550533-34 Bk Mahler EU
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
La Generazione Dell'ottanta and the Italian Sound
LA GENERAZIONE DELL’OTTANTA AND THE ITALIAN SOUND A DISSERTATION IN Trumpet Performance Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree DOCTOR OF MUSICAL ARTS by ALBERTO RACANATI M.M., Western Illinois University, 2016 B.A., Conservatorio Piccinni, 2010 Kansas City, Missouri 2021 LA GENERAZIONE DELL’OTTANTA AND THE ITALIAN SOUND Alberto Racanati, Candidate for the Doctor of Musical Arts Degree University of Missouri-Kansas City, 2021 ABSTRACT . La Generazione dell’Ottanta (The Generation of the Eighties) is a generation of Italian composers born in the 1880s, all of whom reached their artistic maturity between the two World Wars and who made it a point to part ways musically from the preceding generations that were rooted in operatic music, especially in the Verismo tradition. The names commonly associated with the Generazione are Alfredo Casella (1883-1947), Gian Francesco Malipiero (1882-1973), Ildebrando Pizzetti (1880-1968), and Ottorino Respighi (1879- 1936). In their efforts to create a new music that sounded unmistakingly Italian and fueled by the musical nationalism rampant throughout Europe at the time, the four composers took inspiration from the pre-Romantic music of their country. Individually and collectively, they embarked on a journey to bring back what they considered the golden age of Italian music, with each one yielding a different result. iii Through the creation of artistic associations facilitated by the fascist government, the musicians from the Generazione established themselves on the international scene and were involved with performances of their works around the world. -
La Nuova Musica (1896-1919)
La Nuova Musica (1896-1919) The music periodical La Nuova musica [NMU] was first published on 31 January 1896 by its founder, the pianist and composer Edgardo Del Valle de Paz (1861- 1920), a professor of piano at the Istituto Musicale in Florence, who directed and administered the journal without interruption until its final issue. NMU was published monthly from 1896 to 1907, fortnightly from 1908 to 1910, bimonthly during 1911 and fortnightly from 1912 to its cessation. Throughout the publication pages measuring 34 x 25 cm. are printed in three column format and are numbered beginning with number 1 for successive years. La Nuova musica documents Florentine music history and bridges a gap existing in Italian music periodical literature since 1882, when the earlier Florentine periodical Boccherini (1862-1882) ceased publication. The aim of the periodical is to diffuse by print the most notable music, to raise the musical level of the public by making it aware of the most excellent works of our masters, to give our young composers an opportunity to publicize in print their first compositions, [and] to express openly their opinions. Each issue of NMU contains two sections: testo, features articles about music events and music criticism, and constitutes the main six or eight page section of the periodical; and, musica, a supplement of eight pages consisting of two or three compositions for piano or for voice and piano. This two-fold structure is suspended beginning with the first issue of 1909. The first pages of each issue are generally reserved for a critical essay concerning contemporary topics, followed by an article of historical interest. -
Piano Music in Italy During the Fascist Era
PIANO MUSIC IN ITALY DURING THE FASCIST ERA by KARIN MARIA DI BELLA .Mus., The University of Western Ontario, 1994 Mus., Washington University in St. Louis, 1996 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE STUDIES (School of Music) We accept this thesis as conforming tp—^-fre-^required standard THE UNIVERSITY OF BRITISH COLUMBIA January 2002 © Karin Maria Di Bella, 2002 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department The University of Vancouver, Canada Date DE-6 (2/88) Abstract This thesis investigates Italian instrumental music (specifically piano music) during the two decades between the two World Wars, the period of Italian fascism under Mussolini's rule. After two centuries of opera domination in that country, instrumental music, especially an up-to- date brand of it, was sorely lacking. A number of composers recognized this need and began to effect changes in the instrumental music scene, some with more success than others. Most of these composers are not well known to the general music public today. The pressing question is, to what extent the fascist government and its culture had an effect on the development of music during this period. -
