DOCSLIB.ORG

The Italian Fascism 293

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Italian Fascism 293 Nicolodi: The Italian Fascism 293 En Amérique Latine,les musiques›nationales‹obéissaient àdes sollicitations idéologi- quesfortdifférenciées pendantles années trente.Les Bachianas Brasileiras de Villa-Lôbos, allianceconstruiteentre le folklore brésilien et le ›retouràBach‹,furentécrites en parallè- le avecses pièces de propagande pour la dictaturepopuliste de GetúlioVargas26.Aumême moment,Silvestre Revueltas, militantdelaLigadeEscritoresyArtistasRevolucionarios composait,enmarge desmanifestationspubliquesanti-fascistesetdesolidaritéinterna- tionale, despiècescomme Janitzio, Sensemayá ou HomenajeaFedericoGarcíaLorca,dans lesquelles lesréférencesàdes éléments populaires locaux soutiennentundiscours musical quisynthétiselaquête identitaire en dehors desstéréotypes ›nationalistes‹ et l’exigence deslangagesmusicauxavancés de sontemps.27 Fiamma Nicolodi (Florence) The ItalianFascism I. Afterhis ascent to power in 1922,BenitoMussolinitookchargeofthe variousmusical trends of that time:Verismo (Francesco Cilea, UmbertoGiordano, Pietro Mascagni,Ric- cardo Zandonai), Futurismo(FrancescoBalilla Pratella,Luigi Russolo,SilvioMix,Franco Casavola)and theso-called Generazionedel 1880 (FrancoAlfano, AlfredoCasella,Gian FrancescoMalipiero, Ildebrando Pizzetti,OttorinoRespighi).The management of music wasled by Mussoliniwithabsoluteindifferencetowards onetrend or another. Duringthe firstyears,the primeministerwas in effect notworried about specific issues of styleorcon- tents. Insteadheconcentratedonobtainingthe assent of themostprestigious musicians (composersand performers), with an ›instrumental‹ idea of artfor politicalpurposes,anidea that supposedly wouldcontributetostrengthening theimage of fascisminItaly andabroad.1 Mussolini’sstatementsof1923, afew months afterhis ascent to power,showvagueness andnationalistic faith(inheritedfromthe past), butatthe same time aimatreassuringin- 26 Cf.entre autres, Heitor Villa-Lôbos, Amúsicanacionalistanogoverno GetulioVargas,Rio de Janeiro 1937;Simon Wright, Villa-Lobos,OxfordetNew York 1992. 27 Cf.entre autres, SilvestreRevueltas, SilvestreRevueltas porélmismo,México1989; JulioEstrada,»La obra política de SilvestreRevueltas«, inédit,1998; PeterGarland, In search of SilvestreRevueltas,Santa Fe 1991;CoriúnAharonián,Mariano Etkin, GracielaParaskevaídis,»SilvestreRevueltas«, Dossier, dans: Lulú 2, BuenosAires 1991,p.32–53. 1 Renzo De Felice, Mussolini il duce, Torino1974, p. 107; Giovanni Belardelli, »Ilfascismoel’orga- nizzazione dellacultura«, in: Guerre efascismo1914–1943,ed. by Giovanni Sabbatucci andVittorio Vidotto (= Storia d’Italia 4),Bari1997, p. 457. 294 Symposien A: Neue Musik in totalitären Staaten, 1930 bis 1989/90 tellectualsand artistsonthe basisthatthe regimewould notadopt a»Stateart«.2 Since 1925 thetotalitarianswing of fascismgainsstrength, andasfar as thearts areconcerned, in 1928 theDuceexplainshis intentiontosafeguard »the diversity of temperaments andof artists« andnot to aimatapatentlypoliticized artistic production.Suchstatementsmarked asignificant differencebetween thefascist dictatorship andthe Soviet or Nazi dictatorship andwould prove to be awinning strategy in gainingthe supportofpeoplesuchasintellec- tualsorartists who, sincethe beginning, appear to be amongthe leastsubmissive. On theother hand,oppositefactionsshowedthe twocontrasting aspectsthatalwaysexis- tedinthe culture of fascism(thetraditionalist, theembodimentofwhich wasthe bossRo- bertoFarinacci,and themodernist,led by theministerGiuseppeBottai). Theseaspects clashed on more than oneoccasionlooking foranofficiallegitimation, that however was nevertobegranted. Thecaseofthe Manifesto of 1932 is emblematic.Ten subscribersbelonging to different politicallines –distinguished