DOCSLIB.ORG

Music in the Pavilion: Daedalus Quartet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music in the Pavilion: Daedalus Quartet UNIVERSITY of PENNSYLVANIA LIBRARIES KISLAK CENTER Music in the Pavilion Béla Bartk in New York, 1927. Daedalus Quartet December 9, 2016 Music as Translation www.library.upenn.edu/exhibits/music_series.html Ludwig van Beethoven (1770-1827): String Quartet in F Major, Op. 18 No. 1 I. Allegro con brio II. Adagio afettuoso ed appassionato III. Scherzo: Allegro molto IV. Allegro Béla Bartk (1881-1945): String Quartet No. 3 Prima parte – Seconda parte – Recapitulazione della prima parte – Coda Intermission Ludwig van Beethoven: String Quartet in C# Minor, Op. 131 I. Adagio ma non troppo e molto espressivo II. Allegro molto vivace III. Allegro moderato – Adagio IV. Andante ma non troppo e molto cantabile – Pi mosso – Andante moderato e lusinghiero – Adagio – Allegretto – Adagio ma non troppo e semplice – Allegretto V. Presto VI. Adagio quasi un poco andante VII. Allegro ,~ w..1,, , I ~ ~ D Page from the manuscript of Bartk’s Tird String Quartet (1927). Kislak Center for Special Collections, Rare Books and Manuscripts Music as Translation Béla Bartk and the Musical Fund Society of Philadelphia Tristan Paré-Morin Beethoven and Bartk have sometimes been paired together, but few writers have described their connection in more elegant terms than the French musicologist Pierre Citron: “If the music of the late Beethoven and of Bartk is beautiful, it is not because it seeks to please, but because it translates, without trying to gratify the ear, the internal intensity of visionaries.” Tere are various ways of thinking about translation in music, between languages, between mediums, or even between performances. We may think about works that translate visual or poetic images into sounds (as with Beethoven’s Op. 18 No. 1, second movement); or we may consider how musical themes are translated into diferent arrangements, as in a theme and variations (Beethoven’s Op. 131, fourth movement). However, tonight’s program invites us to think about translation in broader terms, along Citron’s lines. How are musical works translating the inefable, that is, the aesthetic “visions” of their composers? And how are composers translating the ideas developed by earlier composers into new musical works? — in other words, how did Bartk translate Beethoven’s innovations in his music? At the center of tonight’s concert is Bartk’s Tird String Quartet, one of the most technically challenging pieces written by the Hungarian composer. Tis concert presents it between two of Beethoven’s quartets—one early, the other late—allowing not only Bartk’s modernism, but also his debt to the Viennese master, to appear in a new light. Moreover, by hosting the concert at the location where the original manuscript is currently preserved, we are honoring the work’s historical connection with Philadelphia, and more specifcally the Musical Fund Society of Philadelphia, which organized a chamber music competition in 1928 in which Bartk’s quartet shared the frst prize with a Serenata by Italian composer Alfredo Casella. (Documents relating to the competition, including Bartk’s original manuscript, are on display this evening.) Te Musical Fund Society of Philadelphia Te Musical Fund Society of Philadelphia was founded in 1820, and is today the oldest continuing musical organization in the United States. Its purpose was “the relief of decayed musicians and their families, and the cultivation of skill and difusion of taste in music.” In addition to presenting a concert series with the Society’s orchestra, the Musical Fund Society founded a musical school to foster local talent, and, in 1824, built a concert hall that quickly achieved an international reputation for its acoustics. Due to declining revenue and increasing cost of maintenance, the hall was sold in 1924. After having become a storage warehouse in the 1940s, plans to restore it as a performance space in the 1960s were unsuccessful, even if for some years (1974-1989) the building was designated National Registered Landmark. Today, its façade is still standing on Locust Street near Washington Square. Highlights of the Society’s early history included the frst American performance of Mozart’s Die Zauberfte in 1841, some of Marian Anderson’s earliest performances in 1916-17, and many other musical frsts. But the Musical Fund Hall itself also welcomed political meetings and social events such as the Republican Party’s frst convention in 1856, commencements of the University of Pennsylvania, and even basketball games. Te Society’s orchestra moved to the Academy of Music in 1868 and fnally merged with the Philadelphia Orchestra when that organization was founded in 1900. Almost two hundred years after its founding, the Society continues its activities to this day, following its original purpose of “difusion of