Giuseppe Martucci (Geb. Capua, 6. Januar 1856 — Gest. Neapel, 1
Giuseppe Martucci (geb. Capua, 6. Januar 1856 — gest. Neapel, 1. Juni 1909) La Canzone dei Ricordi (1886-87/orch. 1899) Poemetto lirico di Rocco E. Pagliara I Svaniti, non sono i sogni. Andantino p. 1 II Cantava’l ruscello la gaia canzone. Allegretto con moto p. 10 III Fior di ginestra. Andantino – Allegretto giusto – Tempo I p. 35 IV Sul mar la navicella. Allegretto con moto p. 53 V Un vago mormorio mi giunge. Andante p. 66 VI Al folto bosco, placida ombria. Andantino con moto – Allegro agitato – Tempo I p. 83 VII No, svaniti non sono i sogni. Andantino p. 117 Vorwort Als der Pionier der Wiederbelebung der italienischen Instrumentalmusik in einer Zeit, die fast ausschließlich auf die Oper konzentriert war, ist der Römer Giovanni Sgambati (1841-1914) anzusehen, Günstling Liszts und Wagners, exzellenter Pianist, Dirigent und Komponist. Ihm folgte Giuseppe Martucci, Sohn eines Trompeters und Kapellmeisters und ebenfalls als Pianist (von Liszt und Anton Rubinstein bewundert), Dirigent und Komponist eine herausragende, noch weit markantere und schöpferisch fruchtbarere Persönlichkeit. Der Dirigent Martucci setzte in Italien nicht nur Richard Wagners Musik durch (italienische Erstaufführung von Tristan und Isolde am 2. Juni 1888 im Teatro Comunale zu Bologna), sondern setzte sich auch nachdrücklich für Johannes Brahms, Carl Goldmark (1830-1915), Richard Strauss, Edouard Lalo (1823-92), Claude Debussy, Arthur Sullivan (1842-1900), Charles Villiers Stanford (1852-1924) u. a. ein. Siebenjährig trat Martucci erstmals öffentlich als Pianist auf, mit elf Jahren begann er sein Studium am Conservatorio di San Pietro a Majella zu Neapel, wo der Mercadante-Schüler Paolo Serrao (1830-1907) sein Kompositionslehrer war. -
Moderate Modernism As the Third Way in the Opus of Alfredo Casella
Spaić, M.: Moderate Modernism as the Third Way in the Opus of Alfredo Casella Article received on March 23rd 2020 Article accepted on June 5th 2020 Original scientific paper UDC: 78.071.1 Касела А. Maša Spaić* Junior Researcher, PhD student University of Arts in Belgrade Faculty of Music Department of Musicology MODERATE MODERNISM AS THE THIRD WAY IN THE OPUS OF ALFREDO CASELLA1 Abstract: The work of an artist is related to society, politics, and ideology, which are important aspects of the context in which the work of art is created. The multi-layered relationship between art/music and society/politics can especially be seen when we consider neoclassicism, which was for decades after the Second World War in litera- ture defined as a stylistic movement in the service of the ruling (totalitarian) regimes. Consequently, authors of neoclassical works were criticised for returning to tradition and order, and their works for reducing expressive means. Among them, the name of Italian composer Alfredo Casella stands out, whose works were criticised because of their alleged coherence with the aesthetic requirements of the regime. Starting from the hypothesis that neoclassicism is a modernist movement, I will examine the third period of Casella’s work in the context of moderate modernism, as a third way between the aesthetic requirements of the regime and modernistic expression that was charac- teristic of the composers’ earlier period. Keywords: Alfredo Casella, Neoclassicism, moderate modernism, instrumental music The work of an artist is related to society, politics, and ideology, which are important aspects of the context in which a work of art is created. -
Alfredo Casella's Serenata, Op. 46, a Performance Guide for The
