Luigi Dallapiccola Research Articles

Octatonicism inLuigiDallapiccola'sTwelve‐NoteMusic

ABSTRACTThis survey addresses perhaps the least‐known aspect of Luigi Dallapiccola's twelve‐note music, namely the composer's preference for octatonic collections. Part I summarises the different arrangements of octatonic hexachords that are possible within a twelve‐note context. Parts II–IV then examine some of the octatonic characteristics which recur across a number of specific works, several of which have not previously been the subject of critical attention. Octatonicism is thereby revealed as a consistent feature of Dallapiccola's harmonic language that runs throughout his twelve‐note canon.

The Music of Luigi Dallapiccola by Raymond Fearn. University of Rochester Press Eastman Studies in Music, Volume 23. £65.00.

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.

The Music of Luigi Dallapiccola (review)

Music of Luigi Dallapiccola. By Raymond Fearn. (Eastman Studies in Music.) Rochester, NY: University of Rochester Press, 2003. [xviii, 303 p. ISBN 1-58046-OV8-X. $90.] Music examples, list of compositions, bibliography, index. English readers have long awaited a definitive book on the life and works of Luigi Dallapiccola. While American and British writers have produced a number of important articles and essays and a handful of unpublished doctoral dissertations on specific works from Dallapiccola's oeuvre, there is to date neither a full-scale biographical study nor a critical examination of his compositional output. Raymond Fearn seeks to fill this serious gap for English readers of Iwenticth-century music history by providing a study of the complete works of Dallapiccola documented with information about their historical context. book complements Dietrich Kamper's study of twenty years ago (Gefangenschaft und Freiheil: Leben und Werk des Komponisten Luigi Dallapiccola [Koln: Gitarre + Laute Verlag, 1984]) and Mario Ruffini's recent sourcebook (L'opera di Luigi Dallapiccola: Catalogo Ragionato [Milan: Edizioni Suvini Zerboni, 2002]). real strength of Fearn's book is found in its historical and biographical side, providing the reader with much information and detail that has never been made available in print. Especially in the first chapter, the author provides a wealth of information about Dallapiccola's musical training and background and aspects of his musical life and literary activity in Italy prior to the Second World War. book also includes very full discussions of Dallapiccola's literary sources and the role that Laura Dallapiccola played in helping him to make judicious textual choices. Fearn has consulted a wide range of both primary and secondary source materials: sketches, letters, notebooks, and diaries from the archival collection in Florence, Italy; writings of and consultation with specialists; and interviews with members of the Dallapiccola family. Included is an accurate listing of the composer's published compositions and writings on music, a good selective list of secondary literature on Dallapiccola, and a substantial listing of current secondary literature on twelve-tone music in general. book is organized under six chronologically ordered headings: The Beginnings (1904-1938); Self-Exile and Discovery (1939-1945); Towards the Light of Freedom (1945-1948); The Serial Idea (1948-1953); Text and Symbol (1954-1964); and Ulysses, Wanderer and Discoverer (1965-1975). Whereas these titles are useful in identifying thematic elements that Fearn wishes to explore in the book, the chronological divisions thus established separate compositional groups that were conceived together. In particular, the constellation of works that include the piano set Quaderno musicale di Annalibera (1951-52), the Vanazioni per Orchestra (1954), and the symphonic choral work Canti di liberazione (1951-55), all based upon the same tone row, are discussed in separate chapters without reference to mutual influences between them and the place that such mutual influence played in Dallapiccola's development as a composer of large-scale serial works. There is also an inconsistency in the purpose of the individual chapter titles when they also serve as guides to the composer's chronology. Is the reader to infer that Dallapiccola's compositional procedure varied between nonreferential structuralism (The Serial Idea) and poetic conception (Towards the Light of Freedom) in different periods of his life? chronological approach followed in this text would be better served with chapter divisions and titles that reflect musical stylistic changes, probably with a break before Liriche greche (begun in 1942), the first completely serial work; a second break after Canti di liberazione (1955), when the Quaderno/Variazioni/Canti group was completed; while retaining the final break in 1964. …

The music of Luigi Dallapiccola

Luigi Dallapiccola (1904-1975) was one of the most important Italian composers of the twentieth century. As well as writing several operas, he composed a large number of works in which the human voice, whether in solo or in chorus, plays an important role. Dallapiccola also set texts by writers as diverse as James Joyce, Salvatore Quasimodo, Antonio Machado, Goethe, and Heine. This book is the first in English to deal with Dallapiccola as a whole, from the first, hesitant vocal compositions of his student years up to the works of his last decade, in which Italian lyricism is combined with great formal rigor. The author suggests that Dallapiccola should be understood not only as an influential figure in the post-war developments of Italian music, but also as one who renewed and revitalized the older traditions of Italian music. Raymond Fearn is Professor of Music, Keele University.

