PIANO MUSIC I N ITALY DURING THE FASCIST ERA

by
KARIN MARIA DI BELLA
.Mus., The U n i v e r s i t y o f W e s t e r n O n t a r i o , 1994
Mus.,
W a s h i n g t o n U n i v e r s i t y i n S t . L o u i s , 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 o f Music)
We a c c e p t t h i s t h e s i s as c o n f o r m i n g
tp^-fre-^required s t a n d a r d

THE UNIVERSITY OF B R I T I S H COLUMBIA

J a n u a r y 2002
Karin

Maria Di B e l l a ,

2002

In

presenting

this

degree at the

thesis

in

University of

partial

fulfilment

of

of

department

this
or

thesis for
by

his

or

requirements

British Columbia, I agree that the

freely available for reference and study. I further

copying

the

representatives.

an advanced

Library shall make it

agree that permission for extensive

scholarly purposes may be

her

for

It

is

granted

by the

understood

that

head of
copying

my
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 I t a l i a n instrumental

( s p e c i f i c a l l y piano
the

in

m u s i c ) d u r i n g t h e two d e c a d e s

two W o r l d Wars, t h e p e r i o d o f I t a l i a n

Mussolini's rule.
that country,

in

sorely lacking.

t h i s need and began t o e f f e c t

Most o f t h e s e

composers

the

fascist

a n d i t s c u l t u r e h a d an e f f e c t on t h e d e v e l o p m e n t
Were t h e r e

b u r e a u c r a t i c e q u i v a l e n t s t o those
the world

censorship?

of art?

What was

Did the f a s c i s t

w h i c h c a n be l a b e l l e d

"fascist"?

chapter

sanctioned
of

by t h e

Nazis

musical

regime i n f l u e n c e the music of

the proper context

In the f i r s t

Italian

the extent

the composers w r i t i n g under i t ?

explored,

success

a r e n o t w e l l known t o

i s , t o what e x t e n t

of music d u r i n g t h i s p e r i o d .

questions,

changes

music p u b l i c today.

The p r e s s i n g q u e s t i o n
government

under

A number o f

t h e i n s t r u m e n t a l m u s i c s c e n e , some w i t h more

the g e n e r a l

in

fascism

i n s t r u m e n t a l m u s i c , e s p e c i a l l y an u p - t o -

recognized

than others.

between

A f t e r two c e n t u r i e s o f o p e r a d o m i n a t i o n

d a t e b r a n d o f i t , was
composers

music

Is there a musical
In order

must be

style

t o answer

these

presented.

the h i s t o r y of fascism i s

f o l l o w e d by a g e n e r a l

survey

o f music and i t s

p a r t i c u l a r d e v e l o p m e n t and i n f l u e n c e s d u r i n g t h e f i r s t
of the t w e n t i e t h century.
explore

The r e m a i n i n g

chapters

the c o n t r i b u t i o n s o f the major composers

active during

fascist

half

(3-8)
i n Italy

r u l e , w i t h s p e c i a l e m p h a s i s on t h e

p i a n o works of these composers. Chapter

Conclusions.
entire

9 presents

Works f o r a n a l y s i s w e r e c h o s e n f r o m

p e r i o d o f 1919

t o 1944,

and

represent

the

different

c o m p o s i t i o n a l camps, f r o m t h e c o n s e r v a t i v e s ( R e s p i g h i
Pizzetti)

to the p r o g r e s s i v e s ( C a s e l l a

older generation
(Dallapiccola

and

(Castelnuovo-Tedesco).
works, sources

and M a l i p i e r o ) ,

( t h e 1880's g e n e r a t i o n )
Petrassi),

and one

and

to the

Jewish

the

younger

study

A s i d e from the a n a l y s i s of

the

f o r t h e s t u d y w e r e b o o k s , a r t i c l e s , and

t h e s e s i n E n g l i s h and I t a l i a n .
R e s u l t s o f t h e s t u d y r e v e a l t h e r e t o be no
effect
its

direct

o f f a s c i s t p o l i c i e s on t h e m u s i c o f t h e p e r i o d unde

rule.

stylistic

Not

o n l y was

censorship

t h e r e no c o h e r e n t

( a p a r t f r o m r a c i a l b a n s on

c o m p o s e r s b e g i n n i n g i n 1938,
consequently,

resulting

historical position.

but,

a f a s c i s t musical

nor s p e c i f i c c o m p o s i t i o n a l t r a i t s .

peculiar

Jewish

r e g a r d l e s s of s t y l e ) ,

t h e r e does not e x i s t

rather independently,

b a s i s of

from

The

music

evolved

I t a l i a n music's

style

TABLE OF

CONTENTS

Abstract

i i

Table of Contents

iv

Preface

vi

Acknowledgments

ix

Dedication

xi

Chapter I

A Short H i s t o r y of I t a l i a n

Chapter I I

The M u s i c a l S c e n e i n I t a l y d u r i n g t h e F i r s t
Half of the Twentieth Century
L a Generazione
dell'Ottanta
Stylistic Traits:
Neoclassicism, Gregorian
Chant,
"Dannunzianesimo"
The E f f e c t s o f F a s c i s m on C u l t u r e a n d M u s i c

Chapter I I I

C h a p t e r IV

Fascism

1
8
11
19
22

Alfredo Casella
The F i r s t P e r i o d :
t o 1913
The S e c o n d P e r i o d :
1913-1920
When i n Rome . . .
The Societ di Musica
Moderna a n d M u s i c
d u r i n g t h e War
The T h i r d P e r i o d :
1920-1944
The Corporazione
d e l l e Nuove Musiche
C a s e l l a ' s Involvement w i t h Fascism
P i a n o C o m p o s i t i o n s o f t h e '30s a n d '40s
Due Ricercari
sul nome "B-A-C-H" (1932)
I . Funbre
II. Ostinato

33
34
37
41
43

Gian Francesco M a l i p i e r o
Compositional
Style
F i r s t Period:
t o 1920
Second P e r i o d :
t h e 1920s
I l l u s t r a t i o n of the Second P e r i o d :
Cavalcate
I.
Rcalcitrante (Somaro)
II.
Dondolante (Camello)
III.
Focoso ( D e s t r i e r o )

80
84
89
92
94

45
51
54
58
61
63
69

97
104
107

Chapter V

Chapter VI

Chapter VII

Third Period:
1930s a n d l a t e r
Approach t o the Piano
M a l i p i e r o and C a s e l l a
M a l i p i e r o ' s Involvement w i t h Fascism

116
118
119
121

La

124

Generazione
dell'Ottanta:
The C o n s e r v a t i v e s
Ildebrando P i z z e t t i
P i z z e t t i ' s Piano Music
P i z z e t t i ' s Involvement w i t h Fascism
Ottorino Respighi
Tre preludi
sopra mlodie gregoriane
I.
Molto lento
II.
Tempestoso
R e s p i g h i ' s Involvement w i t h Fascism

124
128
133
135
142
143
152
162

The

163

Next G e n e r a t i o n : G o f f r e d o P e t r a s s i
and L u i g i D a l l a p i c c o l a
Goffredo Petrassi
P e t r a s s i ' s Involvement w i t h Fascism
Luigi Dallapiccola
Compositional Style
Music f o r Solo Piano
Sonatina
Canonica
I.
A l l e g r o comodo
IV. A l l a m a r c i a ; moderato

163
171
175
180
187
18 9
190
199

Mario Castelnuovo-Tedesco
Style
P i a n o Works
P i e d i g r o t t a 1924, Rapsodia
I.
Tarantella scura

210
212
214
216
216

II.
Chapter V I I I

Voce l u n t a n a

Conclusion

Bibliography
Appendix
Appendix

A
B

Napoletana

221
230
23 6

R e c i t a l Programs
Recordings

24 6
2 55

PREFACE

The c o n n e c t i o n s b e t w e e n p o l i t i c s a n d c u l t u r a l

life

h a v e become a n i m p o r t a n t t o p i c o f r e s e a r c h i n r e c e n t
In p a r t i c u l a r ,

theinfluence of d i c t a t o r i a l

1930s a n d '40s o n v a r i o u s a s p e c t s o f l i f e ,
cultural

regimes i n t h e
especially

issues, has generated a p r o l i f e r a t i o n

S l o w l y t h e m u s i c w o r l d i s g r a s p i n g Wagner's
semitic views.

years.

of studies.

public

anti-

R e s t r i c t i o n s imposed by the S o v i e t regime

on i t s c o m p o s e r s h a v e b e e n d o c u m e n t e d , n o t a b l y i n t h e c a s e
of

Dmitri Shostakovich.

The l i n k s

between p o l i t i c s and

m u s i c a n d F r a n c e h a v e a l s o come t o l i g h t
publication.

i n a recent

P e r h a p s h i d d e n u n d e r t h e more o b v i o u s b l a n k e t o f t h e
e f f e c t s o f Nazism, I t a l i a n

f a s c i s m and i t s c u l t u r e

become a g e n e r a l s u b j e c t o f r e s e a r c h o n l y more

recently.

The o n e - h u n d r e t h a n n i v e r s a r i e s o f a n i n f l u e n t i a l
of

have

generation

c o m p o s e r s i n I t a l y b o r n i n t h e 1880s a n d w h i c h ,

c o n s e q u e n t l y , was f u l l y a c t i v e d u r i n g t h e f a s c i t
sparked i n t e r e s t

period,

i n the music o f these composers.

Italian-

language s t u d i e s o f the music between ca.1920-1945, as w e l l

'Paul Laurence Rose, Wagner, Race and Revolution
(New Haven and
London: Y a l e U n i v e r s i t y Press, 1992); Marc Weiner, Richard Wagner and
the Anti-Semitic
Imagination
(Lincoln:
U n i v e r s i t y o f Nebraska Press,
1995) .
L a u r e l E. Fay, Shostakovich:
University
Press, 2000.
2

A Life

(New York:

Oxford

Jane F. F u l c h e r , French Cultural

Politics
and Music:
from the
Dreyfus Affair
to the First
World War (New York: Oxford U n i v e r s i t y
Press, 1999) .
3

as o f t h e p o l i t i c a l

implications of the period f o r culture,

began t o appear d u r i n g t h i s decade.

The f i r s t

major

text

t o t r e a t t h i s m a t t e r c o m p r e h e n s i v e l y i s t h e s t u d y b y Fiamma
Nicolodi,

Musica

appeared i n 1984.

e musicisti

nel Ventennio

f a s c i s t a which

T h i s book f o l l o w e d a p u b l i c a t i o n

under

N i c o l o d i ' s supervision of the proceedings of a convention

s u r r o u n d i n g t h e composers o f t h e " G e n e r a t i o n o f t h e 1880s,"
p u b l i s h e d i n 1981.

An E n g l i s h - l a n g u a g e s o u r c e c o m p a r a b l e

i n s c o p e w i t h N i c o l o d i ' s work emerged

Fascist

I t a l y by Harvey Sachs.

A similar project

the world of v i s u a l a r t i n f a s c i s t
r e l e a s e d i n t h e y e a r 2000.

i n 1987, Music

I t a l y has j u s t

in
exploring

been

I n f o r m a t i o n concerning i n s t r u m e n t a l music of the

f a s c i s t p e r i o d i n I t a l y i s s c a n t , and emphasis on p i a n o
m u s i c e v e n more s o .

Many a r t i c l e s

i n addition to the

s o u r c e s m e n t i o n e d above d e a l w i t h p i a n o m u s i c o f t h e t i m e
i n l i m i t e d ways.

F u r t h e r m o r e , much o f t h e u s e f u l

i n f o r m a t i o n t o be f o u n d o n t h e t o p i c e x i s t s

i n Italian or

e v e n i n German.

Fiamma N i c o l o d i , Musica e musicisti

(Fiesole:
D i s c a n t o E d i z i o n i , 1984).
4

nel

Ventennio

fascista

Fiamma N i c o l o d i , ed., Musica italiana

del primo novecento,
generazione
dell
'80." Atti del convegno Firenze
9-10-11 maggio
(Firenze:
Leo S. O l s c h k i , 1981).
5

Harvey Sachs, Music

N i c o l s o n , 1987).
6

Politics

in Fascist

Italy

(London:

"La
1980

W e i d e n f e l d and

E m i l y Braun, Mario Sironi

and Italian
Modernism : Art and
under Fascism (Cambridge:
Cambridge U n i v e r s i t y Press, 2000).

The

present

study

i s an a t t e m p t t o o f f e r an

of p i a n o music f o r the p e r i o d between the

W o r l d War

and

the

end

of the

roughly

the y e a r s 1918-1945.

crucial

to the understanding

time,

and,

From t h e

Second i n I t a l y ,
The

political

of the

First

spanning

climate

cultural

t h e r e f o r e , much s p a c e i s g i v e n

I t a l i a n composers a c t i v e d u r i n g

s e l e c t e d w o r k s o r movements w i l l
w i t h e m p h a s i s on

be

life

is

of

to t h i s

p o s i t i o n s and

this

presented

the p o s s i b l e connections

composers' p o l i t i c a l

the

the

subject.

and

analyzed,

between

the
works

piano.

a p e r i o d of p o l i t i c a l

instrument

during

v o l a t i l i t y undoubtedly brings with i t

a set of e x p e c t a t i o n s .

Many a s s u m p t i o n s c o n c e r n i n g

fascist period exist,

p o s s i b l y , out

i n Germany.

f o l l o w i n g p a g e s a t t e m p t t o show t h a t

certain similarities,

the

s u b s t a n t i a l l y d i f f e r e n t f r o m one
a t t i t u d e s toward music.

In the

k n o w l e d g e o f t h e p e r i o d may

censorship

comparison

surrounding

The

Nazi

of

music

with information

despite

by

time,

s t y l e of t h e i r

A t o p i c s u c h as m u s i c f o r a s p e c i f i c

i n the

of the

s i z e a b l e amount o f s o l o p i a n o m u s i c composed

important

for solo

end

overview

two

and

movements

attitudes

are

another with respect

end,

i t i s hoped

open p o s s i b i l i t i e s

r e p e r t o i r e t h a t have been u n j u s t l y o v e r l o o k e d

to

that

of
or

forgotten.

ACKNOWLEDGMENTS

Many t h a n k s

t o Robert

patience, musical guidance,

for

Silverman,

more t h a n a f e w b a d . j o k e s , a n d

the suggestion of this topic.

diligence,

scrupulous scrutiny,

friendship.

f o r endless hours o f

In addition to this

To V e r a M i c z n i k , f o r h e r

intelligence,
fine

faculty, the

U n i v e r s i t y o f B r i t i s h Columbia's Main L i b r a r y
facilitated

c l a s s , and

greatly

my a c c e s s t o t h e i r r e c o r d i n g s c o l l e c t i o n ,

h o u s e s many o f t h e m u s i c a l w o r k s m e n t i o n e d i n t h i s

which

study.

I am b l e s s e d w i t h a n immense b a t t e r y o f s u p p o r t ,
i n c l u d i n g f a m i l y and c l o s e f r i e n d s ,

some o f whom w e r e l o s t

a l o n g t h e way, a n d w i t h o u t whom t h i s p r o j e c t w o u l d n o t h a v e
been p o s s i b l e .
support
thanks

Many t h a n k s

t o t h o s e whose e n t h u s i a s m a n d

h a v e l e d me t h r o u g h many a d a r k h o u r .

A special

t o Devon, who e n d u r e d - a t c l o s e q u a r t e r s - e v e r y

moment o f t h e w r i t i n g p r o c e s s , a n d managed t o k e e p me s a f e
and

s a n e a l o n g t h e way.
D u r i n g t h e w r i t i n g o f t h i s document, my m e n t o r a n d

artistic

c h a m p i o n , James R e g i n a l d W i l s o n , p a s s e d

am d e e p l y i n d e b t e d t o h i s y e a r s o f g u i d a n c e ,
and

admirable

His

t a l e n t s as a h a r p s i c h o r d i s t , p i a n i s t ,

away.

love,

a b i l i t y t o s e e t h e humour i n e v e r y

support,

situation.

teacher,

m u s i c o l o g i s t and a u t h o r have l e f t
l i v e s o f many, a n d w i l l
Finally,

a n e n d u r i n g mark i n t h e

n o t be f o r g o t t e n .

many h e a r t f e l t

thanks

t o my p a r e n t s , who h a v e

s t o o d b y me, s u p p o r t e d me i n e v e r y p o s s i b l e way,

laughed

and c r i e d w i t h me, a n d who h a v e r e m a i n e d my b i g g e s t f a n s .

To my

parents

and
To James R.
In

Wilson

memoriam

CHAPTER I
A SHORT HISTORY OF I T A L I A N FASCISM

The

h i s t o r y of I t a l y during the f i r s t

twentieth century i s extremely

unique.

To g r a s p

fully

c o m p l e x , a n d i n many ways

t h e r o l e music p l a y e d d u r i n g such

tumultuous p e r i o d i n a country's
to
The

half of the

existence i ti s imperative

understand

the complicated

context i n t o which i t f i t s .

following

i s an e x t r e m e l y

b r i e f overview

events

and t r e n d s i n I t a l y d u r i n g t h e years

o f the major
following the

F i r s t W o r l d War t o t h e e n d o f t h e S e c o n d .
The

F i r s t W o r l d War was a m a j o r d i s a s t e r

for Italy.

The

country

e n t e r e d t h e war i n 1915 on t h e s i d e o f B r i t a i n

and

France,

never expecting the b a t t l e t o l a s t very

Rather,
and

t h e r e s u l t s were u t t e r l y d e v a s t a t i n g , b o t h

economically,

c l a s s e s was l e f t
leadership.

long.
socially

and t h e I t a l i a n p o p u l a t i o n i n a l l s o c i a l
s c r a m b l i n g and s e a r c h i n g f o r e f f e c t i v e

E l e c t i o n s during the years

1919-1921 f o r t h e most p a r t

i n v o l v e d t h e two m a i n p a r t i e s o f s o c i a l i s t s

and

e a c h o f w h i c h was d i v i d e d b y m a j o r i n t e r n a l

c o n f l i c t and

dissent.
Fascista

M u s s o l i n i ' s newly-founded P a r t i t o
or National Fascist

Nazionale

P a r t y b e n e f i t t e d from

g e n e r a l g o v e r n m e n t a l d i s a r r a y , and d u r i n g t h e s e
managed t o s e c u r e

supporters

^ H a r v e y S a c h s , Music
N i c o l s o n , 1 9 8 7 ) , 8.

popolari,

this

years

from a l l l e v e l s o f c l a s s and

in Fascist

Italy

(London:

Weidenfeld

and

power.

Rather than p r o v i d i n g

party's

basic tenets,

a clear declaration ofthe

Mussolini put f o r t h fascism

needed a l t e r n a t i v e t o " s o c i a l i s t
egalitarianism."

a s a much-

and d e m o c r a t i c

R i d i n g on t h e d i s g r u n t l e d a t t i t u d e s o f a

crumbling post-war I t a l y ,

M u s s o l i n i promoted t h e g l o r y o f

the

s t a t e above a l l e l s e , and t h e c o m p l e t e s u b o r d i n a t i o n

the

individual to i t .
The

1922,

country

of

seemed r e a d y f o r s u c h d r a s t i c m e a s u r e s .

t h e government under t h e l e a d e r s h i p

By

o f L u i g i F a c t a had

completely

lost

i t s e f f e c t i v e n e s s a n d power.

that year,

M u s s o l i n i made i t known t h a t he a n d t h e F a s c i s t s

w a n t e d t o be p a r t
if

of the formation

In October of

o f a new g o v e r n m e n t , a n d

t h e i r demands were n o t met, t h e y w o u l d t a k e t h e c i t y o f

Rome b y f o r c e .

When M u s s o l i n i p r e s s e d t h e s e demands,

decided t o decree m a r t i a l law i n order

w h i c h would have a l l o w e d
squads by f o r c e .
however, K i n g

This

i n government.

final

Fascists total

to sign i t ,

strongly supported

fascist

control of the I t a l i a n

The New Columbia

Encyclopedia
1975), s.v. "Fascism."

Press,

order

s e i z u r e o f power t h a t gave M u s s o l i n i

t o as t h e " M a r c h on Rome."
2

t o stop the

the f i n a l

V i c t o r Emmanuel I I I r e f u s e d

k n o w i n g t h a t many p o l i t i c i a n s
participation

t o a r r e s t t h e band,

t h e use o f troops

When p r e s e n t e d w i t h

Facta

and t h e

government i s r e f e r r e d

F a r from t h e dramatic
(New Y o r k :

Columbia

military

University

Ibid.

A l e x a n d e r J . De G r a n d , I t a l i a n Fascism:
I t s Origins
and
Development
( L i n c o l n , London:
U n i v e r s i t y o f N e b r a s k a P r e s s , 1 9 8 2 ) , 37.

c o n q u e s t i m p l i e d by

its title,

this

" M a r c h " was

t e n s e game i n w h i c h M u s s o l i n i m a n i p u l a t e d t h e
government, t h r e a t e n i n g
demands t o be

taken s e r i o u s l y .
no m a t c h f o r t h e

capital;

the

M u s s o l i n i had
and

g r o u p had

on O c t o b e r 29,
Italy's

p o o r l y - a r m e d band

regular troops

demonstrated considerable

t h a t the

t h a t was

Benito

enough

y o u n g e s t P r i m e M i n i s t e r , a g e d 39,

years of F a s c i s t r u l e i n

Italy.

Grand d i v i d e s the

1922

d e c l i n e f r o m 1936

t h i s general

the

d i v i s i o n are

be

Thus,
as

thus beginning

21

the

Fascist

ascendancy
t o 1945.

from

Within

f u r t h e r s u b p e r i o d s and

of major events, which w i l l

and

of

installed

years of

main p e r i o d s :

and

the

d i c t a t o r s h i p i n t o two
t o 1935,

of

leadership

i n d i r e need

M u s s o l i n i was

his

surrounding

coup went o f f w i t h o u t i n c i d e n t .

1922,

A l e x a n d e r De

t o get

g a r n e r e d so much s u p p o r t ,

charisma to a population

authority,

The

crumbling

p h y s i c a l a c t i o n i n order

F a s c i s t s was
but

rather

highlights

t o u c h e d upon o n l y

briefly

here.
During the
represented

ascendant years,

a l l things

M u s s o l i n i and

to a l l people.

c o n v i n c e d t h a t h i s g e n i u s was

Mussolini

in ruling,

p e o p l e were t h e

v e h i c l e s t h o u g h w h i c h he

talent.

brilliant

He

was

regime c o u l d
leaders.

De

o f f e r the

This

Grand,

first

at convincing

the

and

I t a l i a n Fascism,

was

I t a l y and

its

would e x e r c i s e
people that

p u b l i c what t h e y r e q u i r e d

p e r i o d was

Fascists

prosperous f o r

3 6 - 3 7 ; S a c h s , Fascist

of

his
their

the

Italy,

this

9.

government, a time i n which the

being

h e a r d and

answered.

Puccini voiced

a n a t i o n w i t h t h e w o r d s , "And
he'll

rejuvenate

Representatives

the

and

support b i o l o g i c a l
core

the

regime each f o r t h e i r

racism.

r a t h e r than the

s u p r e m a c y o f an

D e p r e s s i o n y e a r s o f 1929

f u n d a m e n t a l change i n the
masses.

In the

existing

s o c i a l and

reasonable

solutions,

vehicles for fascist

the

S a c h s , Fascist
quotation.
6

De

Grand,

the Nazi

Ibid.,

114.

Ibid.,

155.

nationalism,
8

regime the

i d e a l s and

the

already-

policies.
economic

sectors,

Another c r u c i a l

Fascism,

I t a l y had

Sachs does not

49.

note the

the

effectively
event

a c q u i s i t i o n o f power u n d e r

I t a l y , 104.

