DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 81, 1961

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 81, 1961 JPI v^» r BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY ^7. HENRY LEE HIGGINSON m < TUESDAY EVENING SERIES 8 ^ji(ii.'r/iUU| ' : • k |J ***• t .C/^^*^ r^ -v^>- c j^ EIGHTY-FIRST SEASON 1961-1962 ADIVARI created for all time a perfect marriage of precision and beauty for both the eye and the ear. He had the unique genius to combine a thorough knowledge of the acoustical values of wood with a fine artist's sense of the good and the beautiful. Unexcelled by anything before or after, his violins have such purity of tone, they are said to speak with the voice of a lovely soul within. In business, as in the arts, experience and ability are invaluable. We suggest you take advantage of our extensive insurance background by letting us review your needs either business or personal and counsel you to an intelligent program. We respectfully invite your inquiry. CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton — Robert G. Jennings 147 MILK STREET BOSTON 9, MASSACHUSETTS LIBERTY 2-1250 Associated With OBRION, RUSSELL & CO. EIGHTY-FIRST SEASON, 1961-1962 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Abram Berkowitz John T. Noonan Theodore P. Ferris Mrs. James H. Perkins Francis W. Hatch Sidney R. Rabb Harold D. Hodgkinson Charles H. Stockton C. D. Jackson John L. Thorndike E. Morton Jennings, Jr. Raymond S. Wilkins Henry A. Laughlin Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen Lewis Perry Edward A. Taft Palfrey Perkins Thomas D. Perry, Jr., Manager Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager SYMPHONY HALL BOSTON 15 3] What everyone likes about Boston . The Hatch Memorial Shell What you will like about Shawmut's trust department. You will like the warmth, respect and understanding a Shawmut trust officer brings to your personal trust problems . plus the sound judgment, based on research and experience, that helps you reach proper financial decisions. Let him demonstrate to you and your attorney how Shawmut can serve you. The Rational Shawmut Bank of Boston Complete Banking and Trust Services • Member Federal Deposit Insurance Corporation [4] CONTENTS Program 9 ©TlaftaniKdtit Notes <Ftt<3rousseau3Goust of33a$te* Rossini (Overture to "Lltaliana in Algeri") . .11 Ghedini (Sonata da Concerto) . 20 Tchaikovsky (Symphony No. 2) . 28 Entr'acte How to Write an Overture (Spike Hughes) . 32 Notes Verdi (Three Sacred Pieces) 42 WATERCOLORS The exhibition in the Gallery is loaned by the Boston Society of Watercolor Painters. THE GUEST CONDUCTOR Carlo Maria Giulini was born in 1914 in Barietta, an ancient and historic city on the Adriatic coast in the south of Italy. He studied at the Academy of Santa Cecilia in Rome, and took a course in conducting under Alfredo Casella, and later under Bernardino Molinari at the Chigi Academy in Siena. He was en- gaged by the Italian Radio (RIA) in 1946 and in 1950 became the conductor of the orchestra of Radio Milano. D. veiiinaii Through the past nine years his prin- cipal activities have been with La Scala opera in Milan. The performances We have many things directed by him there include: Monte- verdi's L'Incoronazione di Poppea, Stra- to make your trip vinsky's Les Noces (in its first Italian — stage performance) , Bartok's Bluebeard's more pleasant Castle, Rossini's La Cenerentola, and lightweight, L'ltaliana in Algeri. He has conducted packable at numerous festivals throughout Europe. silk or nylon robes, He made his American debut conducting the Chicago Orchestra in 1955, and re- carefree drip-dry turned to this country in the autumn of 1960 as conductor of the Israel Phil- lingerie, three- harmonic Orchestra. Mr. Giulini is now piece travel sets — conducting in Boston for the first time. a host of things to BRUNO WALTER help you on your way. The death of Bruno Walter on Febru- ary 17 was especially sorrowful news to 416 Boylston St. 54 Central St. those who remember him as Guest Con- ductor of this Orchestra during his busy Boston 16 Wellesley career. Indeed, he was the first to lead KEnmore 6-6238 CEdar 5-3430 the Orchestra as "Guest" other than composers (Strauss, d'Indy, Bloch) who had been invited to present their own [5] works. The first occasion was on March have often been described in taped inter- 30-31, 1923, when Bruno Walter gave views with visiting foreign students and us a "Romantic" program of Weber, members of the faculty, speaking to Mozart, Beethoven, and Strauss (with their own countries. Artur Schnabel as soloist). He con- ducted three pairs of concerts in Janu- ary and March, 1947, when Bruckner's NEW TRUSTEES