Homère et le mélodrame

L'argomento di questa relazione sono i lavori musicali derivati dai poemi omerici. La guerra di Troia non ha influenzato un numéro eccessivo di opère : se si eccettuano la versione comica di Jacques Offenbach (La belle Hélène, 1864) e la monumentale trascrizione dell'Eneide virgiliana composta da Hector Berlioz negli anni 1856-8 (Les Troyens, 1856-8, rappresentati per la prima volta soltanto nel 1890), si puô giusto citare il King Priam (1962) del compositore inglese Michael Tippett. Dall'altra parte, il viaggio di Ulisse ha invece dato origine a un'incredibile quantità di versioni operistiche : si va da Claudio Monteverdi (II ritorno di Ulisse in patria, 1641) a Luciano Berio (Outis, 1995), attraverso musicisti come Domenico Cimarosa (Penelope, 1794), Charles Gounod (autore delle musiche di scena dell'Ulysse di Ponsard, 1852), Gabriel Fauré (Pénélope, 1913), Rolf Liebermann (Penelope, 1954) e Luigi Dallapiccola (Ulisse, 1968).

Marking time

In the following article, I will look at ways in which Luigi Nono brings structure to, or as it were, marks time; during this investigation I shall make reference to some of the theories as postulated by Jonathan D. Kramer1 Jonathan D Kramer The Time of Music, published by Schirmer Books, New York (shall be cited henceforth as JK) with respect to the definition of certain types or qualities of musical time. I will also look at the various methods of approach, adopted by Nono to address the postmodern, compositional formal dialectic of the coupling of structural fixity with openness, bringing us a glimpse of yet another dimension to the idea of the mobile form. My discussion will be carried out with reference to the following works, which in the overall body of Nono's artistic legacy, trace the transition from his mid to late periods:…sofferte onde serene…; Con Luigi Dallapiccola and A Pierre. Dell'azzurro silenzio, inquietum (a più cori).

Between tradition and avant‐garde: The music of Luigi Dallapiccola

(1997). Between tradition and avant‐garde: The music of Luigi Dallapiccola. The European Legacy: Vol. 2, Fourth International Conference of the International Society for the Study of European Ideas, pp. 86-91.

Those Magnificent Men in their flying machines: The ideology of luigi dallapiccola's volo di notte

(1997). Those Magnificent Men in their flying machines: The ideology of luigi dallapiccola's volo di notte. Journal of Musicological Research: Vol. 16, No. 4, pp. 283-299.

THE LUIGI DALLAPICCOLA COLLECTION

THE LUIGI DALLAPICCOLA COLLECTION Get access Gloria Manghetti Gloria Manghetti Director Archivio Contemporaneo ‘A. Bonsanti’Borgo Tegolaio 7. 50125 Firenze, Italy. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 75, Issue 1, February 1994, Pages 154-b–155, https://doi.org/10.1093/ml/75.1.154-b Published: 01 February 1994

Dušan Stular. Ob devetdesetem rojstnem dnevu

Dušan Stular. Ob devetdesetem rojstnem dnevu

A Proliferation of Canons II: Luigi Dallapiccola'sGoethe Lieder #6

Abstract The sixth song of Dallapiccola's cycle The Goethe Lieder represents a striking example of that composer's ability to fashion meticulously a complex network of relationships through the simplest of means. This analysis complements an earlier study of the second song of the cyle (A Proliferation of Canons: Luigi Dallapiccola's Goethe Lieder #2”, Perspectives of New Music, Spring‐Summer, 1985) with which the sixth must be paired. Together, these analyses reveal, in microcosm, many formal procedures which constitute the foundation of the entire cycle.

Twelve-Tone Polarity in Late Works of Luigi Dallapiccola

The status of Luigi Dallapiccola in the history of the twelve-tone technique would be assured solely on the basis of his pioneering achievement in introducing the system to Italy and his influence on the younger generation of Italian composers. Three teaching appointments in the United States during the 1950's and 60's as well as numerous concert and lecture tours around the world have confirmed Dallapiccola's international reputation. Despite only brief and sporadic contacts with the masters of the Viennese school, Dallapiccola, over a span of more than thirty years, successfully adopted the twelve-tone system, forging a highly personal style that underwent continual evolution. Beginning with the tentative incorporation of tone rows in the early works of the 1940's, followed by the strict application of twelve-tone procedures in the 1950's and finally the consummate mastery of structure and detail in the works of the 1960's and 70's, Dallapiccola eminently proved the flexibility of the twelve-tone system. Although several writers have addressed Dallapiccola's twelve-tone works of the 1940's and 50's, little of an analytical nature has surfaced regarding the late works.' The present study, in seeking to demonstrate the structural rigor of these pieces, examines one aspect of compositional technique in excerpts drawn from Dallapiccola's late works-excerpts that illustrate some of this composer's unique solutions to the organization of detail in twelve-tone music.