taste in music,” of which the 1928 chamber music competition is a notable milestone. “Will Tey Bring Forth New Haydn or Beethoven” Te competition, announced in 1925, attracted a lot of attention worldwide, especially in regards to its three prizes totaling $10,000. One newspaper described the prizes as “far larger than have ever been ofered before in the hundreds of competitions which have taken place all over the world in the last few years.” According to this newspaper, there had never before been a prize exceeding $1000. Because of the hefty sum of $10,000 (divided into prizes of $5000, $3000 and $2000), the expectations were high: it was projected that the “leading composers of the world” would enter the competition. One reporter of the San Francisco Chronicle wrote an article titled “Will Tey Bring Forth New Haydn or Beethoven,” in which he stated that “the Musical Fund Society, if it is to get its money’s worth … must raise up a Haydn or a Schumann.” We will see that for many critics, such hopes to discover the new “genius” of the twentieth century were not met at the premiere performance of the winning pieces. Tose critics exposed the gulf that already existed between the audience’s expectations for accessible music in the same vein as the “classics” (Haydn, Beethoven, Schumann) and the state of new concert music in the 1920s. When the contest was announced, and again three years later when awards were given to the winners, many critics expressed a lack of faith in the artistic value of modernism. For instance, the San Francisco reporter wrote that if Mozart were to participate, he would win it easily, “unless—and that’s the hope—even now there is a Beethoven waiting to emerge from some garret.” When the competition closed on December 31, 1927, no fewer than 643 compositions had been received by the Society (one of which was indeed a string quartet dedicated “to the memory of Beethoven”). Te frst prize went jointly to the Italian composer Alfredo Casella for his Serenata, Op. 46, and to the Hungarian composer Béla Bartk for his Tird String Quartet. Two other prizes went to Harry Waldo Warner (violist of the London String Quartet) and Carlo Jachino (from Italy). Bartk in Philadelphia Bartk completed his Tird String Quartet in Budapest in September 1927. Two months later, on December 18, he arrived in America for a nationwide concert tour, his only visit to the USA prior to his immigration to the country in 1940. Te tour, which lasted until February 29, 1928, began with concerts with the New York Philharmonic Orchestra and then with the Philadelphia Orchestra. It is interesting to note that Bartk was in Philadelphia on the day that the competition of the Musical Fund Society closed. Te composer could have submitted his newly-composed string quartet in person while in town, perhaps at the urging of some local musicians. More arresting, however, is the fact that the conductors leading the orchestras during Bartk’s tour, Willem Mengelberg (in New York) and the Hungarian Fritz Reiner (in Philadelphia and in Cincinnati), were both on the jury for the chamber music competition. It is tempting to ponder the risk of a bias in favor of Bartk’s quartet when the two most eminent members of the jury were familiar with the composer’s latest works performed during his tour (including the American premiere of the First Piano Concerto). Tey would undoubtedly have been able to identify the distinctive style (and handwriting) of the author of a “String Quartet in C#” despite the fact that all entries needed to be submitted under aliases. Te four prize-winning compositions were frst performed at a special concert at the ballroom of the Bellevue-Stratford Hotel on December 30, 1928. Casella’s Serenata, with its melodic profusion, short movements and lively rhythms, was received with “immense applause, the most spontaneous and sincere of the concert.” Bartk’s quartet, on the other hand, fared less well. Te music critic of the Evening Public Ledger acknowledged that Bartk’s quartet “is one of the most difcult compositions ever put down on paper.” Nonetheless, the work was “an excellent specimen of ultra-modern composition, showing all that knowledge of musical composition which Bartk possesses to so great a degree. If composition proceeds upon the lines which the ultra-modernists believe it will, this quartet will take a very high rank some day. If not——.” On the other hand, there were numerous critics for whom the competition was a failure. In the Evening Bulletin, one could read: “Certainly, there was little in the works ofered … to hold forth much promise for the future, musically speaking, either of the composers or the times in which they live.” Te reviewer did not spare his invectives: “A string quartet by Bartk had threatened to empty the ballroom before it reached its dreary end. Te composer alleged his work is in the key of C-sharp minor. Possibly it was.