The

s t a t e t o o k o v e r much o f

Until this point

Italian

ideals,

r e l a t i o n s h i p with

industrial

small businesses.

i n Germany i n 1933.

not

marked a

i t t h e n e e d f o r new

at which p o i n t

t h e s e y e a r s was

years

e c o n o m i c s t r u c t u r e s were p e r f e c t l y

n a t i o n a l b a n k i n g s y s t e m and
eradicating

own

these

race.

t o 1934

fascists'

e a r l y years of the

Depression brought with

this

"Aryan"

found

In c o n t r a s t to H i t l e r ' s
extreme

i f

peace."

f a s c i s t movement d i d

f a s c i s m was

of

Welcome t o him,

be m e n t i o n e d t h a t d u r i n g

of. M u s s o l i n i ' s

The

sentiments

b r i n g i t a b i t of

M u s s o l i n i made i t c l e a r t h a t t h e

the

the

from a l l types of i n t e r e s t groups

I t should

Mussolini?

country

themselves supporting
purpose.

n e e d s o f t h e p e o p l e were

been

during
Hitler
the

source

of

only then-current

W e s t e r n European model o f t o t a l i t a r i a n

g o v e r n m e n t s , a n d M u s s o l i n i c o u l d p r o c e e d u n c h e c k e d w i t h no
f e a r o f comparison w i t h any o t h e r

system.

such a comparison and M u s s o l i n i f e l t

own i d e a l s ,

Nazism

competition

forced
with h i s

a n d t h e I t a l i a n p u b l i c was f o r c e d t o c o m p a r e

t h e i r own s l a p - d a s h

procedures w i t h those

efficient

Many o f t h e c h a n g e s i n t h e f o l l o w i n g

years

Germans.

of the highly-

o f t h e F a s c i s t r e g i m e may be r e g a r d e d

t h i s growing challenge,
on r a c i a l

policy.

as r e s p o n s e s t o

e s p e c i a l l y i n reference

t o the stand

1 0

N a z i s e i z u r e o f power f a i l e d t o s h a k e I t a l i a n
wariness concerning r a c i a l p r e j u d i c e .
Instead, Nazi
d o c t r i n e s provoked I t a l i a n F a s c i s t s t o s t r e s s the
u n i v e r s a l i t y o f t h e i r t r a d i t i o n s , w h i c h e x c l u d e d no
p a r t o f t h e n a t i o n a l community on g r o u n d s o f b l o o d o r
physical characteristics.
1 1

A f t e r 1936 h o w e v e r , p e r h a p s u n d e r " i d e o l o g i c a l
from Germany,
Italy.
1938

12

c h a n g e s b e g a n t o be s e e n i n t h i s

The d e c i s i v e b l o w a g a i n s t

with the "Manifesto

the auspices

competition"

I t a l i a n Jews came i n J u l y

o f F a s c i s t Racism," p u b l i s h e d

of the M i n i s t r y of Popular

Culture.

p r o t e s t s a g a i n s t M u s s o l i n i ' s new r a c i a l p o l i c y
extremely

sector i n

under

Although

were

hushed, a n t i - s e m i t i s m never took r o o t

among

I t a l y ' s p o p u l a c e where Jews a c c o u n t e d o n l y f o r a b o u t one

one-thousandth of the p o p u l a t i o n .
1 0

lbid.

"ibid.,

114.

1 2

Ibid.,

115.

13

S a c h s , Fascist

Italy,

117,

187.

1 3

Although

restrictions

were p l a c e d and p o l i c i e s

c r e a t e d which had an e f f e c t on t h e

d a i l y l i v e s o f Jews, o f f i c i a l

physical persecution

o n l y d u r i n g t h e German o c c u p a t i o n
I t a l y entered
the

"Pact

of S t e e l "

an o f f i c i a l

of I t a l y

occurred

i n 1943-45.

14

p a r t n e r s h i p w i t h Germany w i t h

o f May 22, 193 9.

Germany c o n v i n c e d

the

I t a l i a n s t h a t t h e r e w e r e no p l a n s o f a n i m p e n d i n g w a r , a n d
Mussolini,

responding

t o H i t l e r ' s demands, e n t e r e d

m i l i t a r y a l l i a n c e which, i n very g e n e r a l i z e d terms,

mutual support
a conflict.

should

this

ensured

one o f i t s members become i n v o l v e d i n

A l m o s t s i x months l a t e r ,

n e u t r a l i t y after hearing

Italy declared i t s

o f a German t r e a t y w i t h t h e USSR.

I n M a r c h o f 1940, M u s s o l i n i met w i t h H i t l e r a n d
himself

into

t o be c o n v i n c e d

allowed

t h a t I t a l y w o u l d be c a p a b l e

of

e n t e r i n g t h e w a r i n a i d o f Germany, a n d p r o m i s e d t o do s o a t
t h e p r o p e r moment.

I n J u n e o f 194 0,

I t a l y d e c l a r e d war on

France.
By

1943 t h e w a r was n o t g o i n g

well,

and i n F e b r u a r y t h e

f a s c i s t g o v e r n m e n t demanded t h a t M u s s o l i n i i n f o r m H i t l e r o f
plans

t o back o u t o f t h e war.

allowed

Hitler to l i f t

Typically,

his spirits.

Mussolini

During

an

instead

official

s e s s i o n o n J u l y 2 4 t h t h e F a s c i s t G r a n d C o u n c i l demanded
Mussolini
without

that

s t e p down, w h i c h he d i d i n t h e e a r l y m o r n i n g h o u r s

much a t t e m p t a t a d e f e n s e .

immediately

a r r e s t e d and i m p r i s o n e d ,

regime crumbled.
1 4

Ibid.,

ls

De Grand,

1 5

I t a l y continued

187.
Italian

Fascism,

126-128.

M u s s o l i n i was
and w i t h i n h o u r s t h e
to fight

alongside

Germany f o r a n o t h e r t e n w e e k s , f i n a l l y
Allies

i n S e p t e m b e r 1943.

t h e war

Mussolini

fascist

Republic.

r e p u b l i c a n s t a t e c a l l e d the

S e c o n d W o r l d War

was

now

was

occupied

rescued

as t h e

leader

war,

e i t h e r f o r or a g a i n s t
concluding
finally

i n which the

i t s former

the

country

population

leader.

l i b e r a t e d i n J u n e o f 1944,

1 6

M u s s o l i n i , who

followed
had

by

been

s t a t i o n e d i n S a l e on L a k e G a r d a , f l e d M i l a n on A p r i l

the

t h e n e x t day
27th,

on t h e

the

c i t y was

at a Resistance

discovered

l i b e r a t e d by

executed.

Grand,

Italian

Fascism,

137.

clarification

on

was

1 7

Many t h a n k s t o Harvey Sachs f o r t h e

section.
De

the A l l i e s ;

road block, M u s s o l i n i

16

17

25th,

h i d i n g i n a German c o n v o y f l e e i n g n o r t h w a r d ,

2 8 t h he was

and

e v e n t s happened r e l a t i v e l y q u i c k l y .

l a r g e p a r t s of c e n t r a l I t a l y .

1945;

of

Italian Social

happening a l l around i t ,

involved i n a c i v i l

Rome was

of

A l o n g w i t h t h e p r o b l e m s o f German o c c u p a t i o n

the

The

i n s t a l l e d him

the

Italy's

I n t h e m e a n t i m e , t h e Germans had

f r o m h i s p r i s o n and

to

t w e n t y months

d u r i n g w h i c h t i m e much o f t h e c o u n t r y

by t h e N a z i s .

fought

remaining

m a r k e d t h e most d e s t r u c t i v e p e r i o d i n

history,

a new

The

surrendering

in

this

and

CHAPTER I I
THE
DURING THE

Preparing

for

MUSICAL SCENE IN

FIRST HALF OF

a Revival

THE

ITALY

TWENTIETH CENTURY

-- I t a l i a n Music

Into

the

1930s

At the t u r n of the 20th c e n t u r y the face of

m u s i c was

l a r g e l y o p e r a - d o m i n a t e d , s a t u r a t e d by

i n n e e d o f new

inspiration.

began.

and

some a t t e m p t s

Three important

figures

i n areas

other

from t h i s e a r l y p i o n e e r i n g

(1856-1909), Leone

Sinigaglia

i n c o r p o r a t e d f o l k music from the r e g i o n of

Piedmonte i n t o h i s c o m p o s i t i o n s ,

and

Giovanni

( 1 8 4 1 - 1 9 1 4 ) , a p i a n i s t whose c o m p o s i t i o n s
were w e l l - r e s p e c t e d i n I t a l y .
dedicated themselves

almost

Sgambati

f o r the

These t h r e e

instrument

composers

e n t i r e l y t o i n s t r u m e n t a l music,

u s i n g as t h e i r m o d e l s t h e German i n s t r u m e n t a l f o r m s
techniques
t h e i r new
1924)

inherited
brand

of the f i r s t

and

from e a r l i e r eras i n o r d e r t o c r e a t e

of I t a l i a n music.

i s at times

a l t h o u g h he

and

a t an i n s t r u m e n t a l r e v i v a l

p e r i o d are Giuseppe M a r t u c c i
(1868-1944) who

verismo

A t t h i s t i m e c o m p o s e r s were

r e c o g n i z i n g the need t o a s s e r t themselves

than opera,

Italian

F e r r u c c i o Busoni

c o n s i d e r e d as b e l o n g i n g t o t h i s

(1866-

group, f o r

s p e n t most o f h i s c a r e e r i n Germany, he was

to t r y to introduce students to

i n s t r u m e n t a l music,

one

Italian

as w e l l as t o c o n t e m p o r a r y c u r r e n t s i n

'Noel N i c k s o n , "A T w e n t i e t h C e n t u r y R e v i v a l :
A Brief Introduction
t o Some A s p e c t s o f t h e R i s e o f M o d e r n I t a l i a n M u s i c , "
Miscellanea
Musicologica
2 (March 1 9 6 7 ) ,
7-8.

the

German m u s i c s c e n e .

These composers l e f t

no

lasting

i n f l u e n c e , b u t t h e i r p i o n e e r i n g e f f o r t s were an i m p o r t a n t
s t e p p i n g - s t o n e f o r t h e next g e n e r a t i o n o f composers
w o u l d c a r r y on i n a new
This

of

"new d i r e c t i o n " was b e i n g s o u g h t t h r o u g h o u t t h e

r e s t o f Europe
War.

direction.

who

a s w e l l as i n I t a l y a f t e r t h e F i r s t

The movement

traditional

involved

World

" t h e same phenomenon o f r e n e w a l

and n a t i v e m u s i c a l v a l u e s i n o r d e r t o update

them t o t h e i n s t r u m e n t a l c o n q u e s t s o f German R o m a n t i c i s m a n d
of

Wagnerian

drama."

The I t a l i a n

instrumental

composers,

however, found t h e m s e l v e s f a c e d w i t h a v e r y s t r o n g ,
and i m m e n s e l y

popular opera t r a d i t i o n

decided to separate.

from which

healthy,

they

Many o f t h e c o m p o s e r s b o r n i n t h e

1880s made t h e m s e l v e s e x t r e m e l y u n p o p u l a r w i t h a u d i e n c e s i n
the

1920s b y d e l i b e r a t e l y g o i n g a g a i n s t t h i s m u s i c t h a t

was

so d e a r t o t h e p u b l i c .
Two c u r r e n t s were a t work d u r i n g t h i s p e r i o d .
first
at

was t h e c u r r e n t a s s e r t i n g t h e n e e d

t h e t u r n o f t h e c e n t u r y subsequent

opera domination.

Second,

Nickson,

"Revival,"

new

t o many d e c a d e s o f

countries,

P e t e r Y a t e s , Twentieth
Century
of the Harmonic
Era into
the Present
B o o k s , 1 9 6 7 ) , 168.
3

f o r something

the devastation a f t e r the F i r s t

W o r l d War l e f t many E u r o p e a n

The

Italy

included, i n

Music:
I t s Evolution
from the End
Era of Sound (New Y o r k :
Pantheon

7.

". . . l o s t e s s o fenomeno d i r i n n o v a m e n t o d e i v a l o r i m u s i c a l i
t r a d i z i o n a l i e indigeni per aggiornarli a i l e conquiste strumentali d e l
r o m a n t i c i s m o t e d e s c o e d e l dramma w a g n e r i a n o . . . . "
Massimo M i l a ,
Breve
s t o r i a d e l l a musica
(Torino:
E i n a u d i , 1 9 9 3 ) , 419.
4

search

of a voice d i s t i n c t

Germany.

o f t r a c e s o f t h e o l d enemy,

This post-war n a t i o n a l p r i d e , c r u c i a l

p o p u l a r i t y o f M u s s o l i n i a n d h i s new f a s c i s t
responsible

f o r t h e a t t e m p t s b y many a r t i s t s

date I t a l i a n - n e s s .
all

w i t h t h e study

compositional
the

g o v e r n m e n t , was
a t an u p - t o -

T h e s e a t t e m p t s t o o k many f o r m s , b u t t h e y

s h a r e d a common d e s i r e f o r n a t i o n a l
As

t o the

identity.

o f any p e r i o d i n m u s i c , t h e

s t y l e s o f t h e average composers o f t h e day a r e

ones t h a t g e t t h e l e a s t a t t e n t i o n .

For t h i s

reason,

t h i s p a r t i c u l a r p e r i o d o f music h i s t o r y i n I t a l y has been

largely neglected,
scant.

and sources i n E n g l i s h a r e p a r t i c u l a r l y

Few s t u d i e s e x i s t on t h e a v e r a g e c o m p o s e r s

generally,

and d e t a i l e d i n f o r m a t i o n

concerning

the s p e c i f i c

c a s e o f p i a n o m u s i c o f t h e t i m e i s e v e n more s c a r c e .
case o f piano music d u r i n g

In the

the f a s c i s t period i n Italy,

many

composers f o s t e r e d t h e a f o r e m e n t i o n e d " r e n e w a l " t h r o u g h " t h e

most i n s i g n i f i c a n t means o f r o m a n t i c d e c a d e n c e . "
composers, t h e a r r i v a l
artistic

conservatism

o f f a s c i s m -- w i t h

f o rthe period,

Ibid.

Ibid.

artists

chose,

policies.

upon a p a r t i c u l a r

rather wishing

w o r k s t h a t were " s t r o n g

The s t y l e c o m p o s e r s

t o do w i t h g o v e r n m e n t a l

M u s s o l i n i chose not t o i n s i s t
style

i t s vision of

i n t h e name o f n a t i o n a l u n i t y .-- was

t h e i r most f o r t u n a t e moment.
however, had n o t h i n g

For these

artistic

t o present

and b e a u t i f u l , " a l l f o r t h e purpose

of

promoting n a t i o n a l consciousness.

b u r e a u c r a t i c push
The

T h e r e was

never

f o r an a n t i - m o d e r n i s m movement.

opposite side of t h i s

issue i s that

the

p a t h b r e a k e r s and i n n o v a t o r s o f e a c h p e r i o d a r e t h o s e
get

t h e most a t t e n t i o n ,

any

that

t h o s e composers t h a t f o r whatever

reason, l e a v e something noteworthy behind f o r p o s t e r i t y .

The

p e r i o d r a n g i n g f r o m a r o u n d t h e end o f t h e F i r s t

War

t o t h e end o f t h e S e c o n d

in

the f i e l d

catalysts

saw

some i m p o r t a n t

of i n s t r u m e n t a l music

for this

and

developments
the

movement a r e t h e h a n d f u l o f c o m p o s e r s

b o r n i n t h e d e c a d e o f t h e 1880s,
generazione

in Italy,

World

as

"la

or "the g e n e r a t i o n of the

'80s."

They were a l l i n n o v a t i v e c o m p o s e r s a c t i v e d u r i n g t h e

period

in

dell'ottanta,"

known i n I t a l y

question.

whole

I t was

this

climate of I t a l i a n

La Generazione
The

so-called

g e n e r a t i o n t h a t would
music."

dell'Ottanta
" g e n e r a t i o n o f t h e 1880s"

f o r c e i n the t r a n s f o r m a t i o n of I t a l i a n music
century.

"change t h e

B a n d e d g e n e r a l l y by a n e e d

was

i n the 20th

f o r a d v a n c e m e n t away

from the t y r a n n y of the n i n e t e e n t h - c e n t u r y I t a l i a n

tradition,

and p a r t i c u l a r l y

the c u l t

o f verismo,

c o m p o s e r s b o r n i n t h e d e c a d e b e t w e e n 1880
responded t o the c a l l
7

Italian
The New

way.

The

and

operatic

the

1890

each

f o u r main

T i m P a r k s , "The N o n - C o n f o r m i s t , " r e v i e w o f Mario

Sironi
and
Modernism : Art and P o l i t i c s under Fascism
by E m i l y Braun, i n
York Review of Books (Sep 21, 2 0 0 0 ) , 34.

R e g i n a l d S m i t h B r i n d l e , " I t a l y , " i n Music

in the Modern Age,
ed.
S t e r n f e l d (New Y o r k , W a s h i n g t o n :
P r a e g e r P u b l i s h e r s , 1 9 7 3 ) , 293.
B

F.W.

i n h i s own

crucial

composers

of t h i s

generation are Ottorino Respighi

1936), I l d e b r a n d o P i z z e t t i
Malipiero

(1879-

(1880-1968), G i a n F r a n c e s c o

( 1 8 8 2 - 1 9 7 3 ) , and A l f r e d o C a s e l l a

R e g a r d i n g membership i n t h i s

(1883-1947).

e l i t e group of

composers,

o c c a s i o n a l l y o t h e r names have a p p e a r e d i n a d d i t i o n t o t h e s e
four:

some i n c l u d e R i c c a r d o Z a n d o n a i

their

ranks, or Giorgio Ghedini

(1883-1944)

(1892-1965).

1 0

e v e n one r e f e r e n c e t o a g r o u p c a l l e d

" J cinque

There i s
italiani"

w h i c h l e a v e s o u t C a s e l l a a l t o g e t h e r and i n c l u d e s
Renzo B o s s i and G i a n n o t t o B a s t i a n e l l i
Generally,
who

t h e f o u r main composers

1 1

among

instead

(1883-1927).

m e n t i o n e d above

a r e most r e f e r r e d t o , and f o r t h e p u r p o s e s o f

s t u d y , a r e t h e composers
piano

who

are those
this

c o n t r i b u t e d t h e most t o t h e

repertoire.
The

y e a r s f r o m 1918

t o t h e end o f t h e S e c o n d W o r l d

were v e r y p r o d u c t i v e f o r t h e s e c o m p o s e r s .
i n a common c a u s e , t h i s
a b i d e by a s t y l i s t i c

collection

unity.

Although joined

o f composers

joined i n a relatively

i n c o n t r a s t t o t h e two y o u n g e r

not

(Respighi

more c o n s e r v a t i v e

S t a n l e y S a d i e , e d . , The New Grove Dictionary

Musicians
(London:
M a c m i l l a n ; W a s h i n g t o n , D.C.:
of M u s i c , 1980), s.v. " I t a l y . "
"Italian
Century,
171.

and

approach,

( C a s e l l a and M a l i p i e r o ) ,

" R e g i n a l d Smith B r i n d l e ,
European
Music
in the Twentieth
R o u t l e d g e & Kegan P a u l , 1957),

does

Rather the group i s d i v i d e d

r o u g h l y i n t o two, w i t h t h e two o l d e r c o m p o s e r s
Pizzetti)

War

who

of Music
and
Grove's D i c t i o n a r i e s

Contemporary M u s i c , " i n
e d . Howard H a r t o g ( L o n d o n :

" G r a h a m S t r a h l e , "A S e a r c h i n g S p i r i t :
A r t Nouveau Trends i n
E a r l y T w e n t i e t h C e n t u r y I t a l i a n M u s i c , " Miscellanea
Musicologica
15
( 1 9 8 8 ) , 153.

d i s p l a y a more a v a n t - g a r d e a p p r o a c h t o c o m p o s i t i o n .
division

i n t o c o n s e r v a t i v e and

p r o g r e s s i v e camps i s f u r t h e r

i l l u s t r a t e d by t h e p u b l i c a t i o n o f "A M a n i f e s t o
Musicians

of c o n s e r v a t i v e t e n d e n c i e s ,
Pizzetti.

The

and

was

b a s i c c o n t e n t i o n was

i s b e i n g o p p o s e d and

r e p l a c e d by

" a t o n a l and

s i g n e d by many

t h a t "the

polytonal honking."

not

f e l t by

f r o m any

from the c o m p o s i t i o n

bureaucratic intervention.

time

surprising,

in Italy's

and

was

the time,

p a r t i c u l a r l y C a s e l l a and

had

and

and

style

world

no

any

or

itself,

and

Sachs e x p l a i n s t h a t
particularly

i n t e n t i o n of

the

an a t t a c k on t h e more p r o g r e s s i v e c o m p o s e r s o f
M a l i p i e r o . The

f r o m t h i s document a r e l e s s c l e a r .

j u s t as d i f f i c u l t

as most o t h e r

T h e r e was

each composer i n t e r p r e t e d

the general

manifesto

gains

been

c u l t u r a l development i s not

r e g a r d l e s s o f how

the word " r o m a n t i c i s m , "

century's

had

style,

the appearance of such a statement d u r i n g a

stressful

last

1 3

c o m p o s e r s t o c o n f o r m t o one

came d i r e c t l y

artists

and

c o m b a t t e d , " and

government p o l i c y r e g a r d i n g c o m p o s i t i o n a l

another

Italian
Romantic

among whom R e s p i g h i

romanticism

pressure

of

f o r the T r a d i t i o n of Nineteenth-Century

A r t , " w h i c h a p p e a r e d i n 1932

The

a time

The

intended

progressives

g e t t i n g t h e i r works performed

composers i n I t a l y at the t i m e ,

with

Zandonai i n f a c t g e t t i n g t h e i r compositions

Respighi

heard a l l

Roman V l a d , " S i t u a z i o n e s t o r i c a d e l l a g e n e r a z i o n e d e l l '80," i n

Musica
i t a l i a n a del primo novecento,
"La generazione
dell
'80." A t t i del
convegno
Firenze
9-10-11 maggio 1980,
Fiamma N i c o l o d i , e d . , ( F i r e n z e :
Leo S. O l s c h k i , 1 9 8 1 ) , 3.
12

Q u o t e d i n S a c h s , Music
N i c o l s o n , 1987), 24-25.
1 3

in

Fascist

Italy

(London:

Weidenfeld

and

over

the world,

and

P i z z e t t i being

I t a l y at t h i s p o i n t .
aesthetics,

remained the
time:

case,

these

same f o r a l l i n s t r u m e n t a l c o m p o s e r s o f

musical

life

new

different

in Italy

use

f o r decades.

The

The

claimed

search

f o r something

deep n e e d t o c r e a t e a

c r e a t e a new

t h a t was

specifically

of

uniquely

Italian

v o i c e f o r the music of the c o u n t r y .

s t a t e d above, each composer r e a c t e d t o t h e s e

a c c o r d a n c e w i t h h i s own
generation

i d e a s and

to

almost a l l

l a n g u a g e p r o m p t e d them t o e x p l o r e t h e m u s i c o f

of a resource

a t an

goal

t o c r e a t e an a l t e r n a t i v e

i n s t r u m e n t a l masters of c e n t u r i e s before,

with this

now

the

l e d composers t o e x p l o r e the w o r l d

i n s t r u m e n t a l music.

Italian

i n v o l v e d , had

d i s c r e p a n c i e s , however, t h e g e n e r a l

t h e p o p u l a r i t y o f I t a l i a n o p e r a w h i c h had

"Italian"

in

declared.

t h e i r m a i n o b j e c t i v e was

and

within

the d i v i s i o n

a l r e a d y a c k n o w l e d g e d by t h o s e

been p u b l i c l y
Despite

I n any

1 4

quite popular

the

t o make

i n order

to

As

1 5

needs i n

tendencies,

but

i t was

of composers t h a t a p a r t i c u l a r

I t a l i a n b r a n d o f modern i n s t r u m e n t a l m u s i c

attempt

was

approached.
The

first

strides i n t h i s d i r e c t i o n occurred

w i t h the

founding

di Musica

Moderna

"Sachs,

Fascist

by A l f r e d o C a s e l l a o f t h e

in

Socit

( I t a l i a n S o c i e t y of Modern M u s i c ) .

Italy,

1917,
Italians
This

25.

" R e g i n a l d Smith B r i n d l e , " I t a l i a n Contemporary Music,"

171;
A l f r e d o C a s e l l a , Music
in My Time:
the Memoirs
of Alfredo
Casella,
t r a n s , and e d . S p e n c e r N o r t o n (Norman:
U n i v e r s i t y o f Oklahoma P r e s s ,
1 9 5 5 ) , 140.

o r g a n i z a t i o n was

i n e x i s t e n c e f o r o n l y two y e a r s , b u t by t h e

time i t disbanded i t s o r i g i n a l

g o a l had b e e n a c h i e v e d .

p r o v i d e d a f o r u m f o r young c o m p o s e r s

of d i f f e r i n g

l a n g u a g e s and g o a l s , and c r e a t e d an i n t e r e s t

Castelnuovo-Tedesco
Zandonai.