ELECTED Ninth Symphony and Mahler's Fourth were among the memorable perform- Two new members, Mrs. James H. Perkins and Mr. Berkowitz, have ances. Abram been elected to the Board of Trustees of the Boston Symphony Orchestra. Mrs. TWENTY YEARS OF THE Perkins has long been prominent in the VOICE OF AMERICA civic affairs of Greater Boston, and is a Saturday, February 24, marked the member of the Executive Committee of twentieth anniversary of the Voice of Children's Hospital. She is the first America, that important part of the woman to serve on the Board. United States Information Agency which Mr. Berkowitz is a member of the has carried here and abroad radio broad- law firm of Ropes and Gray, and a casts in an effort to convey "America's director of several corporations. He is desires and aspirations for a peaceful, a trustee and ex-president of Beth Israel prosperous world under freedom." The Hospital, likewise of Temple Ohabei Voice of America and the Boston Shalom and the Combined Jewish Phil- Symphony Orchestra have cooperated anthropies of Greater Boston. He is a through these years, as many concerts Fellow of Brandeis University and a have been taped and sent to distant member of the Visiting Committee of parts. The summer activities of the the Harvard Medical School. Berkshire Music Center at Tanglewood now showing . our exciting collection of resort Clothes - from heachwear to Cocktail dresses . if you re going places come first to [6] JjvJJli! Once dubbed "an ill wind that nobody blows good" by Danny Kaye, the oboe is a descendant of the ancient aulos, the highly developed two-reed instrument used to ac- company the Greek drama. During the Dark Ages it regressed to the cruder form of the shawm, a keyless woodwind with a strident tone; after the Renaissance, it was gradually refined into the French hautbois ("high wood"), or oboe, a boxwood or ivory woodwind whose delicate, expressive tone made it a favorite of Baroque and Rococo composers. After a fall from favor during the Classic period, it returned to prominence among the Romantics. In 1880, the archetypes of the modern oboe, made of ebony and rosewood and equipped with a complex key mechanism, were constructed in Paris. Today, the oboe literature is voluminous and growing, and the instrument's place is finally secure. FFICES: We have eight. No fewer than three offices of the New England Mer- chants, at Dock Square, South Station, and in Brighton, offer walk-up and drive-in banking service 10 hours a day, from 8 a. m. to 6 p. m. And all of our offices are equipped to render a full range of banking services. You always get personal service from our family and company bankers at any New England Merchants office. NEW ENGLAND MERCHANTS NATIONAL BANK Trust Department: 135 Devonshire St., Boston MEMBER F.D.I.C. [7] Do you know a husband whose business is taking up more and more of his time, not only on week nights, but on weekends too? And that, even when he's with the family, his mind is back at his desk? It's a sad state of affairs when paperwork comes before people. Especially family-type people. If his investments are the culprits, Old Colony Trust Company can relieve him of a great deal of this overtime concern. You see, our investment analysts thrive on work. No detail is too trivial. No amount of study to keep abreast of the market is too much. In a word, they're experts. And for a small fee, they'll gladly put their talents to work on his portfolio, while he takes his bride to a show or his family on a trip. Incidentally, Old Colony offers many investment services; there's one to suit his needs. They're all described in our complimentary little booklet, "Managing Your Money." A word to the wives: why don't you send for it and then leave it on his bureau? 4 Old Colony Trust Company Listen to the CBS World News Roundup on WEEI each weekday at 8 a.m. Watch The Robert Herridge Theatre on Channel 2, Mondays at 10 p.m. [8] EIGHTY-FIRST SEASON • NINETEEN HUNDRED SIXTY-ONE -SIXTY-TWO Eighth Program TUESDAY EVENING, March 6, at 8:30 o'clock CARLO MARIA GIULINI, Guest Conductor Rossini Overture to "L'ltaliana in Algeri" Ghedini Sonata da Concerto, for Flute, Strings and Percussion SOLOIST DORIOT ANTHONY DWYER Tchaikovsky Symphony No. 2, in C minor, Op. 17 I. Andante sostenuto II. Andantino marziale III. Scherzo: Allegro molto vivace IV. Finale: Moderato assai INTERMISSION Verdi Three Sacred Pieces Stabat Mater, for Chorus and Orchestra Laudi alia Vergine Maria (from Dante's "Paradiso"), for Women's Chorus a Cappella Te Deum, for Double Chorus and Orchestra Harvard Glee Club and Radcliffe Choral Society, Elliot Forbes, Conductor BALDWIN PIANO RCA VICTOR RECORDS 9] **' «H».