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]
  • 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]
  • 550533-34 Bk Mahler EU
    CASELLA Divertimento for Fulvia Donatoni Music for Chamber Orchestra Ghedini Concerto grosso Malipiero Imaginary Orient Orchestra della Svizzera italiana Damian Iorio Alfredo Casella (1883-1947): Alfredo Casella (1883-1947) • Franco Donatoni (1927-2000) Divertimento per Fulvia (Divertimento for Fulvia), Op. 64 (1940) 15:21 Giorgio Federico Ghedini (1892-1965) • Gian Francesco Malipiero (1882-1973) 1 I. Sinfonia (Overture). Allegro vivace e spiritoso, alla marcia 2:05 2 II. Allegretto. Allegretto moderato ed innocente 1:42 ‘A crucial figure: few modern musicians in any country can advised Casella’s parents that to find tuition that would do 3 II. Valzer diatonico (Diatonic Waltz). Vivacissimo 1:43 compare with him for sheer energy, enlightenment and justice to his talent, they would need to send him abroad. persistence in his many-sided activities as leader, 1896 was a watershed in Casella’s life: his father died, 4 VI. Siciliana. Molto dolce e espressivo, come una melodia popolare (Very sweet and expressive, like a folk melody) 2:25 organiser, conductor, pianist, teacher and propagandist – after a long illness; and he moved to Paris with his mother one marvels that he had any time left for composing.’ The to study at the Conservatoire. Casella was to remain in 5 V. Giga (Jig). Tempo di giga inglese (English jig time) (Allegro vivo) 1:54 musician thus acclaimed by the English expert on Italian Paris for almost twenty years, cutting his teeth in the most 6 VI. Carillon. Allegramente 1:05 music John C.G. Waterhouse was Alfredo Casella – who dynamic artistic milieu of the time as pianist, composer, 7 VII.
    [Show full text]
  • 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.
    [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]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • SUGGESTIONS for LISTENING Examples of Diatonic Modes: • Frédéric Chopin (1810–1849), Mazurka, Op
    1 LESSON 8: THE MAJOR MODE u SUGGESTIONS FOR LISTENING examples of diatonic modes: • Frédéric Chopin (1810–1849), Mazurka, op. 24, no. 2 (1833). The mode shifts from C Ionian (major) to F Lydian (the F white-key scale) in measures 21–32 (roughly 0:20–0:30). • Béla Bartók (1881–1945), For Children, book 1, no. 3, “Former Friends” (1910). The music is in A Dorian (A B C D E F# G, a rotation of G major) with the exception of one note. Can you find it? • Béla Bartók (1881–1945), For Children, book 2, no. 20, “Stay Home, Hanulienka” (1910). The entire piece is in F Lydian (F white-key scale). • Francis Poulenc (1899–1963), Valse from Album des six (1919). The main theme (e.g., approx. 0:00–0:13) uses the C Lydian scale (C D E F# G A B, a rotation of G major). • Alfredo Casella (1883–1947), Eleven Children’s Piano Pieces, op. 35, no. 6, “Siciliana” (1920). The first nine measures (approx. 0:00–0:25) use the D Dorian scale (D white-key scale). Later (approx. 0:36–1:20) the music shifts to D Lydian (D E F# G# A B C#, a rotation of A major), with an occasional non-scale note. • Béla Bartók (1881–1945), Mikrokosmos (1926, 1932–39): “In Dorian Mode” (volume 1, no. 32) (D white-key scale, except for the F# in the last measure) “In Phrygian Mode” (volume 1, no. 34) (E white-key scale) “In Lydian Mode” (volume 2, no. 37) (F white-key scale) “In Mixolydian Mode” (volume 2, no.
    [Show full text]
  • RBM 28-2 Miolo.Indd
    “Ad dissonantiam per consonantiam”: the scope and limits of Darius Milhaud´s system of “Polytonalité harmonique”: the immanent and poietic levels (Part 1)* Manoel Aranha Corrêa do Lago** Abstract A frequent feature in early twentieth-century music, which gained enormous impulse from Stravinsky´s introduction of complex polyharmonies in the Rite of Spring, has been the utilization of “dissonant” harmonic aggregates, presenting the peculiarity of being decomposable into traditional consonant units, such as perfect triads and “dominant 7th” chords. In a 1923 text, Darius Milhaud attempted to provide both arationale and a taxonomy for these “new chords” through a system of “harmonic polytonality”. It will be argued along this paper that Milhaud´s approach would be particularly enriched if seen, on the one hand, as a method for generating a particular “family” of unordered pitch-class sets, which are found not only in Stravinsky´s fase russe works but also among as different composers as Ravel, Ives, Villa-Lobos Britten or Messiaen; and, on the other hand, in the perspective of Molino & Nattiez´s tripartition theory. The first part of this article discusses the “immanent” and “poietic” levels. Keywords Harmonic polytonality – polyharmony – set theory – tripartition – Carnatic modes – Darius Milhaud – Igor Stravinsky. Resumo A partir da Sagração da Primavera de Igor Stravinsky, tornou-se frequente na música do início do século XX a utilização de poliharmonias complexas que, apesar de seu efeito dissonante, apresentam a peculiaridade de serem redutíveis à superposição de acordes consonantes tradicionais, como tríades e “acordes de 7ª de dominante”. Em artigo datado de 1923, Darius Milhaud tentou fornecer uma rationale e uma taxonomia para esses “novos acordes” por um sistema de “politonalidade harmônica”.