J e w i s h composer

(1895-1968), P i z z e t t i , R e s p i g h i ,

M a l i p i e r o banded

g i v e up t h e c a u s e .

i n 1932

I n 1923 he

and

together i n the founding of the

del l e Nuove Musiche

which s u r v i v e d f o r f i v e years.
was

who

and

r e n o u n c e t h e c a u s e o f modern m u s i c i n I t a l y ,

C a s e l l a d i d n o t so e a s i l y

Corporazione

The

1 6

Mario

U n l i k e t h e s e l a s t t h r e e composers

would p u b l i c l y

musical

among m u s i c i a n s

throughout the country f o r contemporary m u s i c .

members i n c l u d e d M a l i p i e r o ,

It

to b r i n g to I t a l y the l a t e s t

( C o r p o r a t i o n o f New
The p u r p o s e o f t h i s
advancements

Pierrot

group

and

m a s t e r p i e c e s o f modern m u s i c f r o m a r o u n d E u r o p e ,
i n c l u d e d s u c h w o r k s as S c h o e n b e r g ' s

Music)

which

lunaire

S c h o e n b e r g h i m s e l f c o n d u c t e d , and S t r a v i n s k y ' s Rite

which
of

Spring.

17

The

goal,

as a l r e a d y s t a t e d , was

I t a l i a n a e s t h e t i c where t h i s

was

felt

to create

"a g e n u i n e l y

t o be m i s s i n g

w h i c h w o u l d be b a s e d on t h e g r e a t t r a d i t i o n

of

. .

."

18

Italian

i n s t r u m e n t a l music t h a t e x i s t e d b e f o r e the advent of p o p u l a r

Italian

o p e r a i n t h e 1 8 t h and 1 9 t h c e n t u r i e s .

The need f o r

s u c h a movement had b e e n e v i d e n t f o r some t i m e a l r e a d y ,

1 6

Casella,

"New
1 8

Grove,

Strahle,

Music

in My

Time,

148.

"Italy."
"A S e a r c h i n g S p i r i t , "

153.

as

the

a t t e m p t s by

indicate.

the pioneers

Alfredo

s u c h as

S g a m b a t i and

C a s e l l a remains at the

c o r n e r s t o n e of

a c t u a l l y d i d take hold,

i n f l u e n c e was

a r e s u l t of c i r c u m s t a n c e or a c t u a l genius i s
Casella's

h i s c o m p o s i t i o n s but

rather

o f t h i s new

i n h i s z e a l f o r the

early career

development

a teacher.

s u r r o u n d e d by

the

C a s e l l a s p e n t most o f

current

e x p o s u r e and
anti-romantic

i m p a c t on C a s e l l a ' s

Stravinsky,

m e n t i o n e d a b o v e , and

i n P a r i s , r e t u r n i n g t o I t a l y i n 1915

b r i n g i n g w i t h him

and

importantly,
world

so much i n

a e s t h e t i c , h i s e f f o r t s i n e s t a b l i s h i n g the'two

i n f l u e n c e as

particular

his

i m p o r t a n c e l a y not

contemporary music o r g a n i z a t i o n s
great

whether

the

movement t h a t

perhaps i r r e l e v a n t .

and

Busoni

own

to a l e s s e r extent,

able

his

and

e x p e r i e n c e of

being

European t r e n d s .
work were t h e
Schoenberg.

because of h i s exposure to the

Of

works

Parisian

t o show h i s c o u n t r y m e n what o p t i o n s

of

E v e n more

1 9

w h i c h o f f e r e d more t h a n p o p u l a r o p e r a e v e r y

he was

in his

musical

evening,

they

had

a v a i l a b l e t o them.
The
from the

e f f o r t s of the
e a r l i e r pioneers

1920s t h e r e
and

generazione

was

techniques

R o m a n t i c and
musicological

dell'ottanta differed

i n a couple of r e s p e c t s .

a definite self-conscious
(in varying

degrees) i n h e r i t e d from

C l a s s i c a l eras.
research

d e n i a l of

i n the

Furthermore,
field

In

the

forms
the

contemporaneous

of I t a l i a n p r e - C l a s s i c a l

C a s e l l a , Music
in My Time, 106.
C a s e l l a was i n f l u e n c e d by
n e a r l y e v e r y t h i n g he h e a r d .
E a r l i e r i n f l u e n c e s i n c l u d e Faur, D e b u s s y ,
R a v e l , M a h l e r and S t r a u s s .
Max G r a f , Modern Music:
Composers
and
Music
of Our Time (New Y o r k :
P h i l o s o p h i c a l L i b r a r y , 1 9 4 6 ) , 221.
1 9

m u s i c made a v a i l a b l e t o t h i s

g e n e r a t i o n works o f G i o v a n n i

G a b r i e l i and o t h e r s , and M a l i p i e r o h i m s e l f i s r e s p o n s i b l e
for the f i r s t

complete

e d i t i o n o f M o n t e v e r d i ' s w o r k s a n d an

e d i t i o n o f much o f V i v a l d i ' s m u s i c .
younger

composers something

T h e s e s t u d i e s gave t h e

new t o draw f r o m , a l l o w i n g

t o make a s t y l i s t i c b r e a k w i t h t h e German f o r m s
with t h e s a t u r a t i o n o f opera t h r i v i n g

them

as w e l l a s

i n t h e i r country,

w h i l e a t t h e same t i m e d e v e l o p i n g a n d d r a w i n g f r o m an
Italian national

language.

Composers i n v o l v e d i n t h i s
two m a j o r
all,

r e f o r m o f modern m u s i c h a d

factors to consider i n their e f f o r t s .

F i r s t of

2 0

t h e y needed t o r e d i s c o v e r and d e v e l o p t h i s

instrumental

t r a d i t i o n t h a t h a d b e e n o v e r w h e l m e d b y o p e r a f o r o v e r 150
years.

As a r e s u l t o f t h i s ,

especially

i n the early

o f t h e r e v i v a l much o f t h e m u s i c h a s an a r c h a i c

phase

flavour,

c o l o u r e d by t h e use o f n e w l y - a v a i l a b l e p r e - c l a s s i c a l

models,

as w e l l a s a s e l f - c o n s c i o u s u s e o f m o d a l i t y a n d p o l y t o n a l i t y
by many o f t h e c o m p o s e r s .

S e c o n d l y t h e y "imposed

an

a l i g n m e n t o f I t a l i a n music w i t h t h e main c u r r e n t s o f
European

music."

contemporary
including

2 1

T h i s i n v o l v e d i m p o r t i n g and a b s o r b i n g

modern t e c h n i q u e s f r o m e l s e w h e r e i n E u r o p e ,

"French impressionism, c e n t r a l

c h r o m a t i c i s m , t h e new R u s s i a n s c h o o l ,

European

and t h e v a r i o u s k i n d s

The f o l l o w i n g arguments a r e o f t e n mentioned b u t r a r e l y c i t e d ;

t h e o r i g i n a l s o u r c e i s Roman V l a d " R i f l e s s i d e l l a d o d e c a f o n i a i n
C a s e l l a , M a l i p i e r o e G h e d i n i , " La Rassegna
musicale
27 n o . 1 ( 1 9 5 7 ) , 44.
20

21

ultimi
Ibid.

". . . s i i m p o n e v a 1 ' a l l i n e a m e n t o d e l l a m u s i c a i t a l i a n a c o n
s v i l u p p i d e l 'corpus f o r m a l e ' d e l l a musica europea.
..."

of d i a t o n i c w r i t i n g
day."

of the other n a t i o n a l schools of the

I

2 2

Stylistically,

t h e h a r m o n i c l a n g u a g e o f t h e two more

a d v e n t u r o u s c o m p o s e r s , C a s e l l a a n d M a l i p i e r o , h a d b e e n on a
path

toward

preceding

extreme c h r o m a t i c i s m

1920.

With

i n the years

closely

the self-proclaimed goals stated

a b o v e , new d i r e c t i o n s b e g a n t o a p p e a r i n t h e w o r k s o f t h e s e .
composers and o t h e r s .
from c h r o m a t i c i s m

G e n e r a l l y t h e r e was a s h a r p

i n f a v o u r o f a more d i a t o n i c

there appeared t y p i c a l
like

the t a r a n t e l l a ,

various treatments

folk

idioms

such

t u r n away

language,

as dance

rhythms

p o l y p h o n i c w r i t i n g became common, a n d

of Gregorian

chant

melodies

showed up i n

some c o m p o s e r s ' w o r k s , t o name a few c h a r a c t e r i s t i c

Italy

finally

c a u g h t up w i t h t h e wave o f s e r i a l i s m

a f t e r t h e war, w i t h L u i g i

Dallapiccola's efforts.

been c o n j e c t u r e d t h a t t h i s
national traits

was a n e c e s s a r y

d e v e l o p m e n t , one t h r o u g h
before
no

sharp

only
I t has

t u r n t o n e o c l a s s i c i s m and
period i n Italy's

w h i c h i t was c r u c i a l

serialism could find

trends.

musical

to live,

i t s real place i n a country

r e c e n t i n s t r u m e n t a l p a s t t o draw u p o n .

with

2 3

Roman V l a d , " I t a l i a n M u s i c T o d a y , " i n Twentieth

Century
Music,
ed. R o l l o H. M y e r s ( L o n d o n :
C a l d e r a n d B o y a r s , 1 9 6 8 ) , 184. T h i s
a r t i c l e i s a translation of the e a r l i e r Vlad a r t i c l e i n I t a l i a n .
22

2 3

Vlad

"Riflessi

della

dodecafonia,"

48.

Stylistic

Traits:

Neoclassicism,

Gregorian

Chant,

"Dannunzianesimo"
The

wave o f n e o c l a s s i c i s m a p p e a r i n g

1920s was

certainly

a p a r t of s i m i l a r

elsewhere

i n Europe at the time.

As

i n I t a l y i n the

turns

happening

opposed t o i t s

appearance i n o t h e r c o u n t r i e s however, n e o c l a s s i c i s m i n
I t a l y had
through

a purpose to serve.

the v e h i c l e

which the great h i s t o r y of I t a l i a n music before

a d v e n t o f m e l o d r a m a c o u l d be
i n a new

T h i s s t y l e was

light.

recuperated

In c o n t r a s t w i t h a country

where t h e p o p u l a r i t y o f t h e g r e a t J.S.
consistent

and

source

of i n s p i r a t i o n ,

such

B a c h has

as

and

Popular

I t a l i a n baroque

barred entry into

audiences

pre-classical

saw

the

t h i s return to

20th-century

of the opera

decades, but

t h i s r e t u r n to the past

t h e y had

w o u l d s e r v e as a s p r i n g b o a r d

Scarlatti,

Not

known and

as M o n t e v e r d i ,

or even n i n e t e e n t h - c e n t u r y m a s t e r s such

chant

was

that
of

Italian

Vivaldi,
as

e x p l o r e d as a s o u r c e .

Many

Respighi

f o r t h e i r v o c a l or i n s t r u m e n t a l works.

That the enthusiasm

the

Italian heritage,

c o m p o s e r s , i n c l u d i n g M a l i p i e r o , P i z z e t t i , and
as s o u r c e s

at

loved for

f o r many g e n e r a t i o n s

o n l y composers such

also Gregorian

chant

pre-romantic

i s the source

P a g a n i n i were r e - c l a i m e d as p a r t o f t h e
but

Italian

m o d e l s more as a d e l i b e r a t e a t t e m p t

obliteration

composers.

Germany,

remained a

l a n g u a g e by t h e immense p o p u l a r i t y o f 1 9 t h - c e n t u r y
opera.

forward

i n I t a l y the g l o r i o u s past

o f r e n a i s s a n c e v o c a l p o l y p h o n y and
i n s t r u m e n t a l f o r m s was

brought

the

f o r the r e v i v a l of e a r l i e r masters

used

remained s t i l l

present

even i n l a t e r g e n e r a t i o n s

composers i s a testament
in

Italy's musical
A particular

to the importance

of

o f t h i s movement

history.
s t y l i s t i c development i n I t a l y

stemmed

from the i n f l u e n c e of the poet G a b r i e l e D'Annunzio,

e s p e c i a l l y d u r i n g the e a r l y stages
instrumental revival.
p r a i s e of the
his

profound
The

D ' A n n u n z i o was

I t a l i a n p a s t , and

v e r s e s and

his political

effect

Italian

a great exponent

apart from the importance

1910s

and

i n t o the

influenced a musical

W a t e r h o u s e d e s c r i b e s as

rather s u p e r f i c i a l decorativeness

"a s p e c i a l

style

The

25

two

and

The

2 4

d u r i n g the

that

First

s u i t e d t o each

i n many o f R e s p i g h i ' s

i n the o r c h e s t r a l ones, but

T r e Preludi

sopra

mlodie

Gregoriane

D'Annunzio's i n f l u e n c e reached
political

I t a l y was

impetus.

The

works,

e v i d e n t as w e l l i n
f o r piano

of

1919.

even beyond the p o e t i c

musical renaissance occurring i n

c h a m p i o n e d by t h e p o e t ,

who

became t h e d i r e c t o r

J o h n C.G. W a t e r h o u s e , "The I t a l i a n A v a n t - G a r d e a n d
T r a d i t i o n , " Tempo 68 ( S p r i n g 1 9 6 4 ) , 2 1 .
2 4

pretty,

T h e i r i n c a r n a t i o n i s e v i d e n t i n many c o m p o s e r s '

particularly

and

Italy,

s t y l e s were v e r y w e l l

w o r k s o f t h e t i m e , most r e a d i l y

the

which

o f t h i s a p p r o a c h o c c u r r e d a r o u n d t h e same t i m e

World War.
other.

i n which a v a r i e g a t e d

Debussy's p o p u l a r i t y began t o r e a c h

of

'20s.

k i n d of

c o l o u r f u l p a l e t t e serves purely h e d o n i s t i c ends."

adoption

of

i n f l u e n c e , D ' A n n u n z i o had

on m u s i c o f t h e

s t y l e of h i s verses

J o h n C.G.

of the

of

National

M a x G r a f , Modern Music:
Composers
and Music of Our Time, t r a n s .
B e a t r i c e R. M a i e r (New Y o r k :
P h i l o s o p h i c a l L i b r a r y , 1 9 4 6 ) , 220.
25

a s e r i e s o f volumes
collection,

o f e a r l y I t a l i a n music.

I C l a s s i c ! d e l l a Musica

This

Italiana

I t a l i a n M u s i c ) , was i n t r o d u c e d i n 1 9 1 7 .

26

(Classics of

During the F i r s t

W o r l d War y e a r s he g a t h e r e d a r o u n d h i m a c i r c l e o f
composers,

including

D'Annunzio's
fine

P i z z e t t i and M a l i p i e r o ,

c o n v i c t i o n t h a t t h e I t a l i a n baroque

m o d e l f o r modern m u s i c .

development

who s h a r e d

2 7

o f t h e Corporazione

w o u l d be a

He a l s o h a d a hand
d e l l e nuove

i n the

musiche

that

C a s e l l a and M a l i p i e r o formed i n 1923, w h i c h promoted i n

Italy

c o n t e m p o r a r y works

D'Annunzio's

from around Europe.

Some o f

v e r s e s t h e m s e l v e s were u s e d f o r m u s i c a l

purposes, b e i n g s e t f o r v o i c e by P i z z e t t i d u r i n g t h e y e a r s
of

t h e F i r s t W o r l d War.

U l t i m a t e l y t h e D'Annunzio

circle

had i n v i e w t h e same o b j e c t i v e s t o w a r d s w h i c h C a s e l l a a n d
o t h e r s were s t r i v i n g

i n their

rediscovery of the I t a l i a n

past.
These
the

were t h e g e n e r a l m u s i c a l i s s u e s b e i n g t a c k l e d b y

composers

o f t h e generazione

1920s a n d 1930s.
new

dell'ottanta during the

A l t h o u g h u n i t e d i n an e f f o r t

l a n g u a g e , t h e mode o f a p p r o a c h t o t h i s

unified.

As w i t h a n y p e r i o d ,

from d i f f e r e n t
time.

at creating a

e n d was f a r f r o m

each composer used

influences

s o u r c e s as t h e y s u i t e d h i s p u r p o s e s a t t h e

The r e s u l t

i s a p e r i o d i n w h i c h many i d e a s were b e i n g

attempted, r e j e c t e d o r absorbed a c c o r d i n g t o each

musical

J o h n C.G. W a t e r h o u s e , The New Grove Dictionary

of Music
and
Musicians,
2
ed. (London:
M a c m i l l a n P u b l i s h e r s L i m i t e d , 2001), s.v.
D'Annunzio, G a b r i e l e .
2 6

n d

2 7

G r a f , Modern

Music,

289.

situation.

The m a i n f a c t o r s

t h a t t h e composers o f t h i s

p e r i o d share are t h e i r i n t e r e s t
their disinterest

i n opera.

than i n g e n e r a l terms,
The

i n t h e p a s t and, e s p e c i a l l y ,

But the s i m i l a r i t i e s ,

end t h e r e .

medium o f t h e p i a n o was a p p r o a c h e d

enthusiastically

by t h e two more f o r w a r d - l o o k i n g o f t h e g r o u p ' s

(Casella

and M a l i p i e r o )

conservatives

other

members

a n d more a m b i v a l e n t l y b y t h e

( R e s p i g h i and P i z z e t t i ) .

Furthermore,

along

w i t h t h e n e e d t o r e d i s c o v e r new modes o f c o m p o s i t i o n i n t h e
field

of i n s t r u m e n t a l music

repertoire

had v e r y l i t t l e

i n general, the I t a l i a n piano

t o draw f r o m .

Busoni's

efforts

f r o m a few d e c a d e s p r i o r were i m p o r t a n t i n t h e i r own

but f o r t h e purposes
"[oscillation]

will

o f t h e new g e n e r a t i o n B u s o n i ' s

b e t w e e n German a c a d e m i c s

toward melodrama"

28

The
are

results

generally

on Culture

v e r y s t e a d f a s t and v i o l e n t

"entartet"

and

period.

Music

o f N a z i p o l i c i e s f o r German c u l t u r a l

known t o m o s t .

that d i d not f a l l

Following chapters

d e l l ' o t t a n t a i n the realm of

f o r piano solo during the f a s c i s t

of Fascism

tendency

t h e e f f o r t s by t h e f o u r main

c o m p o s e r s o f t h e generazione

The Effects

and a

was s o r e l y o u t d a t e d .

e x a m i n e more c l o s e l y

music

approach

t o p u r g i n g o f any a r t

i n l i n e with i t s ideals.

or "degenerate"

life

I n t h e 1930s t h e N a z i s t o o k a

was t h e t e r m u s e d

The

label

" t o defame

P i e r o R a t t a l i n o , "La ' g e n e r a z i o n e d e l l ' o t t a n t a ' e i l

p i a n o f o r t e , " i n Musica
i t a l i a n a del primo novecento,
358.
2 8

right,

independent t h i n k i n g ,

f r e e e x p r e s s i o n , and o f c o u r s e ,

a n y t h i n g c r e a t e d by a Jew."
book b u r n i n g s ;

three years

I n 1933 t h e r e were p u b l i c

29

l a t e r a l l a r t c r i t i c i s m was

banned t o ensure a g a i n s t d i s s e n t ;

3 0

works o f

a r t were p u t on d i s p l a y a t t h e Entartete
1937

w i t h t h e hope o f i n s p i r i n g

Kunst

"degenerate"
exhibition i n

r e v u l s i o n i n i t s viewers;

museums were p u r g e d o f a r t t h a t was e i t h e r d e s t r o y e d

or sold

a t a u c t i o n ; a n d i n 1938 t h e r e was a s i m i l a r e x h i b i t o f
Entartete

Musik

art exhibit

w h i c h was t o s e r v e t h e same p u r p o s e a s t h e

of t h e year p r i o r .

The common c h o r d a n d

t o n a l i t y were c l a i m e d t o be German, a n d a t o n a l i t y was d u b b e d

" p r o l e t a r i a n and a n a r c h i s t . "
The

N a z i s moved t h r o u g h

speed and e f f i c i e n c y .

3 1

German c u l t u r e w i t h

I n o r d e r f o r such

alarming

a sweep t o t a k e

p l a c e , t h e N a z i g o v e r n m e n t n e e d e d t o be e x t r e m e l y
and

they had a d e f i n i t e

set of c r i t e r i a ,

some

racially

b a s e d , upon w h i c h t o c o n t r o l i t s c u l t u r a l p u r g e .
more t h a n a month a f t e r H i t l e r
Ministry
installed

a n d P r o p a g a n d a was

By S e p t e m b e r t h e R e i c h

Chamber was c r e a t e d w i t h s u b d i v i s i o n s f o r p r e s s ,
theatre,

v i s u a l a r t s and l i t e r a t u r e ,

Thomas G a y d a ,
1 9 9 3 ) , 30.
29

30

of

Rule

Little

3 2

came t o power, t h e R e i c h

f o r P u b l i c Enlightenment
i n M a r c h o f 1933.

organized,

music,

a n d a f t e r November 1 s t

"And t h e B a n n e d P l a y e d On," Gramophone

70

D e G r a n d , Fascist
I t a l y and Nazi Germany:
The "Fascist"
( L o n d o n a n d New Y o r k :
R o u t l e d g e , 1 9 9 5 ) , 72.

31

Gayda,

" B a n n e d , " 30.

32

De Grand,

Fascist

I t a l y , 72.

Culture

(April
Style

any p r o f e s s i o n a l i n a n y f i e l d

needed a p e r m i t from i t s

a p p r o p r i a t e Chamber s u b d i v i s i o n i n o r d e r t o s u r v i v e .
l a w s were c l e a r a n d s t r i c t ;

t h e o p t i o n s were

The

either

adherence t o t h e laws, o r e x i l e o r imprisonment and,

eventually,

a l s o t o r t u r e and d e a t h .

Many may assume

fascist

Italy.

a similar

3 3

s i t u a t i o n t o have e x i s t e d i n

Both c o u n t r i e s indeed strove f o r a

"national" tradition,

" e x p r e s s e d as a . . . r e t u r n t o

c l a s s i c a l models and s o l i d i t y o f f o r m . "

finally
until
its

install

3 4

Mussolini d i d

a racial policy similar to Hitler's,

but not

1938. Of c o u r s e t h e b a n on J e w i s h c o m p o s e r s d i d have

effects,

and a l o n g w i t h t h e war, "openness t o t h e

i n t e r n a t i o n a l m u s i c s c e n e was s e v e r e l y c u r t a i l e d . "
s o , A l b a n B e r g ' s Wozzeck

Even

3 5

was p e r f o r m e d i n Rome a s l a t e as

1942, w h e r e a s " s u c h a t r i b u t e t o S c h o e n b e r g ' s c i r c l e

have b e e n u n t h i n k a b l e i n N a z i

Germany."

36

T h i s i s s i m p l y an e x a m p l e o f t h e p r o f o u n d
in priority

would

differences

a n d e x e c u t i o n b e t w e e n two g o v e r n m e n t s t h a t

c o e x i s t e d a n d t h a t d i d s h a r e t o some d e g r e e t h e i r
ideologies.

The d i f f e r e n c e s

i n t h e two r e g i m e s a r e f a r

g r e a t e r however, and t h e s e a r e e s p e c i a l l y e v i d e n t i n r e g a r d
t o coherent i d e o l o g y and c u l t u r a l p o l i c y .
3 3

Ibid.

3 4

I b i d . , 68.

Whereas

i t took

Thanks a l s o t o H a r v e y Sachs f o r t h e c l a r i f i c a t i o n .

Harvey Sachs, " F i d d l i n g i n F a s c i s t I t a l y :

M u s i c i a n s Responded
i n D i f f e r e n t Ways t o t h e Duce's D i c t a t e s , " Opera News 53 ( M a r c h 4,
1989), 29.
3 5

3 6

Ibid.

the

N a z i s a month t o i n s t a l l

the

f a s c i s t s e l e v e n y e a r s e v e n t o g e t one s t a r t e d .

Secretariat

a cultural ministry,

the Ministry

merely t o c o n t r o l

i n 1937, o r

I t s p u r p o s e was "no l o n g e r

t h e whole c u l t u r e

I t a l i a n p e o p l e by s u p e r v i s i n g
3 7

became

t h e p r e s s a n d e m a s c u l a t e t h e news, b u t

t o make F a s c i s t

broadcasting."

i n 1935; t h i s i n t u r n

of Popular Culture

M i n C u l P o p as i t became known.

rather

The

f o r P r e s s a n d P r o p a g a n d a was f o r m e d i n 1 9 3 3 , t o

be t r a n s f o r m e d i n t o a M i n i s t r y
finally

i t took

and s p i r i t

books, t h e a t r e ,

of the

cinema,

T h i s M i n C u l P o p was i l l - f a t e d

from t h e

s t a r t however, as i t " f a i l e d t o e s t a b l i s h f i x e d c r i t e r i a f o r
the

c e n s o r s h i p o f l i t e r a r y and s c h o l a r l y w o r k s . "

that,

b u t j u s t as M u s s o l i n i

f i n a l l y had a c u l t u r a l

u n d e r w a y , he a l l o w e d t h e M i n i s t r y
act

as a r i v a l

3 8

of National

Not o n l y
ministry

Education t o

i n i t s establishment of a d e l i b e r a t e l y

eclectic arts policy.