composers, such as Pizzetti,Respighi, Zandonai,the presi- dentofthe SindacatoNazionale Fascista Musicisti(National FascistUnion of Musicians), thedirectorofthe ConservatoriodiFirenze,the critic of Il popolod’Italia,anewspaper foundedbyMussolini–intendedtosupport fascistmusic characterized by ›Italic‹ melody and›melodrama‹,against thosewho letthemselvesbeinfluenced by foreignexperiences (»objectivism«,»expressionism«, »atonaland pluritonalhonkings«, as thedocumentscorn- fullyspecified). Thetargets of this controversy were,asitiswellknown,Casella andMali- piero, themostdedicated to thecause of Europeanmodernism.3 Theintelligentsia (Luigi Pirandello,Massimo Bontempelli,etc.) supportedthe twoattacked composers, butthiscon- troversy didnot actuallyleave anyvictims on thebattlefield:the regimedid nottakesides, suggestingthatall theopponents were vaguelyright. As amatteroffact, theproject of a›new‹ art–asexpressed by theDucein1926–capable of harmonizingtradition andmodernity,was intentionallyambiguous,sothateveryone couldunderstandand fulfillittheir ownway.4 Thestrategyoftryingtokeepinwithbothsides –adopted also in thepracticeofpro- motions, patronage, audiences, inevitable photographic portraitsofthe Duce inscribed to musiciansbelonging to oppositefactions, personallyhandled by Mussoliniand by his office –turned outtobeone more effectivetooltogratify andbindmusicians,critics and performers to power in awell-calculated game of flattery andcorruption. Whereas in 1927 2 Benito Mussolini, »Allamostradel ›Novecento‹«, 26th March1923, in: Operaomnia,vol.19, ed.by Edoardo andDuilioSusmel,Firenze 1956,p.187–188:»Dichiaro cheèlungi da me l’ideadiincoraggiare qualchecosache possa assomigliare all’artedistato.L’arterientra nella sferadell’individuo. Lo statoha un solo dovere:quellodinon sabotarla, di farcondizioniumane agli artisti, di incoraggiarlidal puntodi vistaartistico enazionale.« (»Ideclarethatfar from me is theideaofencouraging somethingresembling aState art. Artbelongs in theindividualsphere. TheState hasonlyone duty:not to sabotage art, to make humanconditionsfor artists, to encouragethemfromthe artistic andnationalstandpoint.«) 3 The Manifesto waspublished on 17 December 1932 in thenewspapers Corriere dellasera, Il popolod’Ita- lia and La Stampa;the othersignatories were:Alberto Gasco, Riccardo Pick-Mangiagalli, GennaroNapoli andGuido Zuffellato.For an analysis of the Manifesto,see:FiammaNicolodi, Musica emusicisti nelven- tennio fascista,Fiesole andFirenze 1984,p.140–149. 4 Mussolini, Operaomnia,vol.22, 1957,p.230. Nicolodi: The Italian Fascism 295 Mascagni,asamemberofthe older generation,was chosen to represent Italianmusic in Vienna, on theoccasionofthe celebrations forthe centenaryofBeethoven’s death, for theyounger Alfano theDucearrangedinthe same year,inhis ownresidence, thepreview performanceofthe 2ndQuartet. Themimetic attitude of Mussolini, amateurviolinistand manneredmusic connoisseur àlapage,personallywriting (orrevising) theprograms of theconcerts he wasgoing to at- tend,welcoming patronages andfunding at festivals, ensnared notonlymostItalian musi- cians, criticsand musicologists, butalsomanyforeigners. Edward J. Dent,president of the InternationalSociety of ContemporaryMusic,after the1928Siena festivalofthe Society addressed aletterofthanks to Mussolini,inwhich he declaredtobeoverwhelmed by the »new imprint[…] impressed by Your Excellencyonthe life of this wonderfulNation«.5 Igor Stravinskij, whowas wellknown as aconservativecomposer,was received by theDuceon several occasions andgavehim gifts, describedMussolinias»thesaviour of Italyand […] of Europe«.6 ThecriticWilli Reich,advocateofthe ›Schönbergkreis‹ (aswellasthe only translator into German of Mussolini’s Scrittiediscorsi), reportedfromanaudiencegranted to himin1934–where he presented theDucewithhis avant-garde revue 23 –the »erstaun- licheFachkenntnisse« of the»gütigenund liebenswürdigenMenschenMussolini«7. To reducethismattertoessentials, it is notwrong anyway to divide fascistmusical policy roughly into twodecades:the firstmoretolerantofmodernistic choicesand exchanges with foreigncountries,orevenencouraging them;the second characterized by conformism, andbydemagogic andpatentlyautarchic positions. Significant of thefirst yearswas thepretentiousstatement of 20th-century faithgrant- ed by Mussolinionthe occasionofthe firstevent devoted to contemporaryItalian instru- mental music, under thepatronage of theprime ministerand funded by him: theExhibit of 20th-century MusicinItaly (Bologna, 1927). Anothereffective watershedbetween the twosides of thefascist period is theirregularityofthe measures endorsing music, promul- gatedinthe firstdecade, measures,moreover,scarcelyinnovativewithrespect to thepre- viousdecade,ifcomparedtothe largeamountoflegislative measures of thefollowing decade,meant to regulateand putunder thecontrol of theState both musicalinstitutions andmusical life. When theInspectorateofthe Theatrewas establishedin1935(from 1937,HeadOffice forTheatre andMusic at theMinistryofPopularCulture)somepreviouslypassedinitia- 5 Letter of Edward J. Dent to Mussolini15September 1928:»In thecharming andpeacefulenviron- ment,where ourmeeting took place, in theatmosphereofliberalityand balancethatconstantlysur- roundedus, not only didwefeelthe poetry andbeautytraditional of theItalian spirit,but thenew imprint, too,impressed by Your Excellency on thelifeofthiswonderful Nation« (Roma, Archivio Cen- traledello Stato, PCM 1934 –193614.2.1955). 6 This statementwas grantedtothe critic AlbertoGasco,onthe occasionofanaudienceatPalazzo Venezia; see AlbertoGasco,»Strawinsky eilFascismo«,in: Da CimarosaaStrawinsky,Roma1939, p. 142; forthe giftsoffered to theDuce(such as thesecondvolume of Chroniques de ma vie,agolden medaland thescore of Duoconcertant) andmoregenerallyfor thecomposer’s attachment
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]
  • Catalogs Files 3508 Arengario 2017 Opera Web.Pdf
    Bruno e Paolo Tonini. Fotografia di Tano D’Amico L’ARENGARIO Via Pratolungo 192 STUDIO BIBLIOGRAFICO 25064 Gussago (BS) Dott. Paolo Tonini e Bruno Tonini ITALIA Web www.arengario.it E-mail [email protected] Tel. (+39) 030 252 2472 Fax (+39) 030 252 2458 L’ARENGARIO STUDIO BIBLIOGRAFICO OPERA Ottocento e Novecento Libretti per musica e bozzetti scenografici originali dalla collezione di Alberto De Angelis EDIZIONI DELL’ARENGARIO 1 Il teatro lirico è basato su un fatto straordinario, di natura totalmente inverosimile ed arbitraria: esso si poggia su personaggi che vivono cantando, per cui il teatro musicale non ha rapporti con la realtà e può spaziare nell’infinito della fantasia musicale. Alfredo Casella Finito di stampare un giorno di settembre del 2017 Tiratura di 60 esemplari 2 3 Melodramma bibliografico “Vado raccogliendo libretti per musica da oltre 50 anni ed avendone ormai una collezione di più di 32.000 mi lusingo di poterne dire qualcosa. Nei primi anni della mia Raccolta, mi vedevo guardato con un sorrisetto di compatimento non scevro d’ironia... in attesa che la fede e la tenacia mi dessero ragione perché io invece venivo sempre più convincendomi che il libretto aveva pur la sua importanza, anche prescindendo dai difetti letterari e poetici. E continuavo a raccogliere, fiducioso... Ebbi così la soddisfazione di convincermi che non avevo lavorato invano e che la mia tenacia, la mia pazienza, la mia fede avevano avuto ragione della noncuranza, dell’incredulità, dell’ironia di tanti! Sono già più di 250 gli studiosi che per una ragione o per l’altra hanno trovato nella mia Collezione aiuto di notizie e fonte di studio” (Ulderico Rolandi, Il libretto per musica attraverso i tempi, Roma, Edizioni dell’Ateneo, 1951; pp.