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.
    [Show full text]
  • Thesis Submission
    Rebuilding a Culture: Studies in Italian Music after Fascism, 1943-1953 Peter Roderick PhD Music Department of Music, University of York March 2010 Abstract The devastation enacted on the Italian nation by Mussolini’s ventennio and the Second World War had cultural as well as political effects. Combined with the fading careers of the leading generazione dell’ottanta composers (Alfredo Casella, Gian Francesco Malipiero and Ildebrando Pizzetti), it led to a historical moment of perceived crisis and artistic vulnerability within Italian contemporary music. Yet by 1953, dodecaphony had swept the artistic establishment, musical theatre was beginning a renaissance, Italian composers featured prominently at the Darmstadt Ferienkurse , Milan was a pioneering frontier for electronic composition, and contemporary music journals and concerts had become major cultural loci. What happened to effect these monumental stylistic and historical transitions? In addressing this question, this thesis provides a series of studies on music and the politics of musical culture in this ten-year period. It charts Italy’s musical journey from the cultural destruction of the post-war period to its role in the early fifties within the meteoric international rise of the avant-garde artist as institutionally and governmentally-endorsed superman. Integrating stylistic and aesthetic analysis within a historicist framework, its chapters deal with topics such as the collective memory of fascism, internationalism, anti- fascist reaction, the appropriation of serialist aesthetics, the nature of Italian modernism in the ‘aftermath’, the Italian realist/formalist debates, the contradictory politics of musical ‘commitment’, and the growth of a ‘new-music’ culture. In demonstrating how the conflict of the Second World War and its diverse aftermath precipitated a pluralistic and increasingly avant-garde musical society in Italy, this study offers new insights into the transition between pre- and post-war modernist aesthetics and brings musicological focus onto an important but little-studied era.
    [Show full text]
  • Giorgio Federico Also Available GHEDINI Complete Piano Music • 2 Sonata • Divertimento Contrappuntistico • Ricercare Massimo Giuseppe Bianchi, Piano
    8.572330 bk Ghedini 2_EU:8.572330 bk Ghedini 2_EU 10-10-2010 14:47 Pagina 12 Giorgio Federico Also Available GHEDINI Complete Piano Music • 2 Sonata • Divertimento contrappuntistico • Ricercare Massimo Giuseppe Bianchi, Piano 8.111325 8.572329 8.570875 8.570877 8.572330 12 8.572330 bk Ghedini 2_EU:8.572330 bk Ghedini 2_EU 10-10-2010 14:47 Pagina 2 Giorgio Federico essenzialità come simbolo di fragile speranza (?) o contrappuntistico è alla base della costruzione di una impossibile purezza e l’elaborazione cui è sottoposto è pagina breve ma perfettamente compiuta, dall’incedere GHEDINI condotta con estremo pudore e raccoglimento. scherzoso. (1892-1965) L’ultimo brano del CD è l’Allegretto, scritto nel 1957, per una raccolta di composizioni di autori Flavio Menardi Noguera Complete Piano Music • 2 contemporanei destinata ai candidati all’esame del corso medio di pianoforte come prova d’interpretazione. * Ghedini segue la numerazione dei Salmi dell'antica Sonatina in D major (1913) 8:54 Anche in questo caso il principio ritmico - Vulgata. 1 I. Allegretto grazioso 2:48 2 II. Larghetto espressivo 3:15 3 III. Finale. Rondò: Allegro con brio 2:51 «L’ascolto di queste musiche nell’interpretazione di Massimo Giuseppe Bianchi mi ha richiamato alla mente queste parole di mio padre: Il mio credo è questo: la musica non è moda, ma è eterna, nel tempo... In questa società sempre più tecnica, c’è un gran bisogno di sentimento vero, perciò anche la musica deve essere animata, nel profondo, da Puerilia. 4 piccoli pezzi sulle 5 note (1922) 8:00 un raptus drammatico, di conseguenza romantico..