3 9

remained deeply d i v i d e d

A l l t h i s meant t h a t

"Fascism

over fundamental issues

such as

m o d e r n i t y v e r s u s t r a d i t i o n [and] t h e r e l a t i o n s h i p o f I t a l y
to European and American

culture."

4 0

T h i s l a c k o f c o h e r e n c e was n o t e x c l u s i v e
cultural

sphere, but rather

g o v e r n m e n t a s an e n t i t y .

3 7

Influence
38

an e x t e n s i o n o f t h e f a s c i s t

From i t s i n c e p t i o n

E l i z a b e t h W i s k e m a n n , Fascism
in I t a l y :
(London:
M a c m i l l a n , 1 9 6 9 ) , 64-65.
De Grand,

3 9

Ibid.

4 0

Ibid.

Fascist

Italy,

tothe

70.

the party

I t s Development

was

and

held together
charismatic
Rome may

by "a commitment

leadership,"

4 1

to strong

and l i t t l e

g o v e r n m e n t and

else.

The M a r c h on

e v e n h a v e t a k e n M u s s o l i n i h i m s e l f by s u r p r i s e ,

a f t e r w h i c h t i m e he and h i s f a s c i s t s
as t h e y were n e e d e d .
fundamentally

4 2

simply

At the foundation

created

policies

of t h i s

d i f f e r e n t s t y l e of r u l e from H i t l e r ' s i s

M u s s o l i n i ' s r o l e as t h e embodiment

of a l l things t o

everyone, the b e l i e f

i n h i s own power o f r u l i n g ,

need o f t h e I t a l i a n s

f o r a c h a r i s m a t i c hero f i g u r e t o l e a d

the

country

o u t o f t h e r u i n s o f p o s t - W o r l d War

b a c k t o t h e g l o r y t h a t h a d o n c e b e e n and was
rightfully

Dell'Antonio

proposes the theory

f o r a hero began w i t h t h e death o f V e r d i

t h a t V e r d i h a d become f o r I t a l i a n s
for unification,"

p u b l i c was a w a i t i n g
i n t o the twentieth
attempted t o f i l l
already

I t u r m o i l and
still

theirs.

Andrew

motivator

and t h e

4 3

that t h i s

i n 1901.

"the foremost

and t h a t

He

need
states

artistic

"the I t a l i a n

critical

a s i m i l a r heroic f i g u r e to lead the a r t s

century."

4 4

Gabriele

this void himself

D'Annunzio

f o r a while.

a famous p o e t by 1915, a n d he f a s h i o n e d

He

was

himself

into

a war h e r o b y l e a d i n g a i r - r a i d s o v e r A u s t r i a n t o w n s where
dropped l e a f l e t s

4 1

Ibid,

4 2

Ibid.

o f p r o p a g a n d a w h i c h he had composed.

"Ibid,

These

15.

" A n d r e w D e l l ' A n t o n i o , " I l divino

N o s t a l g i a i n F a s c i s t I t a l y , " Cambridge
1 9 9 6 ) , 272.
273.

he

Claudio:
M o n t e v e r d i and L y r i c
Opera Journal
8 no.3 (November

excursions

c o s t h i m an e y e a n d e a r n e d f o r h i m t h e d e v o t i o n

of

youth.

Italy's

continue

living

A f t e r t h e war, p e r h a p s i n an a t t e m p t t o

"the great

life"

and i n a v o i d a n c e o f

r e t u r n i n g t o the drudgery of the everyday world,

band o f under-armed and d i s g r u n t l e d v e t e r a n s

he l e d a

into the

Croatian

town o f Fiume, w h i c h he managed t o c o n t r o l f o r o v e r

a year.

R e s p e c t f o r h i m was s u c h t h a t no one w a n t e d t o

remove h i m f r o m h i s p o s t ,

b u t t h e dream f i n a l l y

b l o o d y b a t t l e a t C h r i s t m a s o f 1920, when t h e
troops

were g i v e n

orders

to attack.

unharmed, a n d he r e m a i n e d a g r e a t
youth.

ended w i t h a

surrounding

D'Annunzio escaped

i n f l u e n c e on I t a l y ' s

4 5

Dell'Antonio

continues:

The n e e d f o r an a r t i s t i c c h a r i s m a t i c f i g u r e h e a d (one
t h a t D ' A n n u n z i o h i m s e l f s o u g h t t o f i l l ) may w e l l have
r e s o n a t e d w i t h a s i m i l a r need f o r a p o l i t i c a l
f i g u r e h e a d which favoured f i r s t D'Annunzio's temporary
s u c c e s s i n Fiume a n d l a t e r t h e emergence o f t h e Duce.
This

t h i n k i n g goes a g a i n s t

leading Italy
t h a t he s i m p l y
qualities
favourably
the

i n t o a new e r a ,

vision of Mussolini

rather supporting

appeared a t the r i g h t time,

t h e p u b l i c needed i n a l e a d e r .

the view

e x h i b i t i n g the
H i s p r o m i s e s were

r e c e i v e d b y many who t r u l y b e l i e v e d he w o u l d be

one t o b r i n g o r d e r

living

the legendary

back i n t o t h e chaos I t a l i a n s

a f t e r t h e e n d o f t h e war.

Despite

were

t h e f a c t t h a t many

" i n f o r m a t i o n g a t h e r e d from D e l l ' A n t o n i o , 273; Wiskemann,

Fascism
in I t a l y , 5; E r n s t N o l t e , Three Faces of Fascism,
t r a n s . L e i l a Vennewitz
(New Y o r k a n d T o r o n t o :
New A m e r i c a n L i b r a r y , 1 9 6 9 ) , 198, 2 4 3 .
4 6

Dell'Antonio,

" I l divino

Claudio,"

275.

o p p o s i t i o n l e a d e r s were a s s i n a t e d , a n d t h a t t h o u s a n d s h a d
been i m p r i s o n e d o r e x i l e d f o r t h e i r o p p o s i t i o n t o t h e
regime,

t h e m a j o r i t y o f I t a l i a n s a c c e p t e d f a s c i s m a n d many

were e n t h u s i a s t i c s u p p o r t e r s o f t h e r e g i m e .
first

During the

4 7

d e c a d e o f h i s r u l e M u s s o l i n i managed t o l i v e

up t o

their expectations.
Throughout,

t h e common g o a l was a s t r o n g f e e l i n g o f

Italian nationalism.
of

music

M u s s o l i n i harbored t h i s

by p r o v i d i n g government a s s i s t a n c e f o r a s e r i e s o f

volumes o f music

of Italy's

glorious past,

D'Annunzio as e d i t o r - i n - c h i e f .
of
was

M o n t e v e r d i ' s works,
a result

installed,
in

i n the f i e l d

1933.

promoting

of t h i s

including

The f i r s t

placing
complete

headed by G i a n F r a n c e s c o

funding.

Malipiero,

Musical festivals

F l o r e n c e ' s Maggio

Musicale

were
which

began

T h e s e w o r k s a n d e v e n t s were a l l f o r t h e p u r p o s e o f
I t a l i a n music,

f o r i n s p i r i n g a young g e n e r a t i o n o f

composers, b u t not n e c e s s a r i l y f o r t h e promotion

ideology, which
In

edition

a t any r a t e remained

t h e upper

of f a s c i s t

nebulous.

echelons of musical bureaucracy,

a d m i n i s t r a t i v e p o s t s were t a k e n o v e r b y f a s c i s t p a r t y
members, a n d b y t h e b e g i n n i n g o f t h e 1 9 3 0 s , a d h e r e n c e
regime,

e i t h e r r e a l o r f e i g n e d , was e x p e c t e d .

not a t l e a s t appear
to

t h o s e who d i d .

t o support the f a s c i s t s
I n t o t h e 1930s, " F a s c i s t

c a r d s s e r v e d as meal t i c k e t s
47

Many t h a n k s

4 8

Sachs,

t o Harvey

" F i d d l i n g , " 28.

t o the

T h o s e who d i d

lost

their

P a r t y membership

for millions of I t a l i a n s . "

Sachs f o r t h i s

posts

elucidation.

4 8

F o r c o m p o s e r s t h i s meant a d h e r i n g
not

really

"generic

exist.

t o an i d e o l o g y t h a t d i d

Many a r t i s t s were a t t r a c t e d t o t h e

conservative

and n a t i o n a l a p p e a l "

o f t h e regime's

message, w h i l e a n o t h e r camp o p p o s e d t h e i n t e r f e r e n c e o f t h e
s t a t e on a n y k i n d o f i n t e l l e c t u a l p r o g r e s s .
composers began t o f a l l
progressives,
however f e l l

"very

i n t o camps o f c o n s e r v a t i v e s a n d

and m a n i f e s t o s

began t o c i r c u l a t e .

and d i d n o t o p e n l y

little

express

an o p i n i o n .

and O t t o r i n o R e s p i g h i ,

'ottanta")

Ildebrando
"Generazione

b o r n a r o u n d t h e same t i m e a s M u s s o l i n i

spent t h e g r e a t e r p a r t of t h e i r

careers

under t h e Duce s r e i g n .
1

compositional

A l l except Respighi

work t h e g o v e r n m e n t ' s o p p o r t u n i t i e s t o t h e i r

his

d i d n o t have t o e x t e n d h i m s e l f

him having

p a l a t a b l e modernism, b r i l l i a n t l y

5 0

Sachs,

" F i d d l i n g , " 29.

favours

Sachs e x p l a i n s

that

attractive orchestral

D e G r a n d , I t a l i a n Fascism:
I t s Origins
and Development
London:
U n i v e r s i t y o f Nebraska P r e s s , 1982), 143.
49

and

t o ask.

period.

r e g a r d , as

i n t e r n a t i o n a l fame was s u c h t h a t g o v e r n m e n t a l

came h i s way w i t h o u t
"his

i n this

tried

advantage,

as t h i s was t h e m a i n means o f s u r v i v a l d u r i n g t h i s
Respighi

5 0

period

the so-called

(1883),

to

cash."

c o m p o s e r s e n c o u n t e r e d most d u r i n g t h i s

(Alfredo C a s e l l a , Gian Francesco M a l i p i e r o ,

dell

There

"reaped whatever b e n e f i t s t h e

g o v e r n m e n t o f f e r e d them i n p r e s t i g e o r h a r d

Pizzetti,

their

r e a l o p p o s i t i o n " t o t h e regime by

c o m p o s e r s , a n d most s i m p l y

The

Most

i n t o a middle ground, r e t r e a t i n g i n t o

everyday l i v e s
was

Some

4 9

(Lincoln

spectrum, and t h e e t h n o c e n t r i c i t y o f h i s p o p u l a r
were j u s t what t h e r e g i m e n e e d e d t o d e m o n s t r a t e
p r o g r e s s i v i s m a n d f a s c i s m were n a t u r a l a l l i e s . "
of these
support

composers, whether t h e i r

that
For a l l

5 1

l a y honestly i n

o f t h e regime o r n o t , t h e o p p o r t u n i t i e s they

were g r a t e f u l l y r e c e i v e d .
not

loyalties

t o n e poems

have t o g a r n e r

t h a t he d i d a c c e p t

E s p e c i a l l y f o r R e s p i g h i , who d i d

f o r support
favours

o f h i s own a c c o r d ,

from t h e government

t h a t he d i d n o t o p p o s e what t h e y
T h e r e was v e r y

earned

little

the fact

demonstrates

had t o o f f e r him.

censorship

of musical

activity,

p a r t l y b e c a u s e t h e r e was no c o h e r e n t b a s i s f o r i t u n t i l t h e
racial

laws banned music by J e w i s h

composers a f t e r

a l s o i n p a r t because t h e composers a p p l i e d t h e i r
censorship,

" u n w i l l i n g t o antagonize

progressive

and c o n s e r v a t i v e m u s i c a l

within the compositional

and

and c r i t i c a l

own

authorities"

hopes o f g e t t i n g t h e i r w o r k s p e r f o r m e d .

5 2

over

s t y l e s were b e g u n
circles

themselves,

n o t from any r e a l government i n t e r v e n t i o n .

F u t u r i s t s were among t h e e a r l i e s t

i nthe

The d e b a t e s

In fact,

M u s s o l i n i h i m s e l f e m b o d i e d t h i s d i c h o t o m y t o some
The

1938, a n d

supporters

extent.
of

M u s s o l i n i p r i o r t o t h e M a r c h on Rome, a n d e v e n l a t e r t h e
Duce r e t a i n e d h i s i n t e r e s t

i n t h e modern:

"He w a n t e d

f a s c i s m t o be i d e n t i f i e d w i t h dynamism, s p e e d , a c t i o n a n d

5 1

Ibid.

5 2

Ibid.

combat, a l t h o u g h

he n e v e r f u l f i l l e d

futurism recognized
To

as t h e o f f i c i a l

two
to

a r t of the regime."

5 3

a d d f u r t h e r t o t h e p l u r a l i s m o f t h e p e r i o d , many

c o m p o s e r s -- w h e t h e r p r o g r e s s i v e ,
--

M a r i n e t t i ' s hopes t o s e e

had f r i e n d s i n h i g h p l a c e s .
such composers, p r o g r e s s i v e

conservative,

or neutral

C a s e l l a a n d M a l i p i e r o were
i n inclination,

who managed

b r i n g t o I t a l y many new w o r k s b y i m p o r t a n t i n t e r n a t i o n a l

composers, a l o n g w i t h t h e p r e s e n t a t i o n o f contemporary
I t a l i a n works, o r g a n i z e d

into festivals

such as

I n t e r n a t i o n a l M u s i c F e s t i v a l a n d t h e Maggio
which, i t w i l l

be r e c a l l e d ,

were s u p p o r t e d

Venice's
Musicale,

54

by t h e Duce.

Such e v e n t s must have b r o u g h t no e n d o f g r i e f t o t h o s e

b e l i e v e d f a s c i s m t o be i n h e r e n t l y c o n s e r v a t i v e

i ni t s

national consciousness.

G e n e r a l l y , most m u s i c a l

"found e s s e n t i a l l y equal

degrees of support

within the regime."

pin-pointed
era?"

5 5

i n many

i n t e n t i o n s be

i n a piece of music w r i t t e n during the f a s c i s t

"Only i f t h e

shows where t h e c o m p o s e r ' s s y m p a t h i e s l i e .

Compositional
any

"Can p r o - o r a n t i - f a s c i s t

The a n s w e r i s s t a t e d j u s t a s p l a i n l y :

title

trends

or indifference

Sachs b o l d l y s t a t e s t h e q u e s t i o n p r e s e n t
people's minds:

who

trends

De Grand,

5 4

Sachs,

5 5

Ibid.

5 6

Ibid.

Fascist

56

d u r i n g t h i s p e r i o d were s t e e r e d n o t by

governmental censorship
53

. . ."

or direction,

I t a l y , 71.

" F i d d l i n g , " 29.

b u t r a t h e r by t h e

needs o f a n a t i o n
order
This

to exert

fora significant

i t s i m p o r t a n c e on t h e E u r o p e a n

i s not t o say that the f a s c i s t

influence at a l l ,

present

faceted nature
ideology,
variety,

situation rather

The s t y l i s t i c

of fascism,

a l l i n t h e name o f a n a t i o n a l

pluralism

i n i t s interest i n
consciousness,

the years p r i o r to the r a c i a l

reveals the ideas

of philosopher

laws o f

Norberto

was no s u c h t h i n g a s a

c u l t u r e , " r a t h e r " t h a t t h e movement m e r e l y

a c r u d e v e n e e r o v e r an a l r e a d y

Ibid,

30.

than

not j u s t i n i t s lack of c l e a r

B o b b i o , who t h e o r i z e s t h a t t h e r e
"fascist

r e g i m e o f f e r e d no

b u t p e r h a p s more p o s i t i v e l y

Sachs

scene.

t h i s time i s a r e f l e c t i o n of the m u l t i -

p a r t i c u l a r l y during
1938.

historical

from f a s c i s t p o l i c i e s .
during

music

b u t , r a t h e r , t h a t t h e i m p e t u s f o r change

came f r o m t h e c o u n t r y ' s
directly

and unique language i n

extant

culture."

5 7

splashed

CHAPTER I I I
ALFREDO CASELLA

"The

importance of A l f r e d o

of music i n I t a l y i n the
exaggerated."
generazione
the

Casella

away f r o m t h e

realm of

F i r s t W o r l d War,

t o h i s i n f l u e n c e as a t e a c h e r ,
devotion

instrumental

it

century

d e l l ' o t t a n t a composers, the

need t o f o r g e

tireless

face

twentieth

(1883-1947) was

I t a l i a n music a f t e r the
due

C a s e l l a i n the

to h i s goal

tradition

f o r the

o f I t a l i a n m u s i c has

can

the

be

of

the

p e r s o n a l i t y who

saw

opera-dominated
and

of a n a t i o n a l

been a b l e

hardly

leader

i t is

work as an

twentieth

development

largely

organizer,

and

Italian

century

that

to p r o g r e s s i n the

the
way

has.
As

a member o f t h i s g r o u p o f c o m p o s e r s , C a s e l l a

c e r t a i n l y not
enterprise,

nor

were i n v o l v e d
contrary,

the

o n l y p e r s o n t o be

were h i s i d e a s

i n the

he met

reform of

i n t e r e s t e d i n such

adopted broadly

by

a l l

I t a l i a n music.

On

the

w i t h e v e n more o p p o s i t i o n

than p r a i s e throughout h i s l i f e ,
w o r k s and

to his e f f o r t s

was

and

who

criticism

both i n reference

i n the promotion of

an

to

his

contemporary

music.
C a s e l l a ' s background d i f f e r s
Italian

g r e a t l y from t h a t of

c o m p a t r i o t composers, a background which

his

contributed

^-Raymond F e a r n , r e v i e w o f Alfredo
Casella
negli
anni
di
apprendisiato
a Parigi:
a t t i del convegno
internazionale
di
Venezia,
13-15
maggio 1992,
ed. G i o v a n n i M o r e l l i , i n Music and
11 no.2
(May 1 9 9 6 ) , 289.

studi,
Letters

s i g n i f i c a n t l y t o t h e p a t h s he

chose t o f o l l o w i n h i s c a r e e r .

C o n s i d e r i n g h i s i m p o r t a n c e and
history,

i t i s u s e f u l t o examine the development

Casella's compositional
c h r o n o l o g i c a l events
It
output
1914

s t y l e s and

in his

and

First
The

Period:

the t h i r d

to

first

recognized

f r o m 1920

the death

t o t h e end

the

second

of h i s

1913

His mother, h e r s e l f a p i a n i s t
the need t o g i v e her

T u r i n and

C a s e l l a became an
s c e n e , and

of the

son t h e t y p e
So,

o f C a s e l l a ' s f a t h e r , t h e two

members l e f t

set o f f f o r

i n f l u e n c e s on h i s own
compositions.

h i s departure

shortly

work, e s p e c i a l l y

the

after

family

Parisian

Valse-caprice,

musical

from t h a t c i t y

but

soon t u r n e d
This

o f t h e most l a s t i n g and

first

in
to

composer
important

so f o r h i s e a r l y

C a s e l l a r e f e r s t o h i s own

w r i t t e n i n 1902,

rank,

Paris.

s t u d i e d u n d e r Faur.

r e m a i n e d f o r C a s e l l a one

education

remaining

b e g a n h i s c a r e e r as a p i a n i s t ,
w h i c h he

first

of

i n 1896

i n t e g r a l p a r t of the

r e m a i n e d so u n t i l

composition,

piano

t o 1913,

1944.

u n a v a i l a b l e i n I t a l y at the time.

He

up

compositional

y o u n g A l f r e d o showed e a r l y s i g n s o f p r o m i s e as

pianist.

1915.

the

life.

i n t o three p e r i o d s , the

t o 1920,

of

p h i l o s o p h i e s through

i s customary to d i v i d e C a s e l l a ' s

compositional career i n

The

the uniqueness of h i s

work f o r

" w h i c h had

an

indecent

r e s e m b l a n c e t o t h e s t y l e o f Faur. . . . [ I t ] has

f o r t u n a t e l y been m i s l a i d . "
He

began t o f r e q u e n t

where he met
including

some o f t h e s a l o n s o f t h e

aristocrats,

P r o u s t and

the s c u l p t o r Rodin,
Sans, C o r t o t , and

politicians,

Gide,

journalists, writers

t h e p a i n t e r s Degas and

and many m u s i c i a n s
others.

The

p u b l i s h i n g house o f Mathon

Bellon s i m i l a r l y held get-togethers

and

friends,

Florent Schmitt,
whom he
piano

Satie,

Hindemith,

and

by many o t h e r i m p o r t a n t
As

He

played the

w i t h D e b u s s y , and
Szymanowski.

He

knew

s t y l e w h i c h w o u l d l a t e r be

attended

a gift

concerts

for absorbing

of a t o t a l

labelled

two

s e r i e s comprise

of e i g h t composers:

of h i s

"eclecticism."
de

i n s t a n c e s of C a s e l l a ' s penchant f o r
The

every

In t h i s p e r i o d of abundant

f r o m 1911-13 c a l l e d A la manire

amalgamations.

two-

Milhaud,

m u s i c a l a c t i v i t y he a l r e a d y d i s p l a y s t h e a s p e c t s

the f i r s t

with

contemporaries.

came i n c o n t a c t w i t h .

collections

artists

others including Ravel,

a c o m p o s e r C a s e l l a had

s t y l e he

for their

t h e o p p o r t u n i t y t o meet

forged a strong friendship.

v e r s i o n o f Iberia

Bartok,

and

Boldini,

including Saint-

and

where C a s e l l a had

city

The

two

. . . are
such

stylistic

parodies

Wagner, Faur, Brahms,

A l f r e d o C a s e l l a , Music in My Time:
the Memoirs
of
Alfredo
t r a n s , a n d ed. S p e n c e r N o r t o n (Norman:
U n i v e r s i t y o f Oklahoma
1 9 5 5 ) , 64.

Ibid.,

M a r c e l l a V e r n a z z a , " P i a n o M u s i c by a P i a n i s t :
Music
Teacher
36 no.5
( 1 9 8 6 ) , 26.

Casella,
Press,

American

65-66.
Alfredo

Casella,"

Debussy, S t r a u s s ,

F r a n c k , d ' I n d y , and

Ravel

were w r i t t e n i n c o n j u n c t i o n w i t h R a v e l ) .
type

of e n t e r p r i s e , Fearn remarks:

Concerning

remain w i t h him

of h i s

The
first
this

f o r m s and

degrees of i n t e n s i t y

stage

in this

a t t e m p t s t o c r e a t e an
i n c a r n a t i o n he

m u s i c , most n o t a b l y
In r e f e r e n c e

inclination

that

would
career,

i n various

output.

final

first

i s an

this

close to Casella

throughout h i s e n t i r e compositional

taking different
stages

This

two

"the problem i s t h a t

C a s e l l a the p a s t i c h e u r i s o f t e n dangerously
the c r e a t i v e a r t i s t . "

(the l a s t

first

period involves Casella's

I t a l i a n contemporary s t y l e .

turned

t o t h e use

of I t a l i a n

i n h i s rhapsody f o r o r c h e s t r a ,

t o t h e use

of such idioms,

he

In
folk

Italia.

states:

I t i s a phase of n a t i o n a l i s m which always c h a r a c t e r i z e s

t h e dawn o f a new s c h o o l o r t h e f i r s t s t e p s o f a
p e r s o n a l i t y who i s t r y i n g t o c r e a t e a n a t i o n a l s t y l e .
. . . I t i s an e a s y and e x p e d i t i o u s m e t h o d o f a c h i e v i n g
the appearance of n a t i o n a l i s m .
6

P e r h a p s i t may

be

existing

f o r h i s own

way,

types

s e e n as a n o t h e r e x a m p l e o f h i s use

the process

had

Fearn,

of

Casella,

review
Music

compositional

begun.