    [Show full text]
  • My Musical Lineage Since the 1600S
    Paris Smaragdis My musical lineage Richard Boulanger since the 1600s Barry Vercoe Names in bold are people you should recognize from music history class if you were not asleep. Malcolm Peyton Hugo Norden Joji Yuasa Alan Black Bernard Rands Jack Jarrett Roger Reynolds Irving Fine Edward Cone Edward Steuerman Wolfgang Fortner Felix Winternitz Sebastian Matthews Howard Thatcher Hugo Kontschak Michael Czajkowski Pierre Boulez Luciano Berio Bruno Maderna Boris Blacher Erich Peter Tibor Kozma Bernhard Heiden Aaron Copland Walter Piston Ross Lee Finney Jr Leo Sowerby Bernard Wagenaar René Leibowitz Vincent Persichetti Andrée Vaurabourg Olivier Messiaen Giulio Cesare Paribeni Giorgio Federico Ghedini Luigi Dallapiccola Hermann Scherchen Alessandro Bustini Antonio Guarnieri Gian Francesco Malipiero Friedrich Ernst Koch Paul Hindemith Sergei Koussevitzky Circa 20th century Leopold Wolfsohn Rubin Goldmark Archibald Davinson Clifford Heilman Edward Ballantine George Enescu Harris Shaw Edward Burlingame Hill Roger Sessions Nadia Boulanger Johan Wagenaar Maurice Ravel Anton Webern Paul Dukas Alban Berg Fritz Reiner Darius Milhaud Olga Samaroff Marcel Dupré Ernesto Consolo Vito Frazzi Marco Enrico Bossi Antonio Smareglia Arnold Mendelssohn Bernhard Sekles Maurice Emmanuel Antonín Dvořák Arthur Nikisch Robert Fuchs Sigismond Bachrich Jules Massenet Margaret Ruthven Lang Frederick Field Bullard George Elbridge Whiting Horatio Parker Ernest Bloch Raissa Myshetskaya Paul Vidal Gabriel Fauré André Gédalge Arnold Schoenberg Théodore Dubois Béla Bartók Vincent
    [Show full text]
  • Romana Cilea 1..1
    CESARE ORSELLI Francesco Cilea Un artista dall’anima solitaria Indice sommario Ritorno a Cilea ........................................................................... 1 La vita La formazione. Gli studi al Conservatorio di Napoli....................... 8 Le prime composizioni e il debutto teatrale.................................. 12 Nuove creazioni: La Tilda........................................................ 15 Difficolta`deL’Arlesiana.......................................................... 18 Firenze: verso Adriana Lecouvreur ............................................. 22 Gli anni della gloria ............................................................... 26 Pause di silenzio.................................................................... 32 Breve rinascita e tramonto ....................................................... 36 Le opere teatrali Gina: esordio fra Napoli e la Francia.......................................... 42 Il debutto nazionale: La Tilda aFirenze....................................... 55 L’Arlesiana, momento di maturazione.......................................... 66 Il trionfo:AdrianaLecouvreur.................................................. 79 Crepuscolo di Gloria ............................................................... 97 Vocalita` fuori dal palcoscenico La lirica da camera ................................................................ 108 La musica sacra .................................................................... 122 La musica strumentale ..................................................................
    [Show full text]
  • 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.