A Proliferation of Canons: Luigi Dallapiccola's "Goethe Lieder No. 2"

A Proliferation of Canons: Luigi Dallapiccola's "Goethe Lieder No. 2"

Review: Parole e musica, by Luigi Dallapiccola and Fiamma Nicolodi

Book Review| April 01 1982 Review: Parole e musica, by Luigi Dallapiccola and Fiamma Nicolodi Parole e musicaLuigi DallapiccolaFiamma Nicolodi Michael Eckert Michael Eckert Search for other works by this author on: This Site PubMed Google Scholar Journal of Musicology (1982) 1 (2): 243–249. https://doi.org/10.2307/763599 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Michael Eckert; Review: Parole e musica, by Luigi Dallapiccola and Fiamma Nicolodi. Journal of Musicology 1 April 1982; 1 (2): 243–249. doi: https://doi.org/10.2307/763599 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of Musicology Search This content is only available via PDF. Copyright 1982 Imperial Printing Company, Inc. Article PDF first page preview Close Modal You do not currently have access to this content.

REVIEWS OF MUSIC

Journal Article REVIEWS OF MUSIC Get access Luigi Dallapiccola, Three Questions with two Answers. Score (Siivini Zerboni, Milan, 1977, 1.4,500.) ROSEMARY BROWN ROSEMARY BROWN Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 60, Issue 2, April 1979, Pages 232–233, https://doi.org/10.1093/ml/60.2.232 Published: 01 April 1979

A Footnote to ‘Dallapiccola and the Organ’

Rudy Shackleford has pointed out that in my (English) monograph Luigi Dallapiccola, published in 1957, I gave two different forms of the series on which Luigi Dallapiccola's Quaderno Musicale di Annalibera is based: a first, ‘erroneous’ form (quoted in Shackleford's Example Ia), and a second one, included in the ‘arc of melody’ in piece No. 6 of the Quaderno, ‘Fregi’. This second form, quoted in Shackelford's Ex. No. Ib (which is obviously the ‘right’ one) differs from the first in the placing of two notes — G and A. Shackleford's remark requires some clarification, not so much for personal reasons as for its bearing on the very nature of the 12-note method and serial writing.

Luigi Dallapiccola. The Complete Works: a catalogue

This catalogue is designed to set out the basic information about every piece of music, published or unpublished, which Luigi Dallapiccola is known to have written, arranged or edited. The order is chronological, and date of completion, rather than commencement, is the determining factor.

Dallapiccola: A Programme-Planner's Guide

A catalogue raisonnée of the works of Luigi Dallapiccola is planned for the next issue of TEMPO, as a tribute to the memory of the Italian master a year after his death. The following instrumentation-chart is a preliminary measure designed to elucidate the practical problems of mounting performances of his vocal and non-vocal chamber music (from solo instrument to chamber orchestra—here defined as small orchestra without full string body).

Dallapiccola and the Organ

Early in the Summer of 1969, having just completed an organ transcription of Quaderno Musicale di Annalibera (‘Musical Notebook of Annalibera’) by Luigi Dallapiccola, I wrote to the composer—who was then in residence at the Dartmouth Congregation of the Arts in Hanover, New Hampshire—describing my work and seeking his advice for revisions. His reply, written in English and dated 9 July 1969, stated in part:It is very interesting to know that you saw some possibilities of an organ transcription of the Quaderno Musicale di Annalibera, but since I do not play the organ it would be very difficult for me to judge the real value and importance of your transcription.

Tributes to Dallapiccola

I first met Luigi Dallapiccola in 1946. The annual Festival of the ISCM—lapsed during the war—took place in London that year, giving an opportunity of renewing old acquaintances and meeting new colleagues.My first sight of Dallapiccola—no one, not even his wife, Laura, ever calls him Luigi—was of a tiny figure of great vitality and dignity on which was poised a large, noble head (then black-haired) tilted at a strange angle when looking up into the faces of those he was speaking with. The speech was always accompanied by many gestures from his large, expressive hands.