    [Show full text]
  • P I a N O T R I
    BOSSI PIANO TRIOS Trio Archè MARCO ENRICO BOSSI MARCO ENRICO BOSSI 1861-1925 Marco Enrico Bossi was a composer of great personality whose thoroughly Piano Trios international outlook distinguished him from most of his colleagues on the Italian music scene of the time. He was born in Salò on Lake Garda in 1861 and died Trio No.1 in D minor Op.107 crossing the Atlantic in 1925, on his way back from a highly successful concert tour Dedicated to Giuseppe Martucci in the United States. Both his parents were organists, and it was his father who first 1. I. Allegro-Moderato 8’22 taught him music. In 1871 he enrolled in the Music High School in Bologna, where 2. II. Dialogue: Larghetto 7’28 he studied piano, and then at the Conservatorie in Milan he studied counterpoint and 3. III. Scherzo: Vivace 5’26 composition with Amilcare Ponchielli and from the attendance of Violin’s lesson with 4. IV. Finale: Festoso 5’17 the virtuoso Antonio Bazzini he pursued his interest in string instruments. Musical life in Milan at the end of the 1800s proved to be highly stimulating, Trio No.2 in D Op.123 and he soon made a name for himself as an excellent pianist and a remarkable Dedicated to Georg Goehler organist, launching into a career as a concert organist that brought him widespread 5. I. Moderato 11’25 international acclaim, to the extent that he was considered one of the foremost 6. II. In memoriam: Adagio 10’26 virtuoso players of the period, along with his friends Cesar Franck and Camille 7.
    [Show full text]
  • ITALIAN, PORTUGUESE, SPANISH and LATIN AMERICAN SYMPHONIES from the 19Th Century to the Present
    ITALIAN, PORTUGUESE, SPANISH AND LATIN AMERICAN SYMPHONIES From the 19th Century to the Present A Discography of CDs and LPs Prepared by Michael Herman FRANCO ALFANO (1876-1960, ITALY) Born in Posillipo, Naples. After studying the piano privately with Alessandro Longo, and harmony and composition with Camillo de Nardis and Paolo Serrao at the Conservatorio di San Pietro a Majella, Naples, he attended the Leipzig Conservatory where he completed his composition studies with Salomon Jadassohn. He worked all over Europe as a touring pianist before returning to Italy where he eventually settled in San Remo. He held several academic positions: first as a teacher of composition and then director at the Liceo Musicale, Bologna, then as director of the Liceo Musicale (later Conservatory) of Turin and professor of operatic studies at the Conservatorio di San Cecilia, Rome. As a composer, he speacialized in opera but also produced ballets, orchestral, chamber, instrumental and vocal works. He is best known for having completed Puccini’s "Turandot." Symphony No. 1 in E major "Classica" (1908-10) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 2) CPO 777080 (2005) Symphony No. 2 in C major (1931-2) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 1) CPO 777080 (2005) ANTONIÓ VICTORINO D'ALMEIDA (b.1940, PORTUGAL) Born in Lisbon.. He was a student of Campos Coelho and graduated from the Superior Piano Course of the National Conservatory of Lisbon. He then studied composition with Karl Schiske at the Vienna Academy of Music. He had a successful international career as a concert pianist and has composed prolifically in various genres including: instrumental piano solos, chamber music, symphonic pieces and choral-symphonic music, songs, opera, cinematic and theater scores.