    [Show full text]
  • Adriana Lecouvreur
    FRANCESCO CILEA adriana lecouvreur conductor Opera in four acts Gianandrea Noseda Libretto by Arturo Colautti, based production Sir David McVicar on the play Adrienne Lecouvreur by Eugène Scribe and Ernest Legouvé set designer Charles Edwards Friday, January 4, 2019 costume designer 7:30–11:05 PM Brigitte Reiffenstuel lighting designer New Production Adam Silverman choreographer Andrew George The production of Adriana Lecouvreur associate director Justin Way was made possible by a generous gift from The Sybil B. Harrington Endowment Fund Co-Production of the Royal Opera House, Covent Garden, London; Gran Teatre del Liceu, Barcelona; Wiener Staatsoper; San Francisco Opera; and general manager L’Opéra National de Paris Peter Gelb jeanette lerman-neubauer This production was first seen at the Royal Opera music director Yannick Nézet-Séguin House, London, on November 18, 2010. 2018–19 SEASON The 75th Metropolitan Opera performance of FRANCESCO CILEA’S adriana lecouvreur conductor Gianandrea Noseda in order of vocal appearance mlle. jouvenot Sarah Joy Miller michonnet Ambrogio Maestri poisson Tony Stevenson* mlle. dangeville Samantha Hankey quinault Patrick Carfizzi the abbé of cha zeuil Carlo Bosi the prince of bouillon Maurizio Muraro adriana lecouvreur Anna Netrebko Friday, January 4, 2019, 7:30–11:05PM maurizio Piotr Beczała the princess of bouillon Anita Rachvelishvili major- domo Christian Rozakis chambermaid Anne Dyas mlle. duclos Snezhana Chernova pantalone Bill Corry judgment of paris ballet paris Kfir Danieli shepherdesses Jennifer
    [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]
  • Album Booklet
    Sera d’inverno 1. Sera d’inverno [3:42] Songs by Ildebrando Pizzetti (1880–1968) 2. L’annuncio [2:06] Cinque Liriche 3. I pastori [5:15] 4. La madre al figlio lontano [4:13] 5. San Basilio [1:59] 6. Il clefta prigione [2:42] Hanna Hipp mezzo-soprano 7. Passeggiata [6:16] Emma Abbate piano 8. Épitaphe [1:48] 9. Antifona amatoria di Basiliola [1:19] 10. E il mio dolore io canto [2:34] 11. Incontro di Marzo [6:00] (from Tre Liriche) Due Canti d’amore 12. Adjuro vos, filiae Jerusalem [2:42] 13. Oscuro è il ciel [2:28] 14. Scuote amore il mio cuore [1:45] (from Tre Canti d’amore) About Hanna Hipp & Emma Abbate: Tre Canti Greci ‘Hanna Hipp [...] is excellent, with a knowing, 15. Augurio [2:58] competent demeanour and a glowing mezzo timbre’ 16. Mirologio per un bambino [3:17] The Guardian 17. Canzone per ballo [4:04] ‘[...] sensitively accompanied by Emma Abbate’ International Record Review Total playing time [55:20] Sera d’inverno: The Songs of An important question to consider regarding Ildebrando Pizzetti Pizzetti is whether to view him as a revolutionary or a conservative. His Ildebrando Pizzetti (1880–1968) belonged complicated history makes answering this to a group of Italian composers who were question less straightforward than it might born around the year 1880, referred to as at first appear. Two manifestos, both signed the generazione dell’ottanta (‘generation by Pizzetti, reveal this dichotomy. The first – of eighty’). Far from being unified by a signed by such forward-thinking composers singular style, this group included other as Vincenzo Tommasini (1878–1950), important composers such as Franco Francesco Malipiero, and Alfredo Casella, Alfano (1876–1954), Ottorino Respighi in addition to Pizzetti and three others – was (1879–1936), Gian Francesco Malipiero included as a kind of preface to a printed (1882–1973), and Alfredo Casella programme for a concert of compositions by (1883–1947).
    [Show full text]
  • Cilea Francesco
    CILEA FRANCESCO Compositore italiano (Palmi, RC 23 VI 1866 – Varazze, Savona 20 XI 1950) RRIITTRRAATTTTOO DDEELL CCOOMMPPOOSSIITTOORREE 310 Figlio dell'avvocato Giuseppe e di F. Grillo, venne avviato agli studi classici in un convitto di Napoli; ma le precoci doti musicali, rivelate nello studio del pianoforte, indussero i familiari - per il determinante intervento di F. Florimo - ad iscriverlo al conservatorio di San Pietro a Maiella: vi entrò nel 1878, e vi ebbe ad insegnanti P. Serrao per la composizione, B. Cesi e G. Martucci per il pianoforte. Ancora durante gli studi, si segnalò con una Suite (1887) premiata dal ministero della pubblica istruzione; nell'ultimo anno di corso (1889), scrisse, su incarico della direzione del conservatorio, la sua prima opera, Gina, da lui stesso diretta nel teatrino dell'istituto. Conseguito il diploma, fu nominato supplente di armonia e di pianoforte complementare a San Pietro a Maiella fino al 1892. La seconda opera Tilda, venne rappresentata con buon successo al Paglino di Firenze (1892), e, successivamente, a Vienna in una tournée dedicata alla "giovane scuola italiana". Per l'opera, ebbe parole di caldo elogio il critico E. Hanslick. Nel 1896 Cilea vinse il concorso per la cattedra di armonia all'istituto musicale in Firenze, e nella città toscana compose l'Arlesiana, andata in scena nel 1897 al Lirico di Milano con il concorso del giovane tenore Enrico Caruso. Sempre il pubblico milanese applaudì al Lirico nel 1902, Adriana Lecouvreur, e il vibrante successo si ripetè immediato in numerosi altri teatri italiani e stranieri. Ripetuti colloqui con Gabriele D'Annunzio, nella prospettiva di trasferire sulla scena lirica Francesca da Rimini, non giunsero a conclusione, sembra per le eccessive richieste economiche del poeta.