Casella,

in My

Time,

290.
95.

language.

of

pre-

Either

The

Second

Period:

1913-1920

Then, i n 1913-1914, C a s e l l a c o n f o u n d e d p r e d i c t i o n s byl e a p i n g i n t o the extreme avant-garde:

the o p t i m i s t i c
c h a r m w h i c h had seemed t o be one o f h i s p r e d o m i n a n t
c h a r a c t e r i s t i c s was ' s u d d e n l y c a n c e l l e d and o v e r t h r o w n
by t h a t e r u p t i o n o f e x p r e s s i o n i s t i c l a v a t h a t has b e e n
c a l l e d h i s second s t y l e ' .
7

The

year

1913

i n f l u e n c e s on t h e

was

an

important

young c o m p o s e r .

year
He

f o r major

was

already

musical
involved

i n t h e p r o m o t i o n o f modern m u s i c i n P a r i s t h r o u g h
Socit musicale
the
year

latest

indpendante,

c u r r e n t s i n P a r i s and

t h a t he met

w i t h whom he
abreast

h i s compatriot

of the m u s i c a l
of

r e c e n t works of A r n o l d
compositions
I t has

first

f o r e f r o n t of

I t was

this

who
8

same y e a r

helped

was

the

one

with

S c h o e n b e r g , as w e l l as w i t h
and

Kodly.

a l r e a d y been m e n t i o n e d t h a t C a s e l l a
a l l m u s i c he

S c h o e n b e r g i n f l u e n c e was

came i n c o n t a c t

particularly

e x p r e s s i o n i s t i c p e r i o d , and
equivalent

keep

Along with

t i m e came i n c o n t a c t

of the Hungarians Bartok

i n f l u e n c e d by

this,

Gian Francesco M a l i p i e r o ,

situation in Italy.

Spring,

which C a s e l l a f o r the

at the

of Europe.

q u i c k l y became f r i e n d s , and

p r e m i e r e o f Rite

roughly

remaining

the

to t h a t of the

the
in
the

the

was

with.

The

strong during

s t a y e d w i t h him

him

this

for a period

F i r s t W o r l d War,

w h i c h C a s e l l a r e f e r s t o a " p e r i o d o f d o u b t s and

a time

of

various

S t a n l e y S a d i e , e d . , The New Grove Dictionary

of Music
and
Musicians
(London:
M a c m i l l a n ; W a s h i n g t o n , D.C.:
Grove's D i c t i o n a r i e s
o f M u s i c , 1 9 8 0 ) , s.v. " C a s e l l a , A l f r e d o . " Q u o t a t i o n by M i l a .
7

Time,

111.

N i c o l o d i , Musica
e musicisti
D i s c a n t o E d i z i o n i , 1 9 8 4 ) , 238.

nel

Casella,

Music

in My

Ventennio

fascista

(Fiesole:

experiments."

He c o n t i n u e d t o h o l d a d m i r a t i o n f o r t h e

work o f S c h o e n b e r g a l l h i s l i f e ,

e v e n when h i s own l a n g u a g e

w o u l d t a k e h i m down a d i f f e r e n t p a t h .

H i s works o f t h e

F i r s t W o r l d War p e r i o d t h r u s t t o w a r d

the threshold of

a t o n a l i t y w i t h sudden and c o n v i n c i n g

ardour.

The

year

1913 a n n o u n c e d t h e emergence o f t h e a t o n a l

period of Casella's.

T h i s new s t y l e was a n n o u n c e d i n t h e

f o r m o f t h e Nove pezzi
1913-14.

(Nine P i e c e s )

The Nove pezzi

new m a n n e r ' s s a l i e n t

provide

f o r piano,

writteni n

"a u s e f u l i n v e n t o r y o f t h e

characteristics."

1 1

The h a r m o n i c

language i s c h a r a c t e r i z e d by p a r a l l e l major sevenths and

minor n i n t h s , t h i c k chords
dissonance
As

a t times

o f t e n s t a c k e d i n f o u r t h s , extreme

and u n s t a b l e

tonality.

1 2

was t h e c a s e w i t h t h e s e r i e s o f p i e c e s A la

de . . . o f 1911-13, e a c h o f t h e Nove pezzi

of a s t y l e as a s p r i n g b o a r d .
the

itself

designation
has

a l s o makes u s e

I n t h e e a r l i e r work t h e s e

f o r m o f homages t o s p e c i f i c c o m p o s e r s ; i n t h e s e

the s t y l e

manire

i s d e s c r i b e d i n each t i t l e ,

took

pieces

preceded

by t h e

"In modo" m e a n i n g " i n t h e s t y l e o f . " E a c h p i e c e

a d e d i c a t i o n , some o f them d e s c r i b i n g t h e p r o b a b l e

source

of the inspiration

funbre

(Stravinsky),

(Ildebrando P i z z e t t i ) ,

1 0

Casella,

^New Grove,

Music

f o r that specific

In modo barbaro,
In modo burlesco,

style:

In modo

In modo

elegiaco

In modo esotico,

in My Time, 106.

"Casella."

J o h n A r t h u r K r e b s , "The S o l o P i a n o M u s i c o f A l f r e d o C a s e l l a , "
(Ph.D. d i s s . , U n i v e r s i t y o f M a r y l a n d a t C o l l e g e P a r k , 1 9 9 1 ) , 3.
1 2

In

modo di nenia
tango,

( R a v e l ) , In modo di minuetto,

In modo di

In modo r u s t i c o ( G i a n F r a n c e s c o M a l i p i e r o ) .
These p i e c e s a r e o f t e n d i s m i s s e d

studies that achieve

as m e r e l y

t h e i r importance through

chronological position i nCasella's s t y l i s t i c

1 4

style

their
development.

M i c h e l l e B i g e t - M a i n f r o y c a u t i o n s t h a t such a c o n s i d e r a t i o n
w o u l d be " t o o

r e d u c t i v e , " p o i n t i n g out the expansion

tonal resources
sonorities,"

of the piano,

the " d i v e r s i f i c a t i o n of

e x p l o r i n g t h e " r e f i n e d and e v a n e s c e n t "

Debussy o r t h e " a g g r e s s i v e " l i k e

technique
then

Bartok.

1 5

A common

i n a more l u s h h a r m o n i z a t i o n

In modo di nenia).

Some o f t h e p i e c e s
the different

s o u n d d e s i r e d t o be p l a i n l y v i s i b l e

on t h e page

tango).

16

Even a p o p u l a r

dance form i s i n c l u d e d

which
{In modo

involve

t h r e e o r even f o u r s t a v e s t o p e r m i t

funbre).

like

i s t h e p r e s e n t a t i o n o f a theme i n u n i s o n ,

comes b a c k l a t e r

elegiaco,

i n the

layers of

{In modo
{In modo di

A v a n t - g a r d e s i g n s abound as w e l l , i n c l u d i n g

q u a r t a l harmonies

{In modo esotico,

p a r a l l e l major sevenths

In modo di

{In modo elegiaco,

nenia),

In modo di

""Dirge."
The o t h e r d e d i c a t e e s a r e E n r i q u e v a n d e r Henst, Yvonne Lumley,
F l o r e n t S c h m i t t , T i n a D r e y f u s s , a n d Yvonne M u l l e r .
Source:
Dietrich
Kmper, " L ' o p e r a p e r p i a n o f o r t e d i A l f r e d o C a s e l l a n e g l i a n n i d i
a p p r e n d i s t a t o , " i n Alfredo
Casella
negli
anni di apprendistato
a Parigi.
A t t i del convegno
internazionale
di studi,
ed. Giovanni M o r e l l i , S t u d i
d i M u s i c a V e n e t a , v o l . 2 0 ( F i r e n z e : L e o S. O l s h k i E d i t o r e , 1 9 9 4 ) ,
263-64.
14

M i c h e l l e B i g e t - M a i n f r o y , " C a s e l l a e t l'criture de p i a n o
temps ( l a priode 1 9 0 0 - 1 9 2 0 ) , i n Alfredo
Casella
negli
anni di
apprendistato,
235.
1 5

1 6

I b i d . , 236.

de s o n

tango),

parallel

t r i a d s and t h e p e r c u s s i v e use o f t h e piano

{In modo barbaro)

17

Throughout h i s time
with other musicians

i n Paris Casella retained contacts

i n Italy.

He r e m a i n e d

keenly

i n t e r e s t e d i n t h e m u s i c a l w o r l d o f h i s n a t i v e c o u n t r y , and
despite his high l e v e l of a c t i v i t y
he

always f e l t

somewhat o f an o u t s i d e r .

relinquish his Italian

him

i n the Parisian

citizenship,

reasonably

every o f f i c i a l
closed.

present

" a s an i n d e p e n d e n t p r o f e s s i o n a l , b u t

about

s i t u a t i o n t h e r e , t h e more he r e c o g n i z e d t h e v a s t
i n atmosphere between h i s o l d w o r l d and h i s

one.

Marinetti's

He knew he c o u l d

The more news he r e c e i v e d f r o m I t a l y

1,18

difference

kept

p o s t a s t e a c h e r o r d i r e c t o r w o u l d a l w a y s be

. . .

the m u s i c a l

well

Unwilling to

he r e a l i z e d t h i s

a t arm's l e n g t h f r o m t h e c o m m u n i t y .

succeed

circles

Concerning

t h e appearance i n p r i n t o f

f u t u r i s t manifesto

i n 1909,

C a s e l l a remembers i t

thus :
However we may j u d g e t h a t a r t i s t i c movement t o d a y , do
n o t f o r g e t t h a t i t was t h e f i r s t i n d i c a t i o n o f a b o l d ,
r e b e l l i o u s , a n d y o u t h f u l s p i r i t t o come f r o m I t a l y ,
w h i c h h a d b e e n c o n s i d e r e d f o r s o many y e a r s t o be " t h e
l a n d o f t h e dead" w i t h r e g a r d t o a r t . . . .
I t seemed
t h e announcement o f a new a n d g r e a t e r I t a l y .
With

the outbreak

homeland.

o f war C a s e l l a f i n a l l y

He a c c e p t e d

Santa

Cecilia

until

h i s death
1 7

Nicolodi,

1 8

Casella,

a teaching position at the Liceo

i n Rome i n 1915,
32 y e a r s

Musica
Music

returned t o h i s

and would remain i n t h a t

later.

e m u s i c i s t i , 238.
in My Time, 68.

city

When in Rome

...

Meanwhile,

Casella's

and c o n t i n u e d on i n f u l l
in

" s e c o n d p e r i o d " was w e l l

force.

underway

The t o n a l e x p e r i m e n t s

begun

P a r i s c o n t i n u e d i n t h e w o r k s composed d u r i n g t h e war

y e a r s , o n l y t h e a u d i e n c e had changed d r a s t i c a l l y .
found h i m s e l f f o r t h e f i r s t

time f a c i n g extreme

and a v e r y unwelcome a t t i t u d e
p u b l i c remained

criticism

from t h e c r i t i c s .

closed to a c t i v i t i e s

Casella

The I t a l i a n

of foreigners i n their

own

land,

a n d a l t h o u g h C a s e l l a was a b o r n - a n d - b r e d

his

f o r m a t i v e years i n P a r i s and h i s d a r i n g

Italian,

harmonic

e x p e r i m e n t s were enough f o r t h e I t a l i a n p u b l i c t o g i v e t h i s
s t r a n g e r from o v e r t h e A l p s a wide b e r t h .
1 9

of

c r i t i c i s m b e g a n J a n u a r y 21,

C a s e l l a ' s o r c h e s t r a l Heroic

The f i r s t

wave

1917 a t a p e r f o r m a n c e o f

Elegy.

The p u b l i c

erupted

s h o r t l y a f t e r t h e b e g i n n i n g o f t h e t h i r d and f i n a l

movement,

and t h e n o i s e l a s t e d l o n g a f t e r t h e p i e c e h a d e n d e d .
C a s e l l a r e c a l l s t h e s i t u a t i o n i n t h i s way:
The n e x t day, t h e p r e s s r e a c t i o n was e x t r e m e l y v i o l e n t ,
as c o u l d h a v e b e e n f o r e s e e n . Some d a y s l a t e r , M a t t e o
I n c a g l i a t i , the e d i t o r o f a pseudomusical j o u r n a l
c a l l e d Orfeo,
p u b l i s h e d an i g n o b l y v u l g a r a n d
d e f a m a t o r y s p e c i a l number.
I was r e p r e s e n t e d a s an
a n t i p a t r i o t a n d a menace t o t h e n a t i o n a l c u l t u r e ; my
r e m o v a l f r o m t h e c o u n t r y was e v e n r e q u e s t e d .
2 0

Two

o t h e r major

second p e r i o d ,

1 9

Nicolodi,

2 0

Casella,

solo piano compositions h a i l

t h e s e from t h e years i n I t a l y .

Musica
Music

e m u s i c i s t i , 240.
in My Time,

141-142.

from

The

this

Sonatina

of

1916 a n d A notte

broken

a l t a o f 1917 c o n t i n u e d a l o n g t h e p a t h

b y t h e e a r l i e r Nove pezzi.

more h a r m o n i c a l l y d a r i n g ,
hint of the twelve-tone
"ominous s t i l l n e s s "

2 3

and C a s e l l a

2 1

system"

music.

was i n f a c t

l a t e r a d m i t t e d t o "a

appearing i n i t .

o f A notte

o n l y p i e c e o f program

The Sonatina

The

2 2

a l t a makes i t C a s e l l a ' s

2 4

L e s s e r p i a n o w o r k s o f t h i s p e r i o d a r e Inezie,
contrastes

a n d Cocktail's

Dance,

b e g i n t o show C a s e l l a ' s c h a n g i n g
the a t o n a l system.

The f i r s t

and

1918.

These works

attitude with respect to

o f t h e Contrastes

another o f t h e composer's parody

melodic o u t l i n e s o f Chopin's

a l l from

Deux

i s yet

types, t h i s time using the

A Major

P r e l u d e Op. 28, no. 7,

r e h a r m o n i z i n g i t i n a " c l a s s i c example o f wrong-note

humour."

25

harmonies,

Both o f the C o n t r a s t e s i n v o l v e
ostinatos,

quartal

and major s e v e n t h and e l e v e n t h c h o r d s .

E v e n s o , t h e c h a n g e i n a t t i t u d e away f r o m t h e f e r o c i t y

of

t h e Sonatina

i si n

was c l e a r l y

e v i d e n t , a n d Cocktail's

Dance

f a c t so t r i a d i c t h a t i t c a n o n l y be s e e n a s a m u s i c a l j o k e
-- o r p e r h a p s
of

the next

a type of s p i r i t u a l c l e a n s i n g i n p r e p a r a t i o n

phase.

Nicolodi,

Musica

' C a s e l l a , Music
'New Grove,
Casella,
'Krebs,
;

Ibid.,

e musicisti,
in My

238.

Time,

137.

Time,

143.

"Casella."
Music

in My

"Solo Piano Music

96.

of Casella,"

93.

2 6

The "Socit

di musica

moderna"

and music

during

the war

C a s e l l a ' s most i m p o r t a n t work o f t h i s p e r i o d

the

o r g a n i z a t i o n o f an I t a l i a n e q u i v a l e n t o f F r a n c e ' s

Socit Musicale

Indpendante

w i t h w h i c h he h a d b e e n

actively involved.

The Socit

renamed t h e Socit

di musica

in

nazionale

moderna

di musica,

(SIMM),

27

His f i r s t

companions i n t h i s a d v e n t u r e

Respighi,

Pizzetti,

Malipiero,

Carlo Perinello,

V i n c e n z o T o m m a s i n i , w i t h whom C a s e l l a

front" against

"the d i l e t t a n t i s m ,

or

were
V i t t o r i o Gui

f o r m e d "a u n i t e d

the mediocrity,

p r o v i n c i a l i s m w h i c h were t h e n s t i l l

and t h e

t o o common i n I t a l y ,

i n o t h e r words, t h e p r e v a l e n c e o f p o p u l a r opera.

the

c o m p o s e r s i n v o l v e d i n t h i s g r o u p were l i k e l y

for

a way t o h a v e t h e i r r e p u t a t i o n s e x p a n d e d , b u t t h e

s o c i e t y a l s o p r e s e n t e d works o f t h e i r
were n o t members o f t h e s o c i e t y ,
works by f o r e i g n composers.

later

was f o r m e d

1917.

and

involves

1,28

Many o f

searching

f e l l o w c o u n t r y m e n who

a s w e l l a s some

modern

The c o n c e r t s d u r i n g t h e

s o c i e t y ' s two y e a r s o f e x i s t e n c e " p r o v o k e d p r e d i c t a b l y

v i o l e n t p r o t e s t s from the p u b l i c . "
m u s i c a l c o m m u n i t y was g r e a t ,
amateurs i n t h e i r
to

2 9

B u t t h e i m p a c t on t h e

s t i r r i n g up m u s i c i a n s a n d

support against a p u b l i c s t i l l

not ready

a c c e p t a new k i n d o f m u s i c .

The c h a n g e i n name was t o make " t h e p o s i t i o n a n d t h e a i m s o f

the
i n s t i t u t i o n c l e a r b e y o n d t h e shadow o f a d o u b t . " C a s e l l a , Music in
My Time, 1 4 4 - 4 5 .
2 7

2 8

Ibid.,

2 9

Ibid.

140, 1 4 3 .

The

first

o f 1917,

and

concert

involved

composers, R e s p i g h i ,
w e l l as t h e

of t h i s

s o c i e t y took place

four of the

Generazione

Malipiero, Pizzetti,

young J e w i s h c o m p o s e r M a r i o

Other composers r e p r e s e n t e d
Enrico

during

the

include:

M.

Perachio,

Renzo B o s s i , G i u l i a R e c l i ,

Z a n d o n a i , and

dell'ottanta

and

Casella,

as

Castelnuovo-Tedesco.
society's

existence

B o s s i , V i n c e n z o Tommasini, L u i g i

Vincenzo Davico,

representation

i n March

of the

3 0

V i t t o r i o Gui,

Riccardo

o f f e r i n g a good

c o m p o s e r s who

were a c t i v e d u r i n g

this

period.
Performances of C a s e l l a ' s works c o n t i n u e d
w i t h much o p p o s i t i o n ,
p e r f o r m a n c e o f one
interruption.

This

orchestrated
despite

He

the

opportunity

the

r e t u r n of d a i l y

pace.

The

end

o f t h e war

Ibid.,

3 1

Ibid.,

3 2

Ibid.,

147.
149-150.

Pages,

and

minutes),
a

great

of the

war

r e a p p e a r a n c e o f many young

life

t o a more n o r m a l

a l s o brought with

o f h a r m o n i c and

142-43.

end

an

f o r modern m u s i c t o f i n d i t s

the

and

3 0

(about e i g h t

l a c k o f i n c i d e n t t o be

i n society, with

Casella's period

without

s h o r t p i a n o d u e t War
work

met

did a

p a r t i c u l a r performance i n v o l v e d

artists
3 2

J a n u a r y 1919

r e m a r k s as w e l l t h a t t h e

brought perhaps the

proper place

until

of h i s compositions proceed

the b r e v i t y of the

3 1

not

v e r s i o n of the

Casella considered
victory.

and

t o be

i t the

tonal insecurity.

end
3 3

It

of

a l m o s t seems as
his

i f h i s own

p o i n t made, and

b a t t l e had

been fought

h i s a t t e n t i o n turned

and

toward a

won,

new

proj ect.

The

Third

Period:

"About 1920
a l m o s t as

1920

1944

. . . Casella's

s u d d e n l y as i t had

j u s t as d r a s t i c as t h e one
Waterhouse d e s c r i b e s
as

rhythms.

n e a r t h e end
w i t h the

pre-existing

Italian

seven

f o r m s and

driving

period returned

His propensity
s t y l e s continues

Furthermore,

notable

motor

i n h i s work f o r p i a n o

and

with

here,

3 6

along
Italian

f o r m a k i n g use

of

as w e l l i n t h i s

" f o r the

I t a l i a n music."

style

chromatic

i n c r e a t i n g an

work t h e r e a p p e a r e d m a r k e d s i g n s o f t h e

pre-nineteenth-century

was

years.

f o l k music i n f l u e n c e s toyed

of C a s e l l a ' s f i r s t

treatment.

change

diatonicism with incidental

instrumental tradition.

his

of the previous

composer's renewed i n t e r e s t

stylistic

The

3 4

i n v o l v i n g l i n e a r t e x t u r e s and
The

3 5

arrived."

disappeared

t h e h a r m o n i c l a n g u a g e o f t h e new

" c r i s p l y dissonant

excursions"

' s e c o n d manner'

first

new

time i n

i n f l u e n c e of

This

i s most

chamber o r c h e s t r a o f

1926,

F o r a g e n e r a l d i s c u s s i o n o f p i a n o c o m p o s i t i o n a l s t y l e d u r i n g war
y e a r s , c o n s u l t E l i z a b e t h Ann W a l l a c e , "The E f f e c t o f War on t h e L i v e s
and Work o f P i a n o C o m p o s e r s and t h e E v o l u t i o n o f C o m p o s i t i o n a l T e c h n i q u e
i n W a r - R e l a t e d P i a n o P i e c e s f r o m 1849 t h r o u g h t h e S e c o n d W o r l d
War,"
(Ph.D. d i s s . , T e x a s T e c h U n i v e r s i t y , 1 9 9 0 ) .
For C a s e l l a ' s F i r s t World
War p e r i o d w o r k s , s e e M a s s i m o M i l a , " I t e n e r a r i o s t i l i s t i c o 1 9 0 1 - 1 9 4 2 , "
i n Alfredo
Casella,
e d s . F e d e l e D'Amico and G u i d o M. G a t t i ( M i l a n o :
G. R i c o r d i & C ,
1 9 5 8 ) , 38.
3 3

New

Grove,

3 5

Ibid.

3 6

Ibid.

"Casella."

Scarlattiana,
Scarlatti

i n which

80 themes f r o m t h e 545

a r e g i v e n new

treatment.

C a s e l l a notes,

e l i m i n a t e d w i t h t h e g r e a t e s t c a r e any
century

chromaticism."

from

so d i d t h e Undid
3 8

pezzi

f o r p i a n o o f 1920

third period's features.

importance

of t h i s

"I

residue of nineteenth

1913

c h a r a c t e r i s t i c s o f C a s e l l a ' s new

Pieces)

of

3 7

J u s t as t h e l o v e pezzi

period,

sonatas

and

announced
turbulent

infantili

second

(Eleven C h i l d r e n '

p r o v i d e an a n t h o l o g y
The

the

of

c o m p o s e r r e m a r k s on

the
the

collection:

The Eleven
Pieces
mark my f i n a l l i b e r a t i o n f r o m
u n c e r t a i n t y and e x p e r i m e n t a t i o n and my s e c u r e and
k n o w i n g e n t r y i n t o a c r e a t i v e p h a s e now f u l l y p e r s o n a l
and c l a r i f i e d .
3 9

C h o r d s a r e now
C a s e l l a was
way

much more t r i a d i c

adamant a b o u t t h i s new

"primitive"

i n i t s treatment,

"human n e c e s s i t y . . .
'centers . ' "

4 0

d i a t o n i c i s m b e i n g i n no
but

the

certain

d i a t o n i c i s m , the p i e c e s i n t h i s

r e p r e s e n t an a m a l g a m a t i o n o f many t w e n t i e t h -

3 7

Casella,

3 8

Dedicated

3 9

Casella,
Krebs,

stemming from

t o group sounds around

c e n t u r y t e c h n i q u e s , as w e l l as a nod

4 0

although

41

F o r a l l t h e i r new
collection

in their basis,

Music

in My

to Mario
Music

"The

in My

Time,

toward

pre-existing

173.

Castelnuovo-Tedesco.
Time,

Solo Piano Music

151.
of C a s e l l a , "

101.

C a s e l l a , "Harmony, C o u n t e r p o i n t , e t c . , " Pro-Musica

Quarterly
( M a r c h - J u n e 1 9 2 6 ) , 34.
Q u o t e d i n K r e b s , "The S o l o P i a n o M u s i c o f
C a s e l l a , " 102.
4 1

types or s t y l e s .

Its organization into a "suite"

of

c h a r a c t e r p i e c e s r e f l e c t s the r e v i v a l of the French

keyboard
Suite

suite,

w h i c h b e g a n as f a r b a c k as

Bergamasque

neoclassical
Ravel's

Le

Casella's

(1890),

i d i o m by

tombeau

de

and

had

Debussy's

b e e n e s p o u s e d i n a more

some o f t h e y o u n g e r F r e n c h
Couperin

baroque

composers:

(1917) f o r e x a m p l e ,

" s u i t e " by o n l y a few

predates

years.

C a s e l l a s c o l l e c t i o n of pieces f o l l o w s i n the

footsteps

of t h i s

tradition,

techniques

i n c o r p o r a t i n g the l a t e s t

w h i c h were o f r e c e n t i n t e r e s t t o him.