ALFREDO CASELLA’S SERENATA, OP. 46, A PERFORMANCE GUIDE FOR THE ENSEMBLE AND TRUMPET PART Brian Matthew Walker, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2011 APPROVED: John Holt, Major Professor and Chair of the Division of Instrumental Studies Clay Couturiaux, Minor Professor Keith Johnson, Committee Member Lynn Eustis, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Toulouse Graduate School Walker, Brian Matthew. Alfredo Casella’s Serenata, op. 46, A Performance Guide for the Ensemble and Trumpet Part. Doctor of Musical Arts (Performance), May 2011, 37 pp., 28 examples, 1 table, references, 43 titles. Alfredo Casella’s Serenata, op. 46 for clarinet, bassoon, trumpet, violin and cello is a composition that received great acclaim at the time of its conception, it is all but unknown to modern audiences and performers. The Serenata has several historical influences from the French and Italian Baroque and Classical periods. At present, there is limited scholarship regarding the Serenata op. 46. The first section of this study presents a survey of historical information, current literature and methods of examination. The second section compares movements of the Serenata op. 46 to other historical forms of similar design. The third section provides a performance guide for the trumpeter and ensemble. Implications and suggestions for performance of the composition are provided for the trumpeter. This performance guide provides the trumpeter and ensemble with performance information to help facilitate an informed performance. -
Alfredo Casella and "'!He Montjoie! Affair"
Alfredo Casella and "'!he Montjoie! Affair" Francesco Parrino Although John C. G. Waterhouse described him as "the most influentially innovative figure in Italian music between the two world wars,"l the composer Alfredo Casella (1883-1947) occupies a rather shadowy place in the history of twentieth-century music. Casella has fallen into oblivion for various reasons, but what lies behind most of these reasons is the fact that Italians still find it hard to deal detachedly with their Fascist past. In fact, during Mussolini's dictatorship Casella While researching and writing this paper I benefited from the invaluable advice of many scholars, mentors, and friends; I am especially grateful to my supervisor Erik Levi, and to Amanda Glauert, Roger Parker, Francesco Solitario, Richard Taruskin, and Janet Waterhouse. I am also indebted to Renato Badall for letting me hear a rare recording of Casella's "Notte di Maggio" (whichis kept in his extraordinarily rich sound archive), as well as to Arbie Orenstein for making me aware ofinteresting details concerning the intellectual links between Canudo and Ravel. I must also express my deep gratitude to Giovanni Morelli of the Fondazione Giorgio Cini, Venice, and to Ulrich Mosch of the Paul Sacher Stiftung, Basel, for allowing me to study important primary sources related to Casella and Stravinsky. Last but not least, many thanks to Sarah Bruce and Cristiano Ostinelli ofBMG-Ricordi for providing me with a perusal score of "Notte di Maggio" as well as for giving copyright clearance for the music examples. My research was supported by the University of London Central Research Found, which awarded me a grant to visit various Italian libraries and archives in the spring of 2004. -
Pro-Musica Quarterly (1923-1929) Copyright © 2003 RIPM Consortium Ltd Répertoire International De La Presse Musicale (
Introduction to: Eric Jensen, Pro-Musica Quarterly (1923-1929) Copyright © 2003 RIPM Consortium Ltd Répertoire international de la presse musicale (www.ripm.org) Pro-Musica Quarterly (1923-1929) The Pro-Musica Quarterly was published in New York City and was the official journal of the Pro-Musica Society. Its first issue appeared in September 1923, the last in October 1929. Publication was irregular: no issue of the journal appeared for the summer of 1924; combined issues appeared for the spring and summer of 1926 and 1929. Founded in 1920 as the Franco-American Musical Society Incorporated, the primary goal of the group was to facilitate greater understanding between France and the United States. In that sense it differed little from numerous organizations which were created following the First World War. But what soon came to distinguish it was its emphasis on the arts as a means both of stimulating cultural growth and