    [Show full text]
  • Il Recupero Dell'antico Nell'opera Di Ottorino
    SCUOLA DI DOTTORATO IN STORIA E CRITICA DEI BENI ARTISTICI , MUSICALI E DELLO SPETTACOLO XXII CICLO IL RECUPERO DELL’ANTICO NELL’OPERA DI OTTORINO RESPIGHI E L’ARCHIVIO DOCUMENTARIO ALLA FONDAZIONE “GIORGIO CINI” DI VENEZIA Coordinatore: prof. ALESSANDRO BALLARIN Supervisore: prof. ANTONIO LOVATO Dottoranda: MARTINA BURAN DATA CONSEGNA TESI 30 giugno 2010 2 A Riccardo e Veronica 3 4 INDICE PREMESSA ………………………………………..…………………………..……. p. 9 I. IL FONDO “OTTORINO RESPIGHI ” ………………………………………… » 13 1. Configurazione originaria del fondo ………………………………………… » 14 2. Interventi di riordino …………………………………………………………. » 16 3. Descrizione del contenuto ……………………………………………………. » 20 II. RITRATTO DI OTTORINO RESPIGHI ……………………………..……..... » 31 1. L’infanzia e le prime opere …………………………………………………... » 32 2. I primi passi verso il recupero dell’antico …………………………………… » 35 3. L’incontro con Elsa …………………………………………………………... » 38 4. Le trascrizioni di musiche antiche e Casa Ricordi …………………………... » 40 5. Il “periodo gregoriano” ……………………………………………………... » 42 6. L’incontro con Claudio Guastalla …………………………………………… » 44 7. Le opere ispirate al gregoriano ……………………………………………… » 46 8. La nomina all’Accademia d’Italia e il Manifesto…………………………….. » 48 9. La fiamma e l’elaborazione dell’Orfeo ………………………………………. » 53 10. Lucrezia ……………………………………………………………………... » 58 III. IL CONTESTO ………………………………………..………………...……… » 63 1. Il recupero dell’antico ………………………………………………………... » 63 1.1 La rinascita del gregoriano …………………………………………. » 64 1.2 Angelo De Santi, Giovanni Tebaldini e Lorenzo Perosi …………….
    [Show full text]
  • Ildebrando Pizzetti: Assassinio Nella Cattedrale
    LA GIOVANE SCUOLA: PROTAGONISTS & ANTAGONISTS FIFTH EPISODE Ildebrando Pizzetti: Assassinio nella Cattedrale ENRICO REGGIANI Enrico Reggiani is full professor of English literature in the Faculty of Linguistic Sciences and Foreign Literatures, at Università Cattolica del Sacro Cuore – Milano. He has published widely on William Butler Yeats and other Irish writers, on writers of Catholic origin, culture and background (especially the English and Irish ones from 1789 to 1918), and on interdisciplinary relationships between literature and economy. He also teaches musical languages in a historical perspective thanks to his specific advanced competence and appreciated research in the musicological field. After graduating in piano in 1980, he taught music education at Secondary School for Singers and Dancers of Teatro alla Scala, and music analysis at the Civica Scuola di Musica “Claudio Abbado”, Milan. After being a member of the scientific committee at the musico-literary festival Le Corde dell’Anima (Cremona, 2010-2014), since 2011 he has been the director of the Studium Musicale di Ateneo “Note d’InChiostro”, at Università Cattolica del Sacro Cuore – Milano. He is a regular music lecturer at “Iniziative Culturali” of “laVerdi – Orchestra Sinfonica e Coro Sinfonico di Milano Giuseppe Verdi” and at Casa della Cultura (Milan). He is a member of the association Il Saggiatore Musicale and of the International Association for Word and Music Studies (WMA). At present, the interdisciplinary relationships and bidirectional crossings between literature and music are his main research area. He has recently been defined as a scholar “with a high profile in the relevant field”. He is completing a monograph on A tone-deaf poet in the Land of Song.
    [Show full text]
  • 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.
    [Show full text]