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The Work of Elsa Olivieri Sangiacomo Respighi in Fascist Italy

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The Work of Elsa Olivieri Sangiacomo Respighi in Fascist Italy University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 5-5-2017 A Marriage and its Music: The Work of Elsa Olivieri Sangiacomo Respighi in Fascist Italy Penny R. S. Brandt University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Brandt, Penny R. S., "A Marriage and its Music: The Work of Elsa Olivieri Sangiacomo Respighi in Fascist Italy" (2017). Doctoral Dissertations. 1461. https://opencommons.uconn.edu/dissertations/1461 A Marriage and its Music: The Work of Elsa Olivieri Sangiacomo Respighi in Fascist Italy Penny Rae Sunshine-3 Brandt, PhD University of Connecticut, 2017 Elsa Olivieri Sangiacomo (1894–1996) was an Italian pianist, singer, and composer. She composed several works for voice and piano early in life that were published by Casa Ricordi in Milan, but she ultimately put her creative aspirations aside for the opportunity to become the housewife and assistant of her composition teacher, the celebrated composer Ottorino Respighi (1879–1936). The marriage provided Olivieri with connections and performance opportunities that continued to benefit her during the sixty years she lived as a widow. After Respighi’s death, she returned briefly to composition as a means of catharsis, composing both small and large-scale works—including two completed operas that remain unpublished and unperformed. Olivieri’s unique musical style was, in part, a product of her Mexican heritage and her position as a woman and wife living in fascist Italy. Important style traits in her music include nuanced exoticism, references to folk songs and Gregorian melodies, and complex realizations of female characters. As part of feminist musicology’s larger endeavor to create a historical context for women composers, this research provides a new avenue for understanding historical women as autonomous people who acted in their own best interests and discovered ways to succeed and contribute to their art through mechanisms that may have been overlooked or minimized by previous scholars. This project is the most comprehensive English source on Olivieri to date; it includes an updated catalog of her works and translations of key passages of non- English writings by and about her. It examines Olivieri’s life and representative works, Penny R. S. Brandt — University of Connecticut, 2017 considers new avenues for understanding aesthetics of identity and difference, and explores the collaborations and mutual influence of Olivieri and Respighi, in the context of a marriage of two artists, living in fascist Italy, who both respected and depended on each other. A Marriage and its Music: The Work of Elsa Olivieri Sangiacomo Respighi in Fascist Italy Penny Rae Sunshine-3 Brandt B.A., University of New Haven, 2009 M.A., University of Connecticut, 2013 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy at the University of Connecticut 2017 Copyright by Penny Rae Sunshine-3 Brandt 2017 ii APPROVAL PAGE Doctor of Philosophy Dissertation A Marriage and its Music: The Work of Elsa Olivieri Sangiacomo Respighi in Fascist Italy Presented by Penny Rae Sunshine-3 Brandt, B.A., M.A. Major Advisor ________________________________________________________________________ Eric Rice Associate Advisor ___________________________________________________________________ Alexis Boylan Associate Advisor ___________________________________________________________________ Liane Curtis Associate Advisor ___________________________________________________________________ Alain Frogley Associate Advisor ___________________________________________________________________ Ronald Squibbs Associate Advisor ___________________________________________________________________ Glenn Stanley University of Connecticut 2017 iii Acknowledgements I would like to thank Eric Rice for his supervision and guidance of my work at the University of Connecticut, for being open-minded enough to advise a dissertation that lay partly outside of his area of expertise, and for generously sharing his extensive knowledge of medieval music and scholarship. I am grateful to Alexis Boylan, Alain Frogley, Ronald Squibbs, and Glenn Stanley for reading and critiquing drafts and for guiding my research through many stages. I am deeply indebted to Liane Curtis for advice and support on this project and others, and to José García León for pointing me toward this path. Thank you to my parents, my grandmother, Elizabeth Morris, Kevin Cummines, Lisa Conlon, and Amelia Nagoski for years of academic support, to Theresa Pilz and Anna Hayrapetyan for asking me to accompany them on their interdisciplinary adventure, to