    [Show full text]
  • Alfredo Casella and L'accademia Chigiana Senese
    US-China Foreign Language, December 2015, Vol. 13, No. 12, 910-919 doi:10.17265/1539-8080/2015.12.010 D DAVID PUBLISHING Alfredo Casella and L’Accademia Chigiana Senese Anita Piscazzi Università degli Studi “Aldo Moro” di Bari, Bari, Italy This essay analyses the cooperation between Alfredo Casella, a charismatic critic, composer, and pianist of the 20th century and the Accademia Musicale Chigiana of Siena. During this cooperation, Casella became a close collaborator and musical advisor to Count Guido Chigi Saracini, the founder and patron of the Accademia, where Casella had regularly taught piano lessons and held conducting courses ever since its foundation. Moreover, the essay will discuss the Settimana Musicale Senese festival, Casella’s own brainchild, which was created in 1939 and entrusted to the artistic direction of the Turin composer. Amongst the merits of the festival there was the rediscovery and revaluation of the music of outstanding composers such as Antonio Vivaldi, Scarlatti, Pergolesi, Galuppi, Caldara, Salieri, whose production was virtually unknown at that time. Finally, the essay will analyse Casella’s enormous contribution to the human arts, which he accomplished by combining musical activities with the interest and commitment to literature and plastic art. Proof of such devoted effort is the Ars Nova journal, which Casella himself established and tirelessly improved through the years. Keywords: music academy, music festival, music and literature journal, revaluation of works and artists, arts Introduction A charismatic critic, composer, and pianist, Alfredo Casella and his monumental cooperation with the Accademia Musicale Chigiana of Siena have totally reshaped the Italian musical landscape.
    [Show full text]
  • Proquest Dissertations
    Piano music in Italy at the turn of the twentieth century: Alfredo Casella and Gian Francesco Malipiero Item Type text; Dissertation-Reproduction (electronic) Authors Perry, Margaret C. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 29/09/2021 02:41:20 Link to Item http://hdl.handle.net/10150/280046 INFORMATION TO USERS This manuscript has been reproduced the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author dkJ not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indrcate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing f^ left to right in equal sectkins with small overiaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6' x 9* black and white photographk: prints are available for any photographs or illustrations appearing in this copy for an addittonal charge.
    [Show full text]
  • Alfredo Casella and Giovanni Salviucci. the Story of a Friendship Told Through Archival Documents
    Alfredo Casella and Giovanni Salviucci. The Story of a Friendship Told Through Archival Documents Angela Carone Fondazione Giorgio Cini, Venezia 2017 marks the eightieth anniversary of Giovanni Salviucci’s death and also the seventieth anniversary of Alfredo Casella’s demise. Although the two were only friends for a short time, their relationship was based on an enduring mutual respect. This friendship was cut short by an unfortunate turn of events: on 4 September 1937, before he reached thirty, Giovanni Salviucci contracted and died from galloping pulmonary consumption. The circumstances of their first meeting have to do with both Salviucci’s private life and the artistic life of the composer from Turin. From the 1920s onwards Casella was in touch with Luigi Parpagliolo, writer, naturalist and director of the Ministry of Public Education’s Department of Antiquities and Fine Arts. His daughter Ida was one of Casella’s piano students and on 19 November 1932 she and Salviucci got married. Both father and daughter were certainly influential in bringing the two composers together.1 It is also just as likely that Salviucci may have got to know Casella while he was studying composition with Ernesto Boezi at the Santa Cecilia Conservatory. Casella had started to give piano master classes at Rome’s Santa Cecilia Academy in 1932, after having taught pianoforte until 1922 at Rome Conservatory. After Salviucci 31 ARCHIVAL NOTES Sources and Research from the Institute of Music, No. 2 (2017) © Fondazione Giorgio Cini, Venezia ISSN 2499–832X | ISBN 9788896445167 ANGELA CARONE gained his diploma in composition in 1932, it was almost a foregone conclusion that he would decide to further his counterpoint studies with Casella.2 In fact, Casella was well known on the local Roman (and international) scenes of the time, also because his intense artistic activity, as conductor, pianist, concert organizer and essayist, made him one of the leading figures in the music world.
    [Show full text]