"Preludio" includes diatonic/whole-tone

the l e f t

20th-century

h a n d i n d m i n o r / F m a j o r and

w h o l e - t o n e s c a l e on

F-sharp

d i a t o n i q u e " i s f i e r c e l y on
with respect to rhythmic

bi-tonality,

keys,

stability;

with

the r i g h t hand i n a

(example 3 . 1 ) .
"white"

The

"Valse

but

i s not

the t r i p l e

s i g n a t u r e o f t h e w a l t z i s n e g a t e d by t h e 2/4

so

time

implication

t h e l e f t - h a n d w r i t i n g , made e v e n more c o n f u s i n g by t h e
tempo Vivacissimo
tasti

neri)"

Allegro
le

4 2

(in uno)

i s pentatonic.

spagnuolo.

cinque

dita)"

"Siciliana,"
the t r i o
42

The
43

"Omaggio a C l e m e n t i

a " G i g a " and

The

C a n o n on t h e b l a c k
f o r the

The

of

quick

"Canone ( s u i

There i s a " B o l e r o " marked

i s chromatic

section.

"Exercise

(example 3 . 2 ) .

clear

(esercizio

(example 3 . 3 ) .

a "Minuetto"

"Carillon"

4 4

per

There i s a

w i t h a "Musette"

as

c o n t a i n s t h e same b i t o n a l

keys.

five

fingers.

T h i s homage t o t h e
c o m p o s e r o f so many d i a t o n i c f i n g e r
e x e r c i s e s seems t o w i n k a t D e b u s s y ' s " D o c t o r G r a d u s a d P a r n a s s u m "
well.
4 4

as

procedure as the aforementioned " P r e l u d i o , " and the

bell-

l i k e q u a l i t y i s achieved by p l a y i n g i n the h i g h r e g i s t e r o f
the

keyboard.

The penultimate p i e c e i s a "Berceuse."

The

"Galop f i n a l " i s v e r y s i m i l a r i n i t s opening t o the

r h y t h m i c a l l y nebulous

"Valse d i a t o n i q u e " (example

3.4),

and

i s e n t i r e l y d i a t o n i c as w e l l except f o r a sudden and

unexpected e x c u r s i o n t o F# Major f o r e i g h t measures

(example

3.5).

Example 3.1
C a s e l l a , Undid
measures 6-10.

Pezzi

Infantili,

I.

^ 1-

irr-i

- i i i

rr

J* m

Preludio,

iV

E x a m p l e 3.2, C a s e l l a , Undid
Pezzi
diatonique,
m e a s u r e s 1-7.

Infantili,

E x a m p l e 3.3, C a s e l l a , Undid
Clementi,
m e a s u r e s 1-8.

Infantili,

Pezzi

II.

V.

Valse

Omaggio

E x a m p l e 3.4, C a s e l l a ,
Final,
m e a s u r e s 1-5.

Undid

Prestissimo.

Pezzi

Infantili,

XI.

Galop

allegramente

irrf

sen/pre slacc.

E x a m p l e 3.5, C a s e l l a , Undid
Final,
m e a s u r e s 45-57.

Pezzi

Infantili,

meno forte

mr i ff'r

vfCsempre motto
stacc.)

SI

gfi 4

XI.

Galop

Along

w i t h t h e use o f p r e - e x i s t i n g

formal types or

g e n e r i c schemes i n l i n e w i t h t h e k e y b o a r d
collection

of eleven pieces i n i t s e n t i r e t y belongs

t r a d i t i o n of s i m i l a r
intended
Bizet,

suite, the

French

works, f o r piano

s o l o o r duet,

f o r c h i l d r e n o r which evoke c h i l d h o o d

Faur, R a v e l a n d D e b u s s y a l l w r o t e

collections.
also of t h i s

scenes:

such

(The w e l l - k n o w n Kinderszenen

4 5

to a

o f Schumann a r e

type., n e g a t i n g K r e b s ' i m p l i c a t i o n t h a t t h e

i n f l u e n c e i s p u r e l y of French

inspiration.)

Casella's

p i e c e s a r e n o t t e c h n i c a l l y demanding, a l t h o u g h

there i s a

d e g r e e o f f i n g e r v i r t u o s i t y r e q u i r e d f o r many o f t h e p i e c e s ,
and

a level

of m a t u r i t y hidden

perhaps by t h e p i e c e s '

simple

appearance.
Piano
twelve

s o l o works f e l l

years

t o the wayside d u r i n g the next

of Casella's career, with the exception of the

s h o r t Due canzoni

popolari

i t a l i a n e o f 1928.

These

remained p r o d u c t i v e f o r o t h e r types o f works, such

compositions

The Corporazione

years
as

f o r s t a g e , o r c h e s t r a , a n d chamber e n s e m b l e s .

del le Nuove

Musiche

In a d d i t i o n t o h i s composing d u r i n g t h i s time, C a s e l l a
renewed h i s impetus i n t h e r e f o r m
music.
1923

The Corporazione

of I t a l i a n

d e l l e Nuove Musiche

instrumental
was f o r m e d i n

by C a s e l l a a l o n g w i t h h i s e a r l i e r p a r t n e r M a l i p i e r o ,

now j o i n e d b y M a r i o

Labroca,

w i t h t h e s t r o n g encouragement

B i z e t , Jeux d'enfants
( 1 8 7 1 ) ; Faur, Dolly
Ma mre l'oye
( 1 9 1 0 ) ; D e b u s s y , Children's
Corner
S o l o P i a n o M u s i c o f C a s e l l a , " 107.
4 5

Suite
(1897); Ravel,
(1908).
K r e b s , "The

of t h e p o e t G a b r i e l e d'Annunzio and generous monetary

support
had

by Mrs. E l i z a b e t h Sprague C o o l i d g e .

slightly different

di musica

moderns

This

4 6

i n t e n t i o n s than the e a r l i e r

had:

group
Socit

t h e a i m was now t o a c t more as a

" v e h i c l e o f modern c u l t u r e w h i c h s h o u l d b r i n g t o I t a l y t h e
latest

e x p r e s s i o n s a n d t h e most r e c e n t r e s e a r c h e s

contemporary m u s i c a l a r t . "

4 7

of

Whereas t h e f i r s t

c o l l a b o r a t i o n h a d as i t s p u r p o s e t h e f u r t h e r i n g o f
opportunities

for Italian

composers and t h e i r

works,

this

g r o u p w a n t e d t o show I t a l y what was g o i n g on e l s e w h e r e

in

t h e w o r l d o f c o n t e m p o r a r y m u s i c , a l o n g w i t h what was
h a p p e n i n g a t home.
The c o r p o r a t i o n j o i n e d v e r y s o o n a f t e r

i t s inception

w i t h the I n t e r n a t i o n a l S o c i e t y o f Contemporary Music

I t a l i a n branch.
ground-breaking
world's

T h i s g r o u p b r o u g h t t o I t a l y many o f t h e
compositions

o f t h e t i m e , b y some o f t h e

most r e s p e c t e d modern c o m p o s e r s , most o f whom were

unknown t o I t a l i a n s .

C a s e l l a helped

Stravinsky's I t a l i a n premieres,
Les

noces,

Oedipus

Rex,

t o appear d u r i n g t h i s

brought t o I t a l y
eight I t a l i a n

to.conduct

cities.

such

oversee
as

a n d L'Histoire

P e r h a p s t h e most i m p o r t a n t
guests

many o f

Petroushka,
du

soldat.

and i n f l u e n t i a l

p e r i o d was A r n o l d
h i s Pierrot

Casella,

"ibid.,

Music

158.

in My

of the
Schoenberg,

lunaire i n a tour of

C a s e l l a had t h e utmost a d m i r a t i o n and

r e s p e c t f o r S c h o e n b e r g a n d h i s a r t , b u t he f e l t
4 6

as i t s

Time,

160.

this

path of

necessarily follow.

He r e g a r d e d

t h e knowledge o f f o r e i g n

works and t r e n d s as h i s r e s p o n s i b i l i t y

as a composer and as

a p r o m o t e r o f modern m u s i c , b e l i e v i n g t h a t t h e p u b l i c s h o u l d
have t h e i r e y e s open t o t r e n d s h a p p e n i n g e l s e w h e r e ,
judging t h e i r

i n h e r e n t w o r t h i n t h e i r own r i g h t .

a t t i t u d e p e r h a p s came f r o m h i s e x p e r i e n c e

while
This

i n France,

where

he h a d t h e o p p o r t u n i t y t o be i n c o n t a c t w i t h t h e l a t e s t
t r e n d s i n e v e r y t h i n g o c c u r r i n g i n Europe.
p e r i o d i n I t a l i a n music, C a s e l l a

Concerning

this

thought:

Our own m u s i c a l i t y i s e v o l v i n g t o w a r d s a k i n d o f
c l a s s i c i s m , w h i c h w i l l be c o m p r i s e d , i n e u r y t h m i e
harmony, o f a l l t h e l a t e s t I t a l i a n a n d f o r e i g n
i n n o v a t i o n s , and w i l l d i f f e r g r e a t l y from French
i m p r e s s i o n i s m , S t r a u s s i a n decadence, t h e c o l d
s c i e n t i f i c works o f Schoenberg, I b e r i a n s e n s u a l i t y , and
the f a n t a s t i c a u d a c i t y of the recent
Hungarians.
4 8

These a r e t h e i d e a s C a s e l l a had i n mind f o r h i s I t a l y ,

r e g a r d l e s s o f t h e h i g h r e s p e c t he m a i n t a i n e d
and

f o r Schoenberg

f o r o t h e r t r e n d s o c c u r r i n g around Europe.

t h e c o n c e r t t o u r o f Pierrot
o f i t was p r e c e d e d
quartet,

went f o r t h ,

E i t h e r way,

and each p e r f o r m a n c e

b y C a s e l l a ' s own Concerto

for string

" i n o r d e r t o d e m o n s t r a t e how much o u r new

sensibility

a n d o u r r e s u r r e c t e d t r a d i t i o n were

of the Viennese

master's a r t . "

4 9

independent

The s t y l e o f t h e

Concerto

" . . . l a musicalit n o s t r a e v o l v a v e r s o una s p e c i e d i

c l a s s i c i s m o , i l q u a l e comprender i n u n a a r m o n i o s a e u r i t m i a t u t t e l e
u l t i m e i n n o v a z i o n i i t a l i a n e e s t r a n i e r e e differir t a n t o
d a l l ' i m p r e s s i o n i s m o f r a n c e s e , quanto d a l l a decadenza s t r a u s s i a n a , d a l
f r e d d o s c i e n t i s m o d i Schnberg, d a l l a sensualit i b e r i c a , d a l l ' a u d a c e
fantasia degli u l t i m i ungheresi."
A l f r e d o C a s e l l a , " L a n u o v a musicalit
i t a l i a n a , " i n Ars nova ( J a n u a r y 1 9 1 8 ) , 2-4. Q u o t e d i n N i c o l o d i ,
Musica
e m u s i c i s t i , 241.
48

was

a c o n t i n u a t i o n o f t h a t begun i n t h e e a r l i e r

infantili.
"the

As m i g h t be e x p e c t e d ,

concert

i n Florence

his

villa

the

concert,

i n Torre

pezzi

C a s e l l a remembers t h a t

t o u r was a s e r i e s o f rowdy s c e n e s , "

one

Undid

b u t he

5 0

recalls

t o w h i c h P u c c i n i made t h e t r i p

d e l Lago t o be p r e s e n t .

and a f t e r w a r d s

from

Puccini loved

he a n d S c h o e n b e r g e n g a g e d i n a

d i s c u s s i o n i n w h i c h each composer a s s e r t e d h i s r e s p e c t and

admiration

f o r the other,

satisfying

a n d a f f i r m a t i v e moments S c h o e n b e r g h a d d u r i n g t h e

entire

tour.

Casella

's Involvement
It

should

with

5 1

p e r h a p s one o f t h e o n l y

Fascism

be s t r e s s e d t h a t t h e I t a l i a n a t t i t u d e t o w a r d

f o r e i g n w o r k s a n d modern t e n d e n c i e s
before

the a r r i v a l of fascism.

was w e l l i n e x i s t e n c e

I t should

a l s o be n o t e d

C a s e l l a ' s s h i f t t o a more d i a t o n i c a n d l e s s o v e r t l y
garde s t y l e a l s o o c c u r r e d
C a s e l l a openly
although

before

s y m p a t h i e s i n 1926,

t o have b e e n e n t h u s i a s t i c

a b o u t t h e movement s i n c e t h e 1922 t a k e o v e r .
yearned f o r I t a l y t o p u l l
h o p e d t h e new f a s c i s t

' C a s e l l a , Music

itself

Musica

J u s t as he
r u t , s o he

g o v e r n m e n t w o u l d do t h e same f o r t h e

in My Time, 1 6 3 .

164.

Nicolodi,

5 2

out of a musical

'Ibid.
Ibid.,

avant-

t h e 1922 M a r c h on Rome.

declared his fascist

i n r e t r o s p e c t he c l a i m e d

that

e m u s i c i s t i , 245.

shambles
Italy

of post-war I t a l y .

felt

Many c o m p o s e r s

a n d much o f

t h e same way a s he d i d .

As a p e d a g o g u e ,

and f u n d a m e n t a l l y c o n c e r n e d w i t h t h e

future of I t a l i a n music, C a s e l l a

(among o t h e r s ) b e g a n t o

push t h e need f o r a r e f o r m i n m u s i c e d u c a t i o n .
when he f i r s t b e g a n

a s k i n g t h e government's

t o n e o f h i s w r i t i n g t a k e s on t h e f o l l o w i n g
condition

slant:

"This

and c o n s t a n t l y g r o w i n g n a t i o n a l

He was one o f many c o m p o s e r s

5 4

assistance, the

. . . w i l l be c o r r e c t e d g r a d u a l l y b y t h e p r e s e n t

n a t i o n a l development
being."

A r o u n d 1925

r e f o r m s f r o m t h e same g o v e r n m e n t ,
would adopt " f a s c i s t

well-

r e q u e s t i n g t h e same

a n d a l s o one o f many who

r h e t o r i c i n t h e hopes

t h e i r own a i m s , g e n e r o u s o r o t h e r w i s e . "

of furthering
Such s t a t e m e n t s

5 5

always i n v o l v e d f l a t t e r y o f t h e regime combined

with a firm

reassertion of n a t i o n a l i s t i c sentiment.
I t was a r o u n d t h i s t i m e t h a t he b e g a n

t o draw

between

fascist

fascist

government

policy,

except i n terms o f t h e g l o r i f i c a t i o n

Italian.
the

parallels

i d e o l o g y a n d . h i s own a i m s as an a r t i s t .

The

remained non-commital i n i t s c u l t u r a l

This allowed a r t i s t s

of a l l

things

t o i n t e r p r e t t h e demands o f

r e g i m e t o s u i t t h e i r own e n d e a v o u r s , a n d a s l o n g a s t h e

e l e m e n t o f f l a t t e r y were i n c l u d e d t h e r e may be hope f o r t h e

idea to take hold.

Casella conveniently maintained there to

"ibid.
Q u o t e d i n Harvey. S a c h s , Music
W e i d e n f e l d a n d N i c o l s o n , 1 9 8 7 ) , 36.
5 4

5 5

Ibid.

in Fascist

Italy

(London:

be

"a s t r o n g

fascism;
Of
not

r e l a t i o n s h i p between n e o - c l a s s i c i s m

both stood

f o r order

and

and

reactionary revolution."

c o u r s e t h o s e c o m p o s e r s p r a c t i c i n g n e o - c l a s s i c i s m who
f a s c i s t s ardently disagreed

r e f e r r e d to the

w i t h him.

I n 1939

"renewing b r e e z e " of f a s c i s m ,

I t a l i a n m u s i c t o b r e a k away f r o m i t s p r i o r
i n f l u e n c e s s u c h as
brought with

i t "a new

s p e c i f i c musical
the m u s i c a l

Strauss,

t r i b u t e took the

theatre,

II

deserto

Even a f t e r t h e
Casella continued
the

t o speak out

c o m p o s e r s --

Judaism.'"

"overt

Italians

official

Ibid,

A more

5 7

dedicated

i n support of

to
1936.

n a m i n g names --

Perhaps the

his

1939,

first

'the p r o d u c t

horrors

the

of

of

the

Although

the

Jewish

never took root

physical persecution

"many

of

f a r t o o d i s t a n t f r o m him.

anti-semitism

58

fascism.

w i f e and

c a l l e d t h e i r music
5 9

for

accused, i n p r i n t ,

i n v o l v e d d i d have an e f f e c t on

population,

5 6

without

and

s i t u a t i o n were s t i l l

--

and

r a c i a l p o l i c i e s were a d o p t e d i n

'internationalism,'

policies

foreign

E t h i o p i a n campaign of

f a c t that both h i s present

international

allowed

form of a "mystery"

w i f e were F r e n c h Jews, t h a t y e a r he
important

which

Stravinsky,

tentato,

were

he

sense of n a t i o n a l d i g n i t y . "

M u s s o l i n i i n p r a i s e of the

Despite

D e b u s s y and

among

of I t a l i a n

Jews

136.

C a s e l l a , "Problemi
i n Le a r t i , F l o r e n c e , 1-3
I t a l y , 138.
S 7

5 8

Sachs,

Fascist

5 9

Ibid.,

187.

e posizione a t t u a l e d e l l a musica i t a l i a n a , "

Feb. 1939, 2 5 6 - 6 4 .
Quoted i n Sachs,
Fascist

Italy,
He

137.

does not

note the

article.

5 6

h a v i n g o c c u r r e d o n l y d u r i n g t h e German o c c u p a t i o n , f r o m
S e p t e m b e r 1943 t o A p r i l
The

1945. "

6 0

German o c c u p a t i o n o f Rome d u r i n g t h e s e months d i d

f i n a l l y b r i n g t h e s i t u a t i o n home f o r C a s e l l a .
i n an o c c u p i e d c i t y ,

himself i l l

He was l i v i n g

w i t h cancer, and i n

c o n s t a n t f e a r t h a t h i s w i f e a n d d a u g h t e r w o u l d be t a k e n
him.

Massimo M i l a ,

about

t h e composer's

a friend of Casella,

from

had t h i s t o say

actions:

U n t i l t h e t i m e o f t h e r a c i a l l a w s , C a s e l l a was a
f a s c i s t -- n o t an e v i l o n e , b u t f u l l o f e n t h u s i a s m .
B u t I saw h i m l a t e r , d u r i n g t h e w a r , i n 1940 o r '41,
and he was u n d e r g o i n g a c o m p l e t e c h a n g e .
He was
beginning to understand.
6 1

The

last

c o m p o s i t i o n o f h i s c a r e e r w o u l d be t h e work f o r

c h o r u s a n d o r c h e s t r a , Missa

solemnis

pro pace,

begun

shortly

a f t e r t h e r e t r e a t o f t h e Germans f r o m Rome i n 1944.

The

conductor Gianandrea

different
regime.

Gavazzeni had a s l i g h t l y

angle concerning C a s e l l a 's involvement with the

He o b s e r v e d t h a t C a s e l l a was n o t e x a c t l y a f a s c i s t ,

but r a t h e r t h a t

" h i s w h o l e c u l t u r e a n d o u t l o o k were

a b s o l u t e l y European."

He c o n t i n u e s :

6 2

i n what way C a s e l l a was a f a s c i s t ? .

active anti-fascist.

Above a l l ,

uninterested i n p o l i t i c s . "

S i m p l y t h a t he w a s n ' t an

he was f u n d a m e n t a l l y

6 3

Ibid.
I n t e r v i e w w i t h Sachs,

Fascist

I n t e r v i e w w i t h Sachs,

i b i d . , 160.

Ibid.

"Do y o u want t o know

I t a l y , 53.

A confusing
observations

state of a f f a i r s .

Sachs summarizes h i s

thus:

C a s e l l a s r e a l p r o b l e m was t h e i r r e c o n c i l a b i l i t y , w h i c h
he r e f u s e d t o s e e , o f h i s p o l i t i c a l a n d a r t i s t i c i d e a s .
He t r i e d t o b e l o n g t o t h e f a s c i s t a r t i s t i c h i e r a r c h y
w h i l e r e p r e s e n t i n g t h e m u s i c a l a v a n t - g a r d e -- r a t h e r
l i k e t r y i n g t o be s i m u l t a n e o u s l y an o r t h o d o x f o l l o w e r
o f two r e l i g i o n s .
1

6 4

Piano

Compositions

of the '30s and '40s

Compositions f o r piano
Undid

pezzi

infantili

more s o l o p i a n o
decades:
arioso
(1942);

i n favour

of others

genres.

Four

w o r k s were w r i t t e n d u r i n g t h e n e x t two

Due r i c e r c a r i

e toccata

s o l o dropped o f f a f t e r t h e

sul nome "B-A-C-H" ( 1 9 3 2 ) ;

(1936);

a n d Sei studi

Ricercare

sul nome "Guido

Sinfonia,
M.

(1942-44).

T h e r e were no f u r t h e r s u d d e n c h a n g e s t o C a s e l l a ' s
a k i n t o those
stayed

general,
1920,

o f 1913 a n d 1920.

To assume t h a t h i s

c l o s e t o t h a t o f t h e Undid

misleading

however.

pezzi

T h e r e were g r a d u a l

forms and types

shifts,

remained.

i sstill

style

style

i n f a n t i l i w o u l d be

o n c e C a s e l l a s e t down h i s i d e a s a s t h e y

the basic characteristics

existing

Gatti"

evident

but i n
appeared i n

The l o o k t o p r e i n these

works.

I b i d . , 1 3 6 . The u s e o f t h e t e r m " a v a n t - g a r d e " h e r e m i g h t seem

misleading, i n l i g h t of the fact that Casella's n e o c l a s s i c a l
c o m p o s i t i o n a l s t y l e seems r a t h e r c o n s e r v a t i v e , c o m p a r e d t o o t h e r
European c u r r e n t s o f t h e time, and even i n comparison w i t h h i s works o f
the p r e v i o u s decade.
I n the context o f I t a l i a n music during t h e f a s c i s t
e r a , what was l a b e l l e d " a v a n t - g a r d e " w e r e s t y l e s w h i c h s t r o v e t o b r e a k
away f r o m t h e c o m p o s i t i o n a l c o m f o r t z o n e o f t h e l o n g - e s t a b l i s h e d I t a l i a n
Romantic opera and o f f s h o o t s o f i t .
R e f e r t o p a g e s 12-14 o f t h i s
document.
6 4

Sinfonia,

arioso

e toccata

a r e a l s o t y p e s w h i c h were i n

c i r c u l a t i o n w e l l b e f o r e t h e C l a s s i c a l p e r i o d , and
Sinfonia

even b e g i n s

the

w i t h s e c t i o n of double-dotted

v e r y much i n t h e s t y l e o f a F r e n c h

rhythms

overture.

There i s a l s o

an a l l u s i o n t o t h e n i n e t e e n t h c e n t u r y F r e n c h

group of works

called

"triptychs,"

Prelude,

a r i a et

two

with similar t i t l e s

f i n a l e and

w e l l as t h e Estampes

and

Prelude,

Images

c o n t a i n t h r e e p i e c e s as w e l l .
l o n g e s t p i a n o work, and
important,
every
this

mostly

due

he

chorale

c o n s i d e r e d i t one

6 6

E x a c t l y how

The

(Six Studies) belong

e a c h w i t h i t s own

a r t i s t i c manner.

The

c a n n o t be

comprise

students

"The

"Casella,

in My

intended

to the t r a d i t i o n

of

collection

a l l but
The

o f M.
the

Time,

of C a s e l l a , "

and

Ravel."

6 7

first

six studies

2) m a j o r and m i n o r s e v e n t h s ,

Solo Piano Music

Music

he

C h o p i n and

of C a s e l l a ' s .

1) m a j o r t h i r d s ,

"Krebs,

f r e e d form

known.

to the

i s dedicated to a p i a n i s t ,

(Carlo Zecchi)

each

"a humble homage o f a d m i r a t i o n

g r a t i t u d e t o t h e m e m o r i e s o f F.F.
Each s t u d y

as

t e c h n i c a l p r o b l e m , t r e a t e d i n an

p r e f a t o r y note

r e v e a l s t h e s e p i e c e s as

fugue,

o f h i s most

t o " i t s form c o m p l e t e l y

understood

etudes,

et

T h i s work o f C a s e l l a i s h i s

comment t o be
studi

Franck,

o f Debussy, w h i c h

6 5

suggestion of the p a s t . "

Sei

by

3)

131-32.

214.

" L a prsente c o l l a n a d i ' s t u d i ' v u o l e s s e r e un u n i l e o m a g g i o d i

a m m i r a z i o n e e d i g r a t i t u d i n e v e r s o l e m e m o r i e d i F.F. C h o p i n e d i
M. R a v e l . "
C a s e l l a , Sei studi
per pianoforte,
op.70 ( M i l a n o :
Edizioni
C u r c i , 1944).
6 7

l e g a t o f o u r t h s , 4) r e p e a t e d n o t e s ,
Chopin"),
The
C

a n d 6) a p e r p e t u u m m o b i l e
Ricercare

sul nome Guido

(Toccata).