    [Show full text]
  • Selected Vocal Works by Progressive Italian
    ABSTRACT Title of Document: SELECTED VOCAL WORKS BY PROGRESSIVE ITALIAN COMPOSERS OF THE TWENTIETH CENTURY: THE CONFLUENCE OF NATIONALISM AND INTERNATIONALISM FROM THE EVE OF WORLD WAR I THROUGH POST-WORLD WAR I1 RECONSTRUCTION Stacey Lynn Mastrian, D.M.A., 2007 Directed By: Professor Dominic Cossa, School of Music This dissertation project explored the non-operatic vocal music (i.e., art song, chamber music, solo works, and other more experimental media) by Italian composers of the 20th century. This body of repertoire suffers from poor availability and quality of scores, recordings, performances, and information. Research took place in the U.S. and Italy-through musical investigations, personal collections and contacts, libraries, and online resources. The project was designed with several parameters in mind: 1. work was centered on the composers who cast the text and the piano or other "accompaniment" in important roles, with correspondingly complex rhythms and harmonies, and who melded cosmopolitan influences with Italianate lyricism, as opposed to those who merely continued in the simplistic, insular manner of their predecessors; 2. settings by Italian composers of texts in other languages were included (Apollinaire, Ibn-Ezra, Machado, Verlaine, etc.) in addition to settings of Italian poetry (d'Annunzio, Pavese, Ungaretti, etc.); 3. works were chosen that were not just for single voice and piano but also utilized other performing forces (i.e., chamber music, electronics.. .). Other selection factors included: score availability;
    [Show full text]
  • Teoria, Ritmica E Percezione Musicale (Ex F350)
    SETTORE ARTISTICO DISCIPLINARE NOMINATIVO DESCRIZIONE COTP/06 - Teoria, ritmica e percezione musicale (ex F350) ALBINI GIOVANNI Conservatorio di Musica Antonio Vivaldi - Alessandria CODI/23 - Canto (ex F080) CHIURI ANNA MARIA Conservatorio di Musica Antonio Vivaldi - Alessandria COTP/06 - Teoria, ritmica e percezione musicale (ex F350) DANTI DAMIANO Conservatorio di Musica Antonio Vivaldi - Alessandria COMA/16 - Canto rinascimentale e barocco (ex YYYY) GUADAGNINI MIRKO CRISTIANO Conservatorio di Musica Antonio Vivaldi - Alessandria COMA/02 - Liuto (ex F550) MASCARDI MARIA EVANGELINA Conservatorio di Musica Antonio Vivaldi - Alessandria COMJ/09 - Pianoforte jazz (ex F540) MORONI EDGARDO Conservatorio di Musica Antonio Vivaldi - Alessandria COMJ/03 - Contrabbasso jazz (ex F540) PARETI RAFFAELLO Conservatorio di Musica Antonio Vivaldi - Alessandria COMJ/11 - Batteria e percussioni jazz (ex F540) VOLPE MARCO ANTONIO AUGUSTO VOLPE Conservatorio di Musica Antonio Vivaldi - Alessandria CODI/18 - Fisarmonica (ex F520) IACOMUCCI CLAUDIO Conservatorio di Musica Giovanni Battista Pergolesi - Fermo (Fm) CODI/06 - Violino (ex F390) VENTURI LUCA Conservatorio di Musica Giovanni Battista Pergolesi - Fermo (Fm) ABPR 31 - Fotografia (ex G200) BALDUCCI DANILO Accademia di Belle Arti l'Aquila ABA V02 - Tecniche dell'Incisione - Grafica d'Arte (ex H080) BELLUCCI GIANLUIGI Accademia di Belle Arti l'Aquila ABA V02 - Tecniche dell'Incisione - Grafica d'Arte (ex H080) CARLUCCI GIUSEPPE Accademia di Belle Arti l'Aquila ABPR 24 - Restauro per la pittura (ex G130)
    [Show full text]
  • Info & Programma
    «Quintetto ANEMOS » Filippo Mazzoli, flautista Nato a Ravenna, si diploma in flauto nel 1991 con il massimo dei voti sotto la guida di Filippo Mazzoli flauto Gabriella Melli e Glauco Cambursano. Sin da giovanissimo ha frequentato come allievo effettivo i corsi di perfezionamento tenuti da maestri quali A. Nicolet, M. Larrieu, J. Marika Lombardi oboe Balint e T. Wye. Si è in seguito perfezionato sempre con il maestro Cambursano presso l’Accademia Internazionale “Incontri col Maestro” di Imola dove ha ottenuto Nicola Zuccalà clarinetto con il massimo del punteggio il diploma del Corso triennale di Flauto e quello di Musica da Camera nella classe di P. N. Masi. Ivan Calestani fagotto Ha completato il suo perfezionamento dal 2002 al 2004 sotto la guida del M° M. Marasco che lo ha poi scelto come assistente in alcuni corsi e masterclass.E’ stato Albin Lebossé corno vincitore di vari premi in Concorsi nazionali ed internazionali sia come solista che in formazioni cameristiche (Rospigliosi-Lamporecchio, D.Caravita-Fusignano, Krakamp- Torre del Greco, Endas-Genova, Città di Grosseto, Pergolesi-Pozzuoli, Europeo- Moncalieri, Riviera del Conero-Ancona, Zinetti-Verona, Europeo-Minerbio, Round Programma: Table-Ravenna, Pergolesi-Pozzuoli, Giovani Promesse-Taranto, tra gli altri). È stato selezionato come uno dei 6 candidati rappresentanti l’Italia per partecipare al Deuxième “Prix J .P. Rampal” che si è tenuto a Parigi nell’ottobre 1998.Si è esibito nei principali centri italiani ed esteri, collaborando regolarmente in qualità di primo flauto Ottorino RESPIGHI (1879-1936)-Quintetto con varie formazioni cameristiche ed orchestre tra le quali l’Orchestra del Teatro Comunale di Bologna, l’Accademia Filarmonici di Verona, l’Orchestra del Festival di (Allegro/Meno mosso- Andante con Variazioni) Brescia e Bergamo, l’Orchestra Sinfonica di Sanremo, l’Orchestra del Teatro “C.