of sparking interest in the work of contemporary French and American composers. The dominant force behind both the Pro-Musica Society and its journal was Elie Robert Schmitz.1 Schmitz was born in Paris in 1889 and died in San Francisco at the age of sixty. He studied both piano and violin at the Paris Conservatory, winning a first prize in piano in 1910. The following year Schmitz and his wife, Germaine, created the Association Musicale Modeme et Artistique, an organization which specialized in contemporary chamber and orchestral music. In 1914 the association became the Association de Concerts Schmitz. Part of the repertory included Schmitz' s popular lecture-recitals, "Musical Geography." These were programs that focused on the music of a particular region. -
The Reception of Bach in Fin-De-Siecle Italy: Giuseppe Martucci’S Transcriptions of the Orchestral Suites
THE RECEPTION OF BACH IN FIN-DE-SIECLE ITALY: GIUSEPPE MARTUCCI’S TRANSCRIPTIONS OF THE ORCHESTRAL SUITES Chiara Bertoglio Even in nineteenth-century Italy, whose main musical interest was doubtlessly opera and which could fear (including for nationalistic reasons) the cultural colonization of German instrumental music, there were cities where Bach’s music was appreciated and sometimes performed, particularly where the Bach cult was promoted by enthusiastic individuals. In Bologna, for example, the significant influence of the erudite scholar Padre Martini was sustained by his disciples; the library of the Liceo Filarmonico, a conservatory-like institution founded in 1804, became the recipient of Martini’s extraordinary collection, partly directly after Martini’s death and partly after it passed through the hands of his favorite student, Stanislao Mattei. Another librarian in charge of this collection, Gaetano Gaspari, was one of the first organ performers to regularly play Bach’s works in Bologna and the surrounding regions. Another Bach city was certainly Naples, where Francesco Lanza (1783-1862)—a former student of John Field—taught piano at the Real Collegio di Musica. Also crucial for the appreciation of Bach was the presence in Posillipo of Sigismund Thalberg, who taught, among others, Beniamino Cesi. In 1855, Thalberg had emphatically advised the students of the Real Collegio to systematically study Bach’s fugues, giving a good example by opening his recital with one of them (Ferraris 2010: 9). It is not by chance, therefore, that the life of Giuseppe Martucci substantially revolved around the two poles of Naples and Bologna. Born near Naples in 1856, he was a child prodigy with little formal education, until this same Beniamino Cesi convinced Martucci’s father to send him to the local conservatory, where Cesi himself became his piano teacher. -
Martucci US 4/2/09 11:19 AM Page 5
8.570932 bk Martucci US 4/2/09 11:19 AM Page 5 Gesualdo Coggi Born in 1985, Gesualdo Coggi was awarded his diploma in 2002 with the maximum votes and Giuseppe distinction under Maestro F. Di Cesare at the Santa Cecilia Conservatory in Rome, receiving in 2003 the Valter Cococcia Prize for the youngest Italian graduate of the preceding year. He Francesco La Vecchia completed further study at the Rotterdam Conservatory and is now under the guidance of MARTUCCI Maestro R. Cappello at the Boito Conservatory in Parma. He has participated in a number of distinguished master-classes with leading pianists and appeared in concerts in Salzburg, Seoul, Geneva, Rotterdam, Ravenna, Venice, Parma, Stresa, Rome and elsewhere. In July 2007 he Piano Concerto No. 2 was awarded the Laurea Triennale in Physics at La Sapienza University in Rome. Momento Musicale e Minuetto • Novelletta Serenata • Colore orientale Orchestra Sinfonica di Roma Gesualdo Coggi, Piano The Rome Symphony Orchestra was established in 2002 by the Rome Foundation and is a rare example in Europe of an orchestra that is completely privately funded. The orchestra has won wide international critical recognition, Orchestra Sinfonica di Roma including performances in the presence of four heads of state, the Queen of Spain and the Queen of the Netherlands. Orchestra Sinfonica di Roma The Artistic and Musical Director is Francesco La Vecchia. Leading choruses, soloists and conductors, have Francesco La Vecchia collaborated with the orchestra and concert tours have taken it to major international venues in Asia, the Americas and Europe, with notable success in 2007 at the Berlin Philharmonic. -