M. Gatti

i s a much s m a l l e r

a n d was composed i n h o n o u r o f t h e w e l l - k n o w n

his f i f t i e t h

b i r t h d a y i n 1942.

name a r e t h e s o u r c e
letters

f o r t h e notes

t h a t do n o t c o m p r i s e

The l e t t e r s

As one w o u l d e x p e c t

of Gatti's

part of the musical

imitative.

alphabet

alphabetically

from a r i c e r c a r ,

contrapuntal but not very

critic

o f t h e theme, a n d t h o s e

a r e t r e a t e d a s i f t h e n o t e names e x t e n d
G.

("Omaggio a

work,
for

5) f i f t h s

past

the texture i s

6 9

B e f o r e c o m p l e t i n g t h e d i s c u s s i o n o f C a s e l l a w i t h a more
d e t a i l e d l o o k a t t h e Due r i c e r c a r i

sul nome "B-A-C-H",

his

g e n e r a l c o m p o s i t i o n a l t e n d e n c i e s as w e l l as h i s p a r t i c u l a r
t a l e n t may be summed up i n t h i s
Mila:

o f t e n - c i t e d q u o t a t i o n by

"The C a s e l l i a n q u a l i t y par excellence

this barometric s e n s i b i l i t y
contemporary t a s t e . "

7 0

. . . [was]

to the o s c i l l a t i o n s of

Whether such a tendency

was s e e n as

an a d v a n t a g e o r a c r u t c h i s p e r h a p s p e r s o n a l o p i n i o n .
Through a l l o f C a s e l l a ' s s t y l i s t i c
and

experiments,

was

h i s l o o k t o forms,

shifts,

harmonic

t h e one u n e q u i v o c a l c o n s t a n t
styles,

6 8

A r o u n d 2:20 i n l e n g t h .

6 9

Krebs,

"The S o l o P i a n o M u s i c

genres,

i n h i s work

o r composers

of Casella,"

crises,

which

134-35.

Massimo M i l a , " I t i n e r a r i o s t i l i s t i c o 1901-1942,"

Alfredo
Casella,
F e d e l e D'Amico a n d G u i d o M. G a t t i , e d s . ( M i l a n o :
G. R i c o r d i &
C , 1 9 5 8 ) , 3 3 . T r a n s l a t i o n i n W i l l i a m A u s t i n , Music
in the 20th
Century:
from Debussy
through
Stravinsky
(New Y o r k :
W.W. N o r t o n &
Company I n c . , 1 9 6 6 ) , 4 2 1 - 4 2 2 .
70

had

a l l come b e f o r e .

The d e g r e e a n d t r e a t m e n t may v a r y , b u t

the

i n s p i r a t i o n seems t o come f r o m t h e same p l a c e .

Due

Ricercari

sul nome "B-A-C-H" (1932)

During the renaissance

ricercar.

there

One t y p e i s c h a r a c t e r i z e d b y s e c t i o n a l

organization,

highly polyphonic

w r i t i n g , a n d i s b a s e d on t h e

development o f s h o r t motives.
in texture,

but

running

keyboardists,

G a b r i e l i and F r e s c o b a l d i ,

form.

The o t h e r

interspersed with

prominent I t a l i a n
A.

e x i s t e d two t y p e s o f

explored

i t d i d n o t become f o r m a l i z e d

"fugue".

which evolved

compositional

t o Germany a n d A u s t r i a ,
J.S. Bach's

i n t o what we now c a l l t h e

t h e s e two h i s t o r i c a l

o f t h e work, w i t h

b o t h o f t h e Due Ricercari
B a c h ' s name.
B-flat

this

until

A further layer of h i s t o r i c a l
title

According

types of r i c e r c a r .

h a t - t i p p i n g i s h i n t e d by

t h e main m o t i v i c m a t e r i a l i n

being

derived

from t h e l e t t e r s o f

t o t h e German a l p h a b e t ,

a n d "H" = B - n a t u r a l ,

B - f l a t , A, C, B - n a t u r a l .

"B" =

so t h a t t h e m o t i v e c r e a t e d i s :

I n t h e s e two p i e c e s ,

to borrowing the r i c e r c a r type of composition,

the

B-A-C-H theme h a s t h e d u a l

i n addition
t h e use o f

i m p l i c a t i o n of r e f e r r i n g both

t o t h e baroque m a s t e r , and a l s o t o t h e use o f t h i s

7 1

Krebs,

The

12

Many

7 1

The two r i c e r c a r s i n t h i s work b y C a s e l l a i n

7 2

many ways p a r a l l e l

the

passagework.

among them C a v a z z o n i ,

The p r a c t i c e was t r a n s m i t t e d

experimentations,

t y p e i s homophonic

"The S o l o

New Grove

Piano M u s i c o f C a s e l l a , " 121.

Concise,

s.v. " R i c e r c a r e . "

same

theme b y o t h e r c o m p o s e r s .
name i n h i s Art
nineteenth

century

The f i r s t
is

dated

of Fugue,

revived the p r a c t i c e .

O c t o b e r 10, 1932, t h e f i r s t

h e r memory."

This piece

i s titled

"X" i s i n c l u d e d as w e l l .

the

calendar,

Revolution,
first

1932 i n d i c a t e d
but the

This i s the dating of

t a k i n g i t s cue f r o m t h e

French

a n d u s i n g t h e e v e n t o f t h e M a r c h on Rome t o mark

year,

1922.

Some c r i t i c s
polyphonic

and

elegy dedicated to

Not o n l y i s t h e date

2 1 s t a f t e r the second r i c e r c a r ) ,

fascist

Funbre,

anniversary of h i s

"is a little

designation

its

7 3

I t i s n o t e w o r t h y t o e x a m i n e more c l o s e l y t h e

74

of completion.

(October

t o u s e h i s own

and composers d u r i n g t h e

o f t h e two r i c e r c a r s

mother's death.

dates

B a c h was t h e f i r s t

n o t e a t u r n b y C a s e l l a t o w a r d more

and s e r i o u s g e n r e s d u r i n g t h e 1 9 3 0 s .

considers these

two p i e c e s t o be t h e b e s t

7 5

Mila

example o f t h i s

trend.

Among t h e c o m p o s e r s t o u s e t h e theme a r e Schumann, L i s z t ,

B u s o n i , Webern, S c h o e n b e r g .
The Norton/Grove
Encyclopedia
of Music,
ed.
S t a n l e y S a d i e (New Y o r k a n d L o n d o n :
W.W.
N o r t o n & Company, 1 9 8 8 ) , s . v .
"B-A-C-H."
73

Musica

7 4

Casella,

Music

in My

7 5

M i l a , Breve Storia
e m u s i c i s t i , 257.

Time,

(Torino:

192.
E i n a u d i , 1 9 9 3 ) , 53-54;

Nicolodi,

T h i s movement i s m a r k e d Molto
4/4

time,

described

above, t h e f i r s t

lento,

one i n C a s e l l a ' s p a i r

reflects

v a r i e t y b a s e d on t h e d e v e l o p m e n t o f

motives, organized

into sections.

The

short

"B-A-C-H" theme

as t h e b a s i c m o t i v i c m a t e r i a l t h r o u g h t h e e n t i r e

movement and i s a l w a y s p r e s e n t ,
in

quasi

= 60-63. Of t h e two t y p e s o f r i c e r c a r

the polyphonic

functions

moderato,

an a c c o m p a n i m e n t a l

whether used t h e m a t i c a l l y or

fashion.

A p r o p o s e d d i v i s i o n o f t h e movement i n t o f o u r
is

as f o l l o w s :

like

a f u g a l e x p o s i t i o n measures

s e c t i o n i n E - f l a t major measures

sorrowful

1-12,

a song-

17-21, a more

m e l o d i c passage i n B - f l a t minor measures

and a s h o r t

coda measures

40-48.

sections

The r e m a i n i n g

32-39,

measures

f u n c t i o n as t r a n s i t i o n s b e t w e e n t h e s e c t i o n s .
The p o l y p h o n i c
presented c l e a r l y
twelve measures,
the

and m o t i v i c n a t u r e o f t h e movement i s
i n the opening s e c t i o n .

In the

first

C a s e l l a nods t o t h e l a t e r d e v e l o p m e n t

r i c e r c a r by J . S . B a c h , who

was

responsible

development of f u g a l form out of the r e n a i s s a n c e

of

f o r the
practice.

7 6

C o m p r i s e d e n t i r e l y o u t o f t h e f o u r n o t e s o f t h e BACH
theme, t h e s u b j e c t
off

by a r e s t

i s divided i n t o three

(example 3 . 6 ) .

The

first

m o t i v e s , each s e t
measure

shows

c l e a r l y t h e d e r i v a t i o n o f t h e theme f r o m t h e l e t t e r s
B a c h ' s name, p r e s e n t e d i n t h e a l t o v o i c e .
The

16

New

Grove

Concise,

s.v.

"Ricercare."

Its

of

quarter-note

Molto moderato, quasi lento J=60-63

Ppoco espress.

m r r Mr
j.

,B

motion w i l l be r e f e r r e d t o as motive "x".

Motive "y"

i n v o l v e s an a c c e l e r a t i o n o f t h e rhythm i n t h r e e e i g h t h - n o t e s
and two q u a r t e r s , again u s i n g t h e BACH notes and r e p e a t i n g
the B - f l a t on the l a s t q u a r t e r note.

The " z " motive

completes the t h i r d and f o u r t h statements o f the BACH theme,

u s i n g e i g h t h - n o t e motion and employing octave displacement.
The s u b j e c t ends where i t began, on a B - f l a t on the downbeat
of measure 4.
Measure 4 a l s o marks the e n t r y o f t h e soprano

voice.

In accordance with normal f u g a l p r a c t i c e , the answer apears

i n the dominant, b e g i n n i n g on F.

The a l t o v o i c e continues

as a c o u n t e r - s u b j e c t i n a rhythm d e r i v e d from t h a t o f motive

y (example

3.7).

subject to t o n i c

In order t o accommodate the r e t u r n o f the

( B - f l a t ) , measure 6 i s expanded from 4/4

time t o 5/4, a l l o w i n g the descending chromatic l i n e o f the

s u b j e c t t o extend downward from the t a r g e t F (beat 5)

through E, and f i n a l l y t o E - f l a t on the downbeat of measure

7, where i t serves i n a c o u n t e r - s u b j e c t
Example 3.7, C a s e l l a , Due Ricercari
I. Funbre, measures 4-7.

capacity.

sul nome "B.A.C.H.,"

The t h i r d statement o f the s u b j e c t begins i n measure 7,

i n octaves i n the l e f t hand.

The r i g h t c o n t a i n s the soprano

and a l t o v o i c e s which p l a y o f f each o t h e r r h y t h m i c a l l y w i t h

motive y.

At the a r r i v a l o f motive z i n the l e f t hand i n

measure 9, the rhythm o f motive y i s maintained,

combined

with the octave displacement o f motive z, and i s t r e a t e d i n

sequence over t h r e e measures

(example 3.8).

final

statement of BACH i n the t o n i c i n octaves completes the

section.
A four-measure t r a n s i t i o n t o the second s e c t i o n o f the
p i e c e begins i n measure 13.
statment of the f u g a l f i r s t

Growing out o f the t h i r d

s e c t i o n , the d i v i s i o n of v o i c e s

i n t o four p a r t s w i t h two v o i c e s working i n c o n c e r t c o n t i n u e s

here.

The soprano and bass p l a y o f f the rhythmic motives x

2.

and y, while the i n n e r v o i c e s move i n p a r a l l e l p e r f e c t

fourths.

Measure 16 expands t h e range t o prepare the next

s e c t i o n o f the movement.
Whereas the f i r s t

s e c t i o n o f the p i e c e r e v o l v e d around

a chromatic s u b j e c t based on B - f l a t , the second s e c t i o n

remains f i r m l y p l a n t e d i n t h e key o f E - f l a t major.

This

passage i s marked by a change o f mood, a placement o f the

BACH s u b j e c t i n i t s e n t i r e t y t o t h e a l t o v o i c e , a t o n i c dominant

o s c i l l a t i o n u n d e r l i n e d by h a l f - n o t e bass motion,

and a t u n e f u l melody i n the soprano which moves i n q u a r t e r

notes

(example 3.9). The o v e r a l l e f f e c t

i s of a cabaret-

s t y l e song, w h i l e a t the same time the s t r o n g m o t i v i c anchor

continues i n the a l t o

voice.

Example 3.9, C a s e l l a , Due Ricercari

I. Funbre, measures 17-21.

sul nome "B.A.C.H.,"

The next t r a n s i t i o n b e g i n n i n g i n measure 22 i n v o l v e s a

b r e a k i n g down o f the s u b j e c t i n t o s m a l l e r components.
first

chromatic motion i n s p i r e d

At

by the s u b j e c t e v o l v e s i n

the a l t o w h i l e the soprano c o n t i n u e s the q u a r t e r - n o t e motion

of the p r e v i o u s measures.

Motive x then appears f o r two

measures b e f o r e i t i s broken down i n t o two-note p a i r s ,

harmonized

by f i f t h s i n a s p a c i n g t h a t w i l l reappear i n the

next s e c t i o n .

A full

statement

o f the s u b j e c t accompanied

by a walking bass l i n e prepares the next melodic e n t r y .

A change o f key t o f i v e f l a t s h a i l s the key o f B - f l a t
minor f o r the t h i r d s e c t i o n o f the work a t measure 32

(example 3.10).

As i n t h e second s e c t i o n ,

h e r e t h e BACH

m o t i v e r e m a i n s i n t h e a l t o v o i c e , o n l y now m o t i v e x i s u s e d
exclusively.

The b a s s a l t e r n a t e s b e t w e e n

B-flat

and E - f l a t ,

alsoreminiscent of the tonic-dominant o s c i l l a t i o n i n

s e c t i o n two (compare
the

upper p a r t

molto

t o example

i s marked

espressiva,"

most e x p r e s s i v e

3.9).

The p r e d o m i n a n c e o f

i n t h e s c o r e b y " l a parte

i n d i c a t i n g t h e upper p a r t

superiore

t o be g i v e n t h e

attention.

E x a m p l e 3.10, C a s e l l a , Due Ricercari

I . Funbre, m e a s u r e s 32-3S.

sul nome "B.A.C.H.,"

la. parte, superiore molto espressiva

WWW,
! U

T f f T T f" " r r

X I!

PmoUo ctfoLcc

semprc Sena arp.

A n e i g h t - m e a s u r e c o d a r o u n d s o f f t h e movement.
x appears i n t h e l e f t

hand,

first

v o i c e , under r i g h t - h a n d t r i a d s
half-notes.

i n o c t a v e s a n d t h e n i n one

i n ascending groups o f three

The p e n u l t i m a t e m e a s u r e i n v o l v e s a v e r t i c a l

s t a c k i n g o f t h e BACH n o t e s , i n d i c a t e d c l e a r l y
by t h e i n c l u s i o n o f t h e a p p r o p r i a t e l e t t e r s
The

final

Motive

measure i s l e f t

" t e n e r e a lungo."

i n the score

(example

3.11).

empty e x c e p t f o r t h e d e s i g n a t i o n

I t i s p e r h a p s no a c c i d e n t t h a t t h e

i n c l u s i o n o f a n empty m e a s u r e s h o u l d b r i n g t h e m e a s u r e c o u n t

t o 48, i n r e v e r e n c e t o Bach's g r e a t c o n t r i b u t i o n t o t h e
literature

f o r keyboard,

Well-Tempered

t h e 48 p r e l u d e s a n d f u g u e s o f t h e

Clavier.

E x a m p l e 3.11, C a s e l l a , Due Ricercari

I . Funejb-re, m e a s u r e s 4 6 - 4 8 .

IT.

sul nome "B.A.C.H.,"

Ostinato
J u s t a s t h e Funbre

Renaissance

ricercar,

movement r e p r e s e n t s o n e t y p e o f

t h e s e c o n d movement, Ostinato,

reminiscent o f t h e type which

i s predominantly

i n t e r s p e r s e d w i t h running passagework.
passagework o c c u r s as o c c a s i o n a l
homophonic t e x t u r e ,

i s

homophonic,

In this piece,

flourishes within the

rather than a c t i n g as a r t i c u l a t i o n

p o i n t s between s e c t i o n s . A gradual increase i n excitement

i stheoverall

effect

c r e a t e d b y t h i s movement, a c h i e v e d t h r o u g h a g r a d u a l
t h i c k e n i n g o f t h e t e x t u r e a n d a n i n c r e a s e i n tempo
the end o f t h e p i e c e .

toward

A d i v i s i o n i n t o s e c t i o n s c a n be

accomplished by r e f e r r i n g t o the treatment o f t h e o s t i n a t o ,

which changes approximately every e i g h t t o twelve measures.

The

ten s e c t i o n s of the p i e c e are not c o n t r a s t i n g ,

r a t h e r serve
end

but

a cumulative purpose i n the d r i v e toward

the

of the movement.
The movement begins with a two-measure i n t r o d u c t i o n i n

which the o s t i n a t o i s s t a t e d .
the t i t l e

The

" o s t i n a t o " i n d i c a t e d by

i s comprised of the notes of the BACH theme, at

t h e i r o r i g i n a l pitches

( B - f l a t ) , one

statement per bar.

rhythm of the o s t i n a t o remains f i x e d as w e l l :

time s i g n a t u r e ,

3.12).

Treated

first

by e i g h t h - r e s t s

two
(example

rhythm o f t h i s o s t i n a t o remain f i x e d .

tempo i n d i c a t i o n of Vivacissimo

by the i n d i c a t i o n "per cominciare,

100

i s supplemented

e p o i poco a poco

animando," meaning to begin at the i n d i c a t e d tempo and

become more animated as the p i e c e
Example 3.12,
I I . Ostinato,

2/2

i n v a r i o u s ways throughout the movement,

both the notes and

The

within a

the o s t i n a t o i s s t a t e d i n the

measures as eighth-notes separated

The

to

progresses.

C a s e l l a , Due Ricercari
measures 1-2.

sul

nome "B.A.C.H.,"

Vivacissimo J= 100 per cominciare, e poi a poco a poco animando

(B)
(A)
(C)
(H)
H
f
f
*t
1-i
1
1*>

r r <r

i J staccatissimo

The f i r s t
accompaniment

s e c t i o n i n v o l v e s the o s t i n a t o as an
to a t y p i c a l l y I t a l i a n dance, the s t y l e o f

which i s a l s o c h a r a c t e r i z e d by a g r a d u a l i n c r e a s e i n speed,
a lilting

tarantella

7 7

(example 3.13).

I t i s the grouping

of s e x t u p l e t eighth-notes i n t h i s passage which w i l l emerge

l a t e r as the f l o u r i s h e s w i t h i n the r e l e n t l e s s e i g h t h note/rest

rhythm o f the o s t i n a t o .

At measure 13 the second

s e c t i o n begins with the o s t i n a t o i n a middle v o i c e , the

a d d i t i o n o f a bass l i n e i n l e a p i n g tenths,
third,

as w e l l as a

upper, v o i c e .

Example 3.13, C a s e l l a , Due Ricercari

I I . Ostinato,
measures 3-6.

sul nome "B.A.C.H.,"

A s h i f t up the octave o f the o s t i n a t o h a i l s the t h i r d

s e c t i o n at measure 23.

Three v o i c e s now move i n the

o s t i n a t o rhythm, w h i l e dyads punctuate the s t r o n g beats of

71

The

New Grove

Concise,

s.v.

"Ricercare."

the measure.

Two

f l o u r i s h e s of sextupet e i g h t h s appear i n

the l e f t hand, r a i s i n g the excitement

l e v e l and

the range t o l e a d i n t o the next s e c t i o n

Example 3.14,
I I . Ostinato,

C a s e l l a , Due Ricercari
measures 31-33.

expanding

(example 3.14).

sul nome "B.A.C.H.,"

Alp

m 1km1"

yHrpf T
7

7q

1 a m *i

_kl^
j[ "

fc

fag
4. :

i*t
1

U^TTTr r r r r f -3 u j r
K

Another

r e g i s t e r s h i f t of the o s t i n a t o , now

i n t o the

bass doubled i n octaves, marks the b e g i n n i n g of s e c t i o n

at

measure 33.

The

five

r i g h t - h a n d melody continues i n dense

t r i a d s , and another s c a l a r f l o u r i s h l e a d s i n t o s e c t i o n s i x
at

measure 42. . Here again the o s t i n a t o s h i f t s up by

two

octaves i n t o the r i g h t hand, w h i l e l e f t hand chords which

span a t e n t h punctuate

s t r o n g beats, as at measure 23

(example 3.15).
At measure 48 t h e r e i s a more marked t h i c k e n i n g of the
t e x t u r e with f u l l f o u r - n o t e chords i n each hand on the

first

and f o u r t h q u a r t e r s of each measure which envelop the notes

of

the o s t i n a t o .

The two

remaining notes, A and C, are

p o i n t e d out i n bare octaves between the chords

3.16).

(example

/ l j J

, n'ig-^-V

vff) 4 j * *F
1

*> "r

?
^

morcatissimo

LP
E| % *1 -

?* ijf-t ?*

< M Pi i

- *I

!'

M<7W (7//>.)

Example 3.16, C a s e l l a , Due .Ricercari sul nome "B.A.C.H.,"

I I . O s t i n a t o , measures 48-50.

sempre

a ii

molt

of

The

t h i c k e n i n g p r o c e s s undergoes a r h y t h m i c element i n

t h e s e v e n t h s e c t i o n , w i t h a t e l e s c o p i n g o f t h e 2/2 t i m e
s i g n a t u r e i n t o 3/4, t h e o s t i n a t o i n h a r m o n i z e d
pairs, with a r e g i s t r a l
(example

shift

two-note

f o r each o f t h e s e p a i r s

3.17).

A t m e a s u r e 68 t h e t i m e s i g n a t u r e r e t u r n s t o 2/2, w i t h
t h e d e s i g n a t i o n Animando
to

poco

a poco

continue b u i l d i n g the intensity.

reminding the performer

A crescendo

t o f f and

beyond u n d e r s c o r e s an e x p a n s i o n upward o f t h e r i g h t

hand

r e g i s t e r i n open-spaced chords and a w i d e l y - l e a p i n g

left

hand

(example

E x a m p l e 3.17,
II: Ostinato,

3.18) .
C a s e l l a , Due Ricercari
measures 60-67.

sul nome "B.A.C.H.,"

f H

nSh^i W

1t

-mr***>
W--.

gi

'

A subito

^piano

Stringendo

molto,

faf

'i

4p 1
11 1 1

s 1

t=^i1"

J_.

<

up,

and another reminder t o keep speeding

occur a t s e c t i o n nine, measure 80.

The twelve measures of t h i s passage a c t as a s o r t of

r e c a p i t u l a t i o n of the i n t e n s i f i c a t i o n techniques used
far

i n the movement.

A f t e r the i t i t i a l piano

thus

marking, the

o s t i n a t o r i s e s by an octave every few measures accompanied

by a crescendo

molto,

and the u n d e r l y i n g q u a r t e r - n o t e beat

o s t i n a t o i s s t i l l adhered
note motion

t o while a new

constant e i g h t h -

i s added f o r f u r t h e r i n t e n s i t y

(example 3.19).

At measure 86 the r i g h t - h a n d open s p a c i n g of measures 76-79

r e t u r n s , now

on o f f - b e a t s t o the o s t i n a t o , c o n t i n u i n g the

rise in register

(example 3.20).

The

f o u r - n o t e chords

on

the f i r s t and f o u r t h q u a r t e r s of the measure, as a t measure

48, r e t u r n i n measure 89, a g a i n r i s i n g t h r e e times i n octave
register.

Example 3.20, C a s e l l a , Due Ricercari

I I . Ostinato,
measures 86-89.

The

sul nome "B.A.C.H.,

f i n a l s e c t i o n i s h a i l e d by y e t another

keep going f a s t e r ,

" d i nuovo

string,

e molto"

reminder t o

a t measure 93.

The t r i e d - a n d - t r u e p r a c t i c e o f b e g i n n i n g t h e o s t i n a t o i n a
low r e g i s t e r and g r a d u a l l y r a i s e i t by octaves,

accompanied

by an i n c r e a s e i n dynamic l e v e l , occurs again i n t h i s

passage by the l e f t hand i n octaves.
punctuates

The r i g h t hand

with chords on s t r o n g b e a t s .