    [Show full text]
  • GIORGIO FEDERICO GHEDINI Dopo Aver Studiato Organo, Pianoforte E
    GIORGIO FEDERICO GHEDINI Dopo aver studiato organo, pianoforte e violoncello a Torino, Giorgio Federico Ghedini (nato qui a Cuneo, nel 1892 e morto a Genova Nervi nel 1965) si è diplomato in Composizione con Marco Enrico Bossi a Bologna, iniziando fin dagli esordi una intensa attività didattica nei Conservatori di Torino, Parma e Milano, dove è stato anche direttore tra il 1951 e il 1962 e dove ha formato numerosi fra i compositori e gli esecutori che sono stati sulla breccia in tutto il secondo Novecento. La sua produzione compositiva — oggi a dir la verità raramente eseguita — è sterminata e, oltre ad opere per gli organici più consueti, comprende molta musica sacra, musica da film e molte trascrizioni e rielaborazioni di opere dell’epoca rinascimentale (specialmente Monteverdi, Frescobaldi e i due Gabrieli). Verso tale letteratura, d’altronde, il nostro concittadino ha sempre manifestato un interesse molto particolare, tanto che non è fuori luogo rileggere la sua produzione nell’ottica di una sintesi tra quel passato, soprattutto italiano, e le moderne correnti neoclassiche, politonali, del primo Novecento. Nondimeno, negli anni attorno alla metà del secolo, Ghedini modernizzò il proprio linguaggio utilizzando un’armonia "aperta" non troppo dissimile al modello atonale; a quegli anni risalgono anche i suoi due lavori di teatro musicale Le baccanti (1948) e Billy Budd (1949), entrambe accolte con discreto successo. Compositore come si diceva molto prolifico, Ghedini ha lavorato assiduamente fino alla fine dei suoi giorni: nella sua copiosa produzione cameristica e sinfonica vanno menzionati il Concerto per orchestra (dedicato alla memoria del direttore d'orchestra prematuramente scomparso Guido Cantelli), i concerti per violino Il Belprato e Concentus Basiliensis, il concerto per due violoncelli L'Olmeneta, la Musica Notturna che spicca per la cura timbrica quasi ossessiva, e il Concerto dell'Albatro per violino, violoncello, pianoforte, voce recitante e orchestra, su testo di Salvatore Quasimodo tratto da Herman Melville.