Ottorino Respighi Concerto All’Antica Ancient Airs and Dances Suites Nos
OTTORINO RESPIGHI CONCERTO ALL’ANTICA ANCIENT AIRS AND DANCES SUITES NOS. 1–3 DAVIDE ALOGNA VIOLIN CHAMBER ORCHESTRA OF NEW YORK SALVATORE DI VITTORIO Ottorino RESPIGHI (1879–1936) Ottorino Concerto all’antica • Ancient Airs and Dances, Suites Nos. 1–3 The renowned Italian composer Ottorino Respighi as well as composition with Giuseppe Martucci RESPIGHI (Bologna, 9 July 1879 – Rome, 18 April 1936) is and musicology with Luigi Torchi – a scholar of (1879–1936) perhaps most well known for his Roman Trilogy: Early Music. Following his graduation from the Concerto all’antica, P. 75 (1908) * ......................................................................... 30:13 Fountains of Rome, Pines of Rome and Roman conservatory in 1900, Respighi travelled to Russia 1 I. Allegro ..................................................................................................................................12:47 Festivals. His compositions from the 20th century to become principal violist for the Russian Imperial 2 II. Adagio non troppo ................................................................................................................8:15 signalled the rebirth of Italian symphonic music, and Theatre Orchestra of St Petersburg for its season 3 III. Vivace – Tempo di minuetto – Tempo I ...............................................................................9:11 a restored appreciation of Renaissance and Baroque of Italian opera. During his stay, Respighi studied musical forms. His orchestral works are thus composition for five months with Rimsky-Korsakov. considered the culmination of the Italian symphonic He then returned to Bologna to earn a second Antiche danze ed arie per liuto (‘Ancient Airs and Dances’) repertoire. Of equal importance, Respighi embraced degree in composition. From 1908 to 1909 he spent Suite No. 1, P. 109 (1917) ............................................................................................ 14:46 the continuity of tradition with a love of the ancient some time performing in Germany and also studied 4 I. -
8.570931 Bk Martucci US 19/3/09 15:19 Page 8
8.570931 bk Martucci US 19/3/09 15:19 Page 8 Giuseppe Francesco La Vecchia MARTUCCI Piano Concerto No. 1 La canzone dei ricordi Gesualdo Coggi, Piano • Silvia Pasini, Mezzo-soprano Orchestra Sinfonica di Roma Francesco La Vecchia Orchestra Sinfonica di Roma Photos: Antonio Tirocchi 8.570931 8 8.570931 bk Martucci US 19/3/09 15:19 Page 2 Giuseppe Martucci (1856-1909): Complete Orchestral Music • 3 8 Un vago mormorío mi giunge: muta, 0 No... svaniti non sono i sogni, e cedo, rimango ad origliare, e’l cor tremante e m’abbandono alle tristezze loro: Piano Concerto No. 1 in D minor, Op. 40 • La canzone dei ricordi una dolce speranza risaluta. chiudo gli occhi pensosi e ti rivedo Giuseppe Martucci was born in Capua on 6th January his interest in French music saw him advocate Franck, Ahi, mi par di vederlo a me d’innate! come in un nimbo di faville d’oro! 1856 and had initial piano lessons from his father. He d’Indy and latterly Debussy. Ma’l mormorío che m’ha portato’l vento Ma... tu passi nell’aere, gave recitals with his sister before he was nine and was a Although the piano dominates Martucci’s output è sussurro di rami e non d’amor! dileguante... per lontano orizzonte... full-time student at the Real Collegio in Naples from (notably his earlier years), he wrote several major L’inganno è già svanito d’un momento: indefinito!... 1868, studying the piano with Beniamino Cesi and chamber works, including a Piano Quintet, two Piano torno a piangere ancor! composition with Paolo Serrao, whose advocacy of the Trios and sonatas for violin and cello, with orchestral Lambisce’l capo mio gentil carezza, Austro-German repertoire, unusual in Italy for that time, music represented by various transcriptions as well as e mi riscote e turba i sensi miei: had a decisive influence on Martucci.