, 3, 4, 9, 15, 20, 27, 28, 32, 39, 41–2 85, 86, 88, 123 La vita musicale dello spirito, 42, 45 ‘Mystic Circles of the Young Girls’,83 ‘Ritual of the Rival Tribes’,84 Unamuno, Miguel de, 263, 264 ‘Ritual of Abduction’,27 L’Unità (newspaper), 239, 253 Scènes de ballet,86 Uras, Lara Sonja, 58 Scherzo à la russe,86 Sérénade en la, 109 Valesio, Paolo Sonata for two pianos, 86 on D’Annunzio, 46 Symphony of Psalms, 86, 142, 194, 195, 196 van den Toorn, Pieter C., 17, 208 Three Easy Pieces,24 Van Gogh, Vincent, 243 ‘Polka’, 103 Varèse, Edgard, 104, 132 Three Pieces for String Quartet,85 Amériques,27 Strobel, Heinrich Vecchi, Orazio, 92 on ‘fascist classicism’, 131 L’Amﬁparnaso, 90, 97

304 Index

Venice International Festival of Contemporary Weill, Kurt Music, 73, 213–14 Der Lindberghﬂug, 149 II (1932), 74 Weininger, Otto III (1934), 72, 75, 135, 141 Geschlecht und Charakter,41 IV (1936), 135 Wellesz, Egon, 75 V (1937), 72–3, 77, 126 Wildberger, Jacques VII (1941), 214 on Dallapiccola and Stravinsky, 110–11 Venuti, Massimo on Il prigioniero, 261, 269 on Il prigioniero, 154, 247, 273 Wilson, Alexandra, 30 Verdi, Giuseppe, 41, 43, 58, 125, 240 on Torrefranca, 41 Aïda, 269 Wolin, Richard, 24 Don Carlo, 151 Don Carlos, 251, 269 Yeats, William Butler Falstaﬀ,3,30 The Wild Swans at Coole ‘Dal labbro al canto’,30 ‘An Irish Airman Foresees His Death’, 182 Il trovatore, 269, 270–1 Vienna Philharmonic Orchestra, 72 Zafred, Mario, 253 Villiers de l’Isle Adam, Auguste, 269 on Il prigioniero, 239, 253 ‘La torture par l’espérance’, 237–8 Zandonai, Riccardo, 32, 67, 70, 132, 213 Vittorini, Elio, 252 Il bacio,70 Vivaldi, Antonio, 101, 131 Conchita,47 Vlad, Roman Francesca da Rimini, 31, 32 on Dallapiccola, 124, 136 Zanetti, Roberto, 194 Vocabolario della Crusca (dictionary), 126 Zanolini, Bruno, 86 La voce (journal), 40, 41, 42, 44, 54, 56, 62, 89 Zecchi, Adone, 188–9 Voce operaia (newspaper), 212 Zemlinsky, Alexander, 2 Votto, Antonino, 75 Zhdanov, Andrei, 95 Vuillermoz, Émile, 15 Zillig, Winfried Das Opfer, 191 Wagner, Richard, 31, 43, 53, 151, 154, 172, Žižek, Slavoj, 240, 247 182, 239 on Adorno, 274, 275 Die Meistersinger, 155, 187 desire and drive, 275–6 Parsifal, 123 on Kafka, 274–5 Tristan und Isolde,1,56 masochistic ‘fundamental fantasy’, 275 Waterhouse, John C. G. on the Nazi inner circle as psychotically split, 250–1 on Casella, 16, 17, 95, 101, 111 on sadism, 249 on Dallapiccola, 227 on the sincerity of Nazi belief, 248 on Malipiero, 32, 34, 36, 115, 116–17 on ‘totalitarianism’, 261 Webern, Anton, 2, 29, 39, 75, 87, 240, 245 the ‘Thing’, 276 Das Augenlicht, 134, 135 Zweig, Stefan, 200, 201 Concerto, 133, 134, 135 Mary Stuart, 200 Sechs Orchesterstücke,4 Zwingli, Huldrych, 249