Sacha Peiser and Lisabeth Miller Kettledon for being my dissertation sisters, and to Miguel Campinho for proofreading and style-checking in all of the languages and also for doing the dishes. Most importantly: Thank you, Óscar. I spent more than nine months writing this dissertation, but you are the far better creation. You are the muse I needed to finish. iv Table of Contents Acknowledgements iv Table of Contents v List of Examples vi List of Figures x Introduction 1 CHAPTER ONE Tre canzoni spagnole: Heritage and Pan-Hispanic Style and Influence 31 CHAPTER TWO Lullabies and the Male Gaze 74 CHAPTER THREE The Medieval Revival in the Context of Fascist Italy 119 CHAPTER FOUR Gender Representations in Opera 155 Conclusion 192 Appendix A – Catalogue 199 Appendix B – Timeline 215 Appendix C – Translation “L’influence du Chant grégorien dans la musique de Respighi” 227 Appendix D – Permission to Publish 230 References 231 v List of Examples 1.1. Andalusian Cadence. 43 1.2. Olivieri, “Momento,” mm. 1–10. 44 1.3. Olivieri, “Momento,” mm. 60-61. 45 1.4. Olivieri, “La muerte del payador,” mm. 1–5. 48 1.5. Olivieri, “La muerte del payador,” mm. 22–24. 49 1.6. Olivieri, “La muerte del payador,” m. 44. 49 1.7. Olivieri, “La muerte del payador,” mm. 57–58. 50 1.8. Olivieri, “Duérmete mi alma,” mm. 1–4. 54 1.9. Olivieri, “Duérmete mi alma,” mm. 9–16. 55 1.10. Olivieri, “Duérmete mi alma,” mm. 17–25. 56 1.11. Olivieri, “La muerte del payador,” mm. 34–35. 57 1.12. Olivieri, “Duérmete mi alma,” mm. 27–29. 58 1.13. Olivieri, “Duérmete mi alma,” mm. 33–35. 58 1.14. Olivieri, “Duérmete mi alma,” mm. 58–60. 59 1.15. Debussy, “...La puerta del Vino” (from Préludes, Book 2, No. 3), mm. 5–10. 59 1.16. Respighi, Maria Egiziaca, “Primo interludio,” mm. 1–8. 62 1.17. Respighi, Maria Egiziaca, “Primo interludio,” mm. 32–41. 63 2.1. Olivieri, “Duérmete mi alma,” mm. 33–35. 88 vi 2.2. Olivieri, “Duérmete mi alma,” mm. 39–41. 89 2.3. Olivieri, “Duérmete mi alma,” mm. 90–94. 89 2.4. Olivieri, Berceuse bretonne, mm. 4–11. 91 2.5. Olivieri, Berceuse bretonne, mm. 12–19. 92 2.6. Olivieri, Berceuse bretonne, mm. 60–66. 94 2.7. Olivieri, La mamma povera, mm. 1–3. 96 2.8. Olivieri, La mamma povera, mm. 25–31. 97 2.9. Brahms, Wiegenlied Op. 49, No. 4, mm. 1–4. 98 2.10. Brahms, Wiegenlied Op. 49, No. 4, mm. 9–13. 99 2.11. Schubert, Wiegenlied Op. 98, No. 2, mm. 1–3. 100 2.12. Schubert, Wiegenlied Op. 98, No. 2, mm. 4–7. 101 2.13. De Falla, “Nana,” from Siete canciones, mm. 1–6. 102 2.14. De Falla, “Nana,” from Siete canciones, mm. 10–16. 103 2.15. Respighi, “Berceuse,” from Sei Pezzi, mm. 1–3. 104 2.16. Respighi, “Berceuse,” from Sei Pezzi, mm. 16–18. 105 2.17. Carreño, Le sommeil de l’enfant, mm. 1–3. 107 2.18. Carreño, Le sommeil de l’enfant, mm. 8–17. 108 2.19. Carreño, Le sommeil de l’enfant, mm. 26–34. 109 2.20. Carreño, Le sommeil de l’enfant, mm. 44–47. 109 vii 2.21. Carreño, Le sommeil de l’enfant, mm. 66–69. 110 2.22. Carreño, Le sommeil de l’enfant, mm. 88–91. 110 2.23. Carreño, Le sommeil de l’enfant, mm. 101–106. 111 2.24. Beach, Cradle Song of the Lonely Mother Op. 108, mm. 1–3. 112 2.25. Beach, Cradle Song of the Lonely Mother Op. 108, mm. 16–18. 112 2.26. Beach, Cradle Song of the Lonely Mother Op. 108, mm. 19–24. 113 2.27. Beach, Cradle Song of the Lonely Mother Op. 108, mm. 34–36. 114 2.28. Beach, Cradle Song of the Lonely Mother Op. 108, mm. 49–53. 114 3.1a. Respighi, Christus, Part 1, rehearsal number 8. 132 3.1b. Rimsky-Korsakov, Scheherazade, “Sultan Theme.” 132 3.2. Respighi, Christus, Part 1, rehearsal number 9. 132 3.3. Theodulf of Orléans, Gloria, laus et honor. 133 3.4a. Respighi, Christus, Part 1, rehearsal number 28. 134 3.4b. Respighi, Christus, Part 1, rehearsal number 29. 135 3.4c. Respighi, Christus, Part 2, rehearsal number 30 (bass part). 136 3.5. Respighi, Suite in E Major, first movement, mm. 19–27. 137 3.6. Respighi, Tre preludi, Movement II, theme. 141 3.7. Surrexit Dominus, from the Roman Gradual. 141 3.8. Respighi, Tre preludi, Movement III, theme. 141 viii 3.9. Sederunt principes, from the Roman Gradual. 142 3.10. Virgo prudentissima, from the Roman Gradual. 143 3.11. Victimae paschali laudes, from the Liber Usualis. 148 3.12. Respighi, Concerto gregoriano, second movement, mm. 1–11, solo violin part. 149 3.13. Respighi, Concerto gregoriano, second movement, mm. 11–12, orchestra. 149 3.14. Olivieri, Pianto della Madonna, mm. 199–205. 151 3.15. Olivieri, Pianto della Madonna, mm. 224–238. 152 4.1. Olivieri, Samurai, Act III, p. 1 (short score). 169 4.2. Olivieri, Samurai, Act III, pp. 3–4 (short score). 170 4.3. Olivieri, Samurai, Act III, p. 6 (short score). 171 4.4. Olivieri, Samurai, Act III, p. 25 (short score). 173 4.5. Olivieri, Samurai, Act III, p. 27 (short score). 174 4.6. Olivieri, Samurai, Act III, p.
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