    [Show full text]
  • ACCOMPAGNATORE AL PIANOFORTE (N° Domande = 44, Posti Disponibili = 8)
    AFAM - Trasferimenti Personale DOCENTE Determinazione trasferimenti A.A.2007/2008: resoconto finale (15/10/2007) F010 - ACCOMPAGNATORE AL PIANOFORTE (n° domande = 44, posti disponibili = 8) NOMINATIVO CODICE DESCRIZIONE RCST010007 CONSERVATORIO DI MUSICA FRANCESCO CILEA - REGGIO AGUGLIA AMELIA GILDA CALABRIA BAST02000R BEGOTTI MARILENA CONSERVATORIO DI MUSICA "NINO ROTA" DI MONOPOLI BERGAMO GIOVANNI CONSERVATORIO DI MUSICA ANTONIO VIVALDI - ALST010001 BATTISTA ALESSANDRIA COST010002 BOMBARA CINZIA CONSERVATORIO DI MUSICA GIUSEPPE VERDI - COMO NOST01000A BOZOLO STEFANO CONSERVATORIO DI MUSICA GUIDO CANTELLI - NOVARA BAST010006 DE LUCA ALESSANDRA CONSERVATORIO DI MUSICA NICCOLO' PICCINNI - BARI FACCHINI GUIDO MIST01000T CONSERVATORIO DI MUSICA GIUSEPPE VERDI - MILANO TOST01000T FIAMINGO PAOLO CONSERVATORIO DI MUSICA GIUSEPPE VERDI - TORINO GAMBARDELLA GIOVANNI FGST01001G CONSERVATORIO DI MUSICA UMBERTO GIORDANO - RODI GARGANICO (FG) CONSERVATORIO DI MUSICA DOMENICO CIMAROSA - GANERI STEFANIA AVST01000L AVELLINO GIGANTE COSIMO MIST01000T CONSERVATORIO DI MUSICA GIUSEPPE VERDI - MILANO BAST010006 GORI CLAUDIA CONSERVATORIO DI MUSICA NICCOLO' PICCINNI - BARI MEST01000E CONSERVATORIO DI MUSICA ARCANGELO CORELLI - MESSINA SALVATORE MESSINA CONSERVATORIO DI MUSICA LUIGI CHERUBINI - FIRENZE SEVERI ANDREA FIST010007 BNST020003 VENDEMIA ROSSELLA CONSERVATORIO STATALE DI MUSICA di BENEVENTO BSST01000Q ZANOTTI SERGIO CONSERVATORIO DI MUSICA LUCA MARENZIO - BRESCIA F020 - ARMONIA COMPLEMENTARE (n° domande = 43, posti disponibili = 5) NOMINATIVO CODICE
    [Show full text]
  • Stimuli for the Imagination Meditation, Lightness and Volatility
    octobe r2018 77 ESZ news Edizioni Suvini Zerboni - Fourmonthly Newsletter Meditation, Lightness and Volatility On September 15 at the Orangerie du Parc de Bagatelle in close collaboration with Michele Marelli, to whom the work is Paris, during the Festival Les Solistes à Bagatelle, the first dedicated, Air on Air took almost a year to write on account performance of Reflets for piano, commissioned by Ars of the long and pain-staking research carried out by the e l Mobilis, was given by Jean-François Heisser. Fedele explains: composer with the performer, a collaboration that led to some e «Debussy is the composer who opens the book of modernity interesting developments, or even actual novelties, in the field d and writes its introduction. This personal homage, on the of extended techniques for the instrument, until attaining a e centenary of his death, is not merely a symbolic gesture but language that strengthens or renews the grammar, taking it to also an acknowledgement that some aspects of his poetics, an “augmented” dimension that can be applied, in the future, F and also of his compositional technique, are still fertile to the whole family of these instruments. A grammar which, n elements (albeit modulated to another sensibility) in my through the live sound processing of the instrument, can a imagination. The poetics of water ( La Cathédrale engloutie ) unveil even its most secret nuances of timbre and scope. The v and the technique of symmetries ( Reflets dans l’eau ) title introduces us to the aesthetic idea of the composition, I Three new works characterize this piece that it is intended as a meditation into which is divided into various movements that run into one in Paris, Venice and the depths… dreams that delve into the ocean of reflections another without interruption.
    [Show full text]
  • Luciano Berio Study
    CHAPTER 1 Introduction Luciano Berio (1925―2003) is an important composer within the canon of Western art music, but that canon is not fixed, and ongoing performances and recordings of his works depend essentially on public interest. One of the ways to measure the level of public interest and critical prestige associated with a composer is via articles and reviews of her/his works.1 Critical reception is inextricably linked with the commoditisation of music as András Szántó the Director of the National Arts Journalism Program at Columbia University explains: Critics are essential to the life of classical music not only because they help fill concert halls. They steer readers to new experiences and help people interpret and understand music both familiar and obscure. They provide a roadmap to a bewildering array of musical offerings that are now available both in live performance and in recordings that vie for consumers’ attention in an unprecedented volume and diversity and through an ever broadening mix of delivery channels.2 To establish the critical reception of Berio’s works outside Europe, this analysis centres on major newspaper and magazine reviews that focus on the press reception of his works in North America, the United Kingdom and Australia. I discuss the critical reception of Berio’s vocal music, solo, chamber and orchestral works, electronic music and his azione musicale (musical theatre).3 I draw upon reception theory to ascertain the influential factors that contribute to the communicative function within Berio’s works that resonate with critics of the mid-late twentieth and early twenty-first centuries.4 1 Joseph N.
    [Show full text]