By Raymond Fearn
Luigi Dallapiccola (1904-1975) was once essentially the most very important Italian composers of the 20th century. in addition to writing numerous operas, he composed a number of works within which the human voice, no matter if in solo or in refrain, performs a massive function. Dallapiccola additionally set texts via writers as varied as James Joyce, Salvatore Quasimodo, Antonio Machado, Goethe and Heine. This booklet is the 1st in English to house Dallapiccola as a complete, from the 1st, hesitant vocal compositions of his scholar years as much as the works of his final decade, within which Italian lyricism is mixed with nice formal rigor. the writer means that Dallapiccola could be understood not just as an influential determine within the post-war advancements of Italian track, but in addition as one that renewed and revitalized the older traditions of Italian track.
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Extra info for The Music of Luigi Dallapiccola (Eastman Studies in Music)
25 One can detect echoes here of the note Schoenberg had written in 1924 as a preface to the score of Webern’s Six Bagatelles for string quartet (“to express a novel in a single gesture, a joy in a breath—such concentration can only be present in proportion to the absence of self-pity”), and this suggests that Dallapiccola might possibly have seen the score of the Six Bagatelles by this point. The influence of Webern appeared in Dallapiccola’s music only in a much later period (specifically, after the only personal meeting he had with Webern in March 1942).
11). 11. “Coro delle Malmaritate,” mm. 57–60. ” These are passages in which the visual aspect of the music, or some element of its musical shaping, is related to the meaning of the text at that particular point. Dallapiccola later wrote: Inheritances from the Baroque are many, in this First Series. I think one may truly and properly speak of ideograms in the passage “levarci a mattutini” [to bestir ourselves at matins], which, with its swinging motion, discreetly suggests that of a bell in the “Chorus of Unhappily Married Women”; moreover, certain word emphases designed to give power to the significance of the word, or one aspect of it, are of undoubted Baroque origin.
Coro dei lanzi briachi,” opening. 35 The influence of Berg can be detected in the chromatic writing, as well as the inclusion in the orchestral ensemble of a saxophone, an instrument that would play an important part in Dallapiccola’s first opera, Volo di notte, composed just over a year later. Furthermore, the choral writing incorporates a highly varied use of vocal gestures in a Bergian manner: canto parlato, murmured sounds (mormorato), slightly intoned (poco intonato), singing a boccha chiusa, and completely timbre-less whispering (sussurrato e assolutamente senza timbro), which carries only rhythmic indications for the choral voices.