In the l a s t two

measures the o s t i n a t o stops a b r u p t l y , o n l y t o be arranged

v e r t i c a l l y as the same motive was t r e a t e d a t t h e end o f the
Funbre movement

(example 3.21).

A fff,

accented

B-flat

minor chord f i n a l i z e s the work, b r i n g i n g the BACH motive

around t o i t s f i r s t note once again.
Example 3.21,
I I . Ostinato,

C a s e l l a , Due Ricercari
measures 101-102.

sul nome "B.A.C.H.,"

Roma, il 21 oHobr

The

W32-X. 0

two p i e c e s i n t h i s s e t r e f l e c t C a s e l l a s most
1

noticeable compositional q u a l i t y :
the s t y l e s

and

the a b i l i t y to a s s i m i l a t e

i n f l u e n c e s of the p a s t .

Concurrent

with

the

t r e n d i n I t a l y d u r i n g the f a s c i s t p e r i o d , C a s e l l a ' s c h o i c e s
r e f l e c t the g l o r y of the great I t a l i a n p a s t .
Renaissance keyboard r i c e r c a r

The

use of the

t r a d i t i o n , which was

made

famous by I t a l i a n k e y b o a r d i s t s d u r i n g t h a t p e r i o d , i s a
r e f l e c t i o n of t h i s way
tarantella
another

of t h i n k i n g .

at the b e g i n n i n g

of the Ostinato

use of a p a r t i c u l a r l y

updated g u i s e .

The

The

reverence

inclusion

movement i s

I t a l i a n t r a d i t i o n i n a new

however, perhaps another

and

g i v e n t o the g r e a t German

master, Bach, seems t o go a g a i n s t t h i s I t a l i a n i z i n g

Rather than s e e i n g the two

o f the

traditions

as

trend.

antithetical

r e a d i n g of the merger might be

as

t h e v i s i o n o f t h e two t r a d i t i o n s e x i s t i n g a s c o m p l e m e n t a r y
to

each

other, the I t a l i a n Renaissance

t r a d i t i o n and t h e

l a t e r d e v e l o p m e n t -- i n d i c a t e d by t h e u s e o f B a c h ' s name a s
w e l l a s t h e f u g a l e x p o s i t i o n f o r m i n t h e Funbre
acknowledged master

of counterpoint.

D u r i n g t h e 1930s C a s e l l a was a f a s c i s t
d a t e s o f e a c h movement i n t h i s
fascist
at

calendar

supporter.

The

s e t , making use o f t h e

("X." f o r 1932) i n d i c a t e s h i s s y m p a t h i e s

t h e t i m e o f t h e c o m p o s i t i o n o f t h i s work.

contemporary

-- b y t h e

I t a l i a n t r e n d toward

The

past I t a l i a n

styles

ina

new g u i s e i s i n d e e d p r e s e n t h e r e , t h r o u g h t h e r i c e r c a r
and

the i n c l u s i o n of the t a r a n t e l l a ,

a peculiarly
The
i n which

fascist

form

b u t t h i s was i n no way

inclination.

y e a r o f c o m p o s i t i o n o f t h i s work was a l s o t h e y e a r
the notorious "Manifesto of I t a l i a n Musicians"

p i t t e d the "conservatives" against the "progressives" i nthe

m u s i c w o r l d , C a s e l l a b e i n g l a b e l e d as one o f t h e l a t t e r .
A l t h o u g h t h e work i s f a i r l y
minor,

the opening

f i r m l y entrenched

o f Funbre,

i n B-flat

w i t h i t s r e l i a n c e on t h e

c h r o m a t i c s u b j e c t o f B a c h ' s name, may p r e s e n t some h a r m o n i c

difficulties

t o t h e more r o m a n t i c a l l y m i n d e d c r i t i c s ,

even

though t h e e n t r i e s i n t h e f u g a l e x p o s i t i o n p o i n t t o a t o n i c dominant r e l a t i o n s h i p a t i t s f o u n d a t i o n .
dissonances

i n t h e Ostinato

Even t h e

have a b a s i s i n t r i a d i c

harmony.

T r y i n g t o a s s e s s C a s e l l a ' s c o m p o s i t i o n a l s t y l e as t h e
result
is

of h i s f a s c i s t

r e a l l y examining

inclinations

i s a mistake,

two c o m p l e t e l y d i f f e r e n t

s i n c e one

issues.

His

unpopularity
is

w i t h i n the w o r l d of h i s contemporary

composers

a b s o l u t e l y no r e f l e c t i o n o f h i s s u p p o r t o f t h e

regime,

n o r o f h i s deep and

future of a fundamentally
fascim's concern
with

Casella s

a r t and

l o n g - l a s t i n g concern

fascist
f o r the

I t a l i a n a r t f o r his country.

f o r the g l o r i f i c a t i o n

of I t a l y

(and o t h e r s ' ) s i m i l a r w i s h e s

education, r e f l e c t s

coincided

i n the world

a deeper e v o l u t i o n i n the

of the n a t i o n ,

r a t h e r than a s u c c e s s f u l

implementation

from those higher-up

That

policy

i n government.

of

state

CHAPTER I V
GIAN FRANCESCO MALIPIERO

Gian

Francesco

M a l i p i e r o (1882-1973) i s c o n s i d e r e d by-

many m u s i c o l o g i s t s t o be " t h e most o r i g i n a l

of

Italian

composer

h i s g e n e r a t i o n , " a n d p e r h a p s a l s o t h e most e l u s i v e .

a difficult

u p b r i n g i n g t o a comfort

i n solitude,

this

c o m p l i c a t e d p e r s o n a l i t y h a s c r e a t e d an opus w h i c h
defies codification.

H i s unusual

approach

unevenness o f t h e q u a l i t y o f h i s o u t p u t
work b e i n g v e r y d i f f i c u l t

still

t o form and t h e

has r e s u l t e d i n h i s

to categorize into

p e r i o d s , o r even t o d e s c r i b e

From

stylistic

adequately.

N i c o l o d i t h e o r i z e s t h a t M a l i p i e r o ' s y o u t h may h o l d t h e
key t o h i s c o m p l i c a t e d a d u l t p e r s o n a l i t y , w h i c h
reflected

i n h i s compositions.

t h e 1930s b e t r a y s a n g u i s h ,
face of death
in

G e n e r a l l y , h i s work

unhappiness

and t r a g i c l o s s .

i s also
until

and d e s p a i r i n t h e

The b r e a k - u p o f h i s p a r e n t s

1893 -- h i s m o t h e r o f n o b l e b l o o d a n d h i s f a t h e r a

pianist

and conductor

-- r e s u l t e d

i n t h e young M a l i p i e r o

g o i n g w i t h h i s f a t h e r away f r o m h i s m o t h e r ' s home i n t h e

Veneto r e g i o n , through
Vienna,
year

Berlin,

and f i n a l l y t o

where he s t u d i e d a t t h e c o n s e r v a t o r y t h e r e f o r t h e

1898-9.

-'-Sachs,
nel ventennio
Francesco."

Unhappy away f r o m h i s home, he r e t u r n e d ,

Music
in Fascist
fascists,
200.

New Grove,

Trieste,

Nicolodi,

"Malipiero."
Musica,

201.

I t a l y , 132. N i c o l o d i , Musica
e
New Grove, s . v . " M a l i p i e r o , G i a n

musicisti

settling

i n 1910

i n t h e V e n e t o town o f A s o l o .

r e t r e a t of Caporetto
f l e e the

i n 1917

region again.

shattered nerves,
The

years

He

and

of the

f o r c e d him

remained there

for four

F i r s t W o r l d War
and

the

h i s family to

a r r i v e d i n Rome w i t h

M a l i p i e r o ' s d e v e l o p m e n t as a man
recalls

and

But

completely
years.

were c r u c i a l

in

as an a r t i s t .

He

that

i n 1914 t h e war d i s r u p t e d my w h o l e l i f e , w h i c h
r e m a i n e d , u n t i l 1920, a p e r e n n i a l t r a g e d y .
The w o r k s
o f t h e s e y e a r s p e r h a p s r e f l e c t my a g i t a t i o n ; h o w e v e r , I
c o n s i d e r t h a t i f I h a v e c r e a t e d s o m e t h i n g new i n my a r t
( f o r m a l l y and s t y l i s t i c a l l y ) i t h a p p e n e d p r e c i s e l y i n
this period.
5

Another formative
o n s e t o f war,
to

Paris.

occurred

I t was

event,
i n 1913

t h e r e t h a t he

w i t h A l f r e d o C a s e l l a , and
the European m u s i c a l
life.

He

musical
his

had

t h i s one

he

found h i m s e l f

compositions

Spring.

He

later described

t o come.

time i n h i s

techniques

At

of

that experience

The

Rite

as w a k i n g

"Malipiero."

Ibid'.

Ibid.

of

in

Casella's

the premiere of

dangerous l e t h a r g y . "

^Baker's
Biographical
Dictionary
Musicians,
s.v. " M a l i p i e r o . "
7

first

with

t r a c e s o f w h i c h w o u l d be p r e s e n t

f o r many y e a r s

" f r o m a l o n g and

''New Grove,

face-to-face

the o p p o r t u n i t y t o absorb "the

6

trip

formed a l a s t i n g f r i e n d s h i p

avant-garde f o r the

Impressionism, "

the

with Malipiero's f i r s t

recommendation M a l i p i e r o attended
of

coming b e f o r e

Twentieth-Century

Classical

him

U n l i k e many o f h i s E u r o p e a n c o n t e m p o r a r i e s
comrade C a s e l l a ,

(or h i s

f o r t h a t m a t t e r ) , M a l i p i e r o always

remained

f i r m l y t i e d t o h i s home r e g i o n o f t h e V e n e t o , f i n a l l y r e settling

i n Asolo

of h i s l i f e .

i n 1926 a n d r e m a i n i n g

there f o rthe rest

He was n o t an i n t e r n a t i o n a l i s t a t h e a r t ,

p r e f e r r i n g t h e company o f a n i m a l s

t o people

a t t i m e s , and

immersing h i m s e l f i n t h e s t u d y and t r a n s c r i p t i o n o f
manuscripts

of e a r l i e r

would remain c r u c i a l
Malipiero's

I t a l i a n masters.

These i n f l u e n c e s

i n h i s development as a composer.

first

official

teacher of composition

was

M a r c o E n r i c o B o s s i , w i t h whom he s t u d i e d b e t w e e n 1900-2 a n d
a g a i n i n 1904.

From B o s s i M a l i p i e r o became s c h o o l e d

German r o m a n t i c i s m .
tradition
Berlin.

He f u r t h e r e d h i s s t u d y o f t h i s

f o r a s h o r t w h i l e w i t h Max B r u c h

l e a r n e d f a r more a b o u t m u s i c t h r o u g h

The
his

i n 1908 i n

This formal schooling aside, M a l i p i e r o f e l t

different

i n late

he

two c o m p l e t e l y

experiences.
first

experience,

compositional output,

manuscripts

a n d most l a s t i n g

was t h e d i s c o v e r y i n 1902 o f

of "long-forgotten early I t a l i a n

(Monteverdi,

F r e s c o b a l d i , Merulo,

the B i b l i o t e c a Marciano

i n Venice.

began t o t r a n s c r i b e t h e s e works.

w h i c h he p r e p a r e d

New Grove,

"Malipiero."

over

music

e t c . ) " w h i c h he f o u n d i n
8

Of h i s own d e c i s i o n he

This i n t e r e s t

e v e n t u a l l y t o complete the sixteen-volume

Monteverdi,

i n reference to

l e d him

complete works o f

a s i x t e e n - y e a r span

from

1926

t o 1942.

its

historical

The e d i t i o n h a s met w i t h much c r i t i c i s m , b u t

importance i s unmistakable.

He a l s o

edited

many w o r k s o f V i v a l d i f o r t h e c o m p l e t e e d i t i o n o f h i s w o r k s .
He c o n t r i b u t e d

a s w e l l t o t h e modern e d i t i o n s o f c o m p o s e r s

of t h e 16th through 18th c e n t u r i e s

i n the c o l l e c t i o n I

C l a s s i c i d e l l a Musica

I t a l i a n a , w h i c h he p u r s u e d u n d e r t h e

patronage of Gabriele

D'Annunzio.

The

other major i n f l u e n c e

musician occurred during

i n h i s development as a

1905, when M a l i p i e r o w o r k e d a s an

a s s i s t a n t t o t h e b l i n d composer A n t o n i o
S m a r e g l i a was a " d i s c i p l e o f W a g n e r , "
helper

Smareglia.
and h a d h i s young

10

t r a n s c r i b e , through d i c t a t i o n , the parts

i n h i s head.

Malipiero

claimed l a t e r

e s p e c i a l l y about o r c h e s t r a t i o n ,
from a l l h i s formal

studies."

"that

from t h i s

he composed

he l e a r n t more,

experience

than

1 1

C e r t a i n l y t h e M o n t e v e r d i e d i t i o n was o f g r e a t
importance t o I t a l i a n s .

M a l i p i e r o was a l s o i n f l u e n t i a l

teacher of composition, a career

his compositional
Casella

activities.

w h i c h he p u r s u e d

composers o f i n s t r u m e n t a l

music t o f o l l o w a f t e r the years of

suggested moreover t h a t M a l i p i e r o ' s

New

Grove,

"Malipiero."

I t has been

p a r t i c u l a r importance

E v e r e t t Helm, " G i a n F r a n c e s c o M a l i p i e r o :
c o n t e m p o r a r y s t y l e w i t h b a r o q u e r o o t s , " Musical
8.
10

with

new p a t h s f o r young

opera's domination over I t a l i a n c u l t u r e .

alongside

In addition, together

( a n d o t h e r s ) he h e l p e d c r e a t e

as a

a thoroughly
America
72 ( A p r i l

1952),

has

most t o do

Italian

with

h i s r e a l i z a t i o n t h a t the

instrumental

tradition

"lay neither

a p p l i c a t i o n of temperamentally uncongenial
concepts nor

i n a continuation

operatic t r a d i t i o n . "
the

o f an

p r e - c l a s s i c m a s t e r s he

was

so

in

transalpine

turned

The

i d e a had

reasoning
century

been formed i n

infection"

of the

19th

the

antidotes

century.

composers of the

p a s t --

Monteverdi to V i v a l d i

Scarlatti

h i s way

of escaping

reality.

I n an
Malipiero,"

ugliness

great

Domenico
of

daily

Style
article
1 4

entitled

"Modernit e a n t i m o d e r n i s m o i n

Massimo M i l a d e s c r i b e s

of M a l i p i e r o ' s

s t y l e not

i t s a n t i t h e s i s , but

as t h e

the

Musica,

main

coexistence

E v e r e t t Helm, " M a l i p i e r o i n R e t r o s p e c t , "

( 1 9 7 5 ) , 70.
"Nicolodi,

two

currents

d u a l i t y between modernism

r a t h e r as t h e

1 2

no.l

surmises

shades of
to

the

1 3

Compositional

and

the

15th-

against

Nicolodi

r e t r e a t i n t o the

was

fundamentally

Malipiero's

further that Malipiero's

--

to

It is this

t r a d i t i o n s o f G r e g o r i a n c h a n t and

v o c a l p o l y p h o n y w o u l d be

"musical

instead

f r o m t h a t o f h i s comrade C a s e l l a .

already

t h a t the

Italian

f a m i l i a r with.

t u r n i n g away f r o m c o n t e m p o r a r y i n f l u e n c e w h i c h
sets h i s approach apart

an

the

exhausted

C o n s e q u e n t l y , he

1 2

s a l v a t i o n of

The

Music

of

Review

avant-

36

219.

" M a s s i m o M i l a , "Modernit e a n t i m o d e r n i s m o i n M a l i p i e r o , " i n

Omaggio a Malipiero,
ed. M a r i o M e s s i n i s ( F i r e n z e :
Leo S. O l s c h k i
E d i t o r e , 1977), 15-20.

garde
and

compositional idioms alongside p r e - c l a s s i c

inspiration.

is difficult

The

techniques

composer's h i g h l y i d i o s y n c r a t i c

to c l a s s i f y

adequate d e s c r i p t i o n .

i n t o p e r i o d s , and

e v e n has

H i s t e c h n i q u e s d i d not

found

style

defied
a

" s c h o o l " of d i s c i p l e s nor d i d they c o d i f y a set of

compositional
The

systems.

"modernist"

v e i n o f h i s c o m p o s i n g may

d e s c r i b e d most e a s i l y by what i t s t r i v e s not

perhaps

to

be

be.

A n y t h i n g v a g u e l y r e s e m b l i n g German r o m a n t i c i s m i s c o m p l e t e l y
abolished:
motivic

complete

themes, t h e m a t i c development

f r a g m e n t a t i o n and

counterpoint,

combination or through

functional tonality,

as s o n a t a f o r m .

1 5

What r e m a i n s

melody t h a t remains

d e v e l o p m e n t and

particularly his

and

to systematic

formal technique i s

more a k i n t o c o n t r a s t i n g p a n e l s w i t h o u t
16

t o form

thematic

In panel c o n s t r u c t i o n ,

theme and t e x t u r e i s u s e d

f o r a passage or s e c t i o n ,

another

c h a r a c t e r i z e d by a c o m p l e t e l y

contrasting idea,

t e x t u r e and

thematic idea,

such

own.

approaches

s e t form, M a l i p i e r o ' s

r e l a t i o n s h i p s between them.

systematic

or formal s t r u c t u r e s

i s an a p p r o a c h

In p l a c e of these t r a d i t i o n a l

through

and

then
new

follows d i r e c t l y afterwards,

o f t e n p r e p a r e d o n l y by t h e u s e o f a l o n g r e s t o r b r e a k

of

N i c o l o d i , Musica,
2 0 3 - 4 , 207; N o e l N i c k s o n , "A T w e n t i e t h C e n t u r y
Revival:
A B r i e f I n t r o d u c t i o n t o Some A s p e c t s o f t h e R i s e o f M o d e r n
I t a l i a n Music,"
Miscellanea
Musicologica
2 (March 1 9 6 7 ) , 13.
1 5

N i c o l o d i , Musica,
206.
The t e r m " p a n e l c o n s t r u c t i o n " may b e a r
s i m i l a r i t i e s t o o t h e r f o r m a l d e s c r i p t i o n s , b u t seems t o h a v e b e e n
i n v e n t e d by N i c o l o d i t o d e s c r i b e s p e c i f i c a l l y M a l i p i e r o ' s f o r m a l
processes.
1 6

some k i n d .

Most o f h i s p i a n o

displaying this

music r e f l e c t s

this thinking,

f r a g m e n t e d o r g a n i z a t i o n on a l a r g e r s c a l e by

composing works comprised o f s h o r t p i e c e s , each

complete

p i e c e r e p r e s e n t i n g one e m o t i o n o r i d e a , o r " p a n e l . "

piece within i t s larger cycle w i l l

Often a

contain a panel

c o n s t r u c t i o n o f i t s own, p r e s e n t i n g a few c o n t r a s t i n g i d e a s
in

succession, with or without

thematic
thus

l i n k s throughout.

appears both

1 7

recurrence,

a n d w i t h no

This o r g a n i z a t i o n a l p r a c t i c e

a t t h e l a r g e s c a l e l e v e l as w e l l as a t t h e

microcosmic.
As

f o r thematic

as a " l i g h t ,

f l o w i n g , non-Germanic k i n d o f c o u n t e r p o i n t

. . . [renouncing]
century

d e v e l o p m e n t , E v e r e t t Helm d e s c r i b e s i t

sense."

development techniques

i n the 19th-

Many w r i t e r s h a v e a t t e m p t e d t o d e s c r i b e

1 8

Malipiero's melodic

style,

usually reverting to the

explanation of basis i n 16th-century

counterpoint.

d e s c r i p t i o n l e a v e s much t o t h e i m a g i n a t i o n , a s t h e r e
r a r e l y any i l l u s t r a t i v e

examples o f t h i s p r a c t i c e .

bottom l i n e i n t h e f o r m a l and m e l o d i c

This
appear
The

development o f

M a l i p i e r o s w o r k s comes b a c k t o h i s p r e d i l e c t i o n f o r
1

solitude,

t o h i s a l l o w i n g h i m s e l f t h e f r e e d o m t o p u r s u e an

intuitive

course,

c r e a t i n g a " ' f r e e dialogue' which

n a t u r a l l y and u n s y s t e m a t i c a l l y . "

1 7

This

idea w i l l

18

Helm,

1 9

Ibid.

1 9

be d i s c u s s e d i n t h e a n a l y s i s o f Cavalcate

follow.
" R e t r o s p e c t , " 71.

develops

to

" T o n a l i t y i s always present i n M a l i p i e r o ' s music,

tonality

f r e e from the f u n c t i o n s of c l a s s i c i s m ,

but

more

prominent

i n the h o r i z o n t a l aspects of h i s s t y l e than i n the

vertical."

2 0

As

a way

of expanding

the t o n a l base w i t h o u t

r e s o r t i n g to t w e n t i e t h - c e n t u r y t r e n d s , the

composer

f r e q u e n t l y u s e s modes and m o d a l harmony, a n o t h e r nod t o p r e classical traditions.

the importance

M a l i p i e r o was

of the c o n v i c t i o n

o f G r e g o r i a n c h a n t was

t h e L u t h e r a n c h o r a l was

f o r Germany.

21

f o r I t a l i a n music
The

that
what

f r e e flow of

m e l o d y and m o d a l i n f l e c t i o n s a r e e v i d e n c e o f h i s
a s s i m i l a t i o n of the p r a c t i c e s of chant i n t o h i s m e l o d i c
style.

Another

way

o f l o o k i n g a t t h e use o f modes, h o w e v e r ,

i s t h r o u g h the eyes o f the 2 0 t h - c e n t u r y t h e o r i s t .

whole-tone
Malipiero

The

s c a l e , made p o p u l a r by D e b u s s y , whose w o r k s
knew w e l l ,

i s a l l u d e d t o o f t e n i n h i s works, i f

never used t h o r o u g h l y or s y s t e m a t i c a l l y .

2 2

Basic triadic

( o f t e n p o l y t o n a l ) t h i n k i n g combined w i t h t h i s

predilection

f o r modes, e s p e c i a l l y

1930s,

i n the works b e f o r e the

s o m e t i m e s r e s u l t s i n "modal s h a p e s
with organum-like
ideas,

parallel

2 0

Noel Nickson,

2 1

Mila,

This combination

"A T w e n t i e t h C e n t u r y R e v i v a l , "

"Modernit,"

Ibid.,

416.

Again,

of
apt

15.

16.

J o h n C.G. W a t e r h o u s e ,
109 (May 1 9 6 8 ) , 416.

2 3

2 3

a t t h e same t i m e b o t h a n c i e n t and modern, i s an

2 2

Times

triads."

[which] a r e a s s o c i a t e d

"Debussy and

Cavalcate

will

I t a l i a n Music,"

The

illustrate

idea.

this

Musical

illustration
both

o f how M a l i p i e r o ' s m u s i c manages t o r e p r e s e n t

k i n d s o f i n f l u e n c e i n one t h o r o u g h l y b l e n d e d
It

has been mentioned t h a t t h e d i v i s i o n

works i n t o s t y l e
attempt

periods i s a problematic process.

di Gian

are d i v i d e d i n such

Francesco

Malipiero,

An

more g e n e r a l d i v i s i o n

study.

i s a reflection

He d o e s d e s c r i b e a

the f i r s t

phase, l a s t i n g

t h e move t o h i s h o u s e i n A s o l o , t h e
t h e weakening bonds w i t h t h e o u t s i d e

w o r l d ; a n d t h e t h i r d , h i s i n f l u e n c e on a g r o w i n g
2 4

The t h i r d p h a s e b e g i n s

c i r c l e of

a r o u n d 1930.

G o r i n i a l s o d e s c r i b e s t h r e e phases o f t h e piano
reflecting

up t o

o f t h e agony o f t h e w o r l d a r o u n d h i m ;

p r i v a c y and s o l i t u d e ,

students.

a s t o be

into three periods, corresponding to

i n Malipiero's l i f e :

the second r e f l e c t s

b u t t h e phases

s m a l l and d e t a i l e d i n c r e m e n t s

o f no u s e t o t h e p u r p o s e s o f t h i s

1920,

of Malipiero's

a t c l a s s i f i c a t i o n h a s b e e n made b y W a t e r h o u s e i n h i s

work La musica

stages

style.

those proposed by Waterhouse.

output,

The f i r s t i s

c h a r a c t e r i z e d by t h e "sonorous t h i c k n e s s o f i m p r e s s i o n i s m , "
the second demonstrates a c l a r i f i c a t i o n

and g r e a t e r use o f

modes, a n d t h e t h i r d shows t h e d e v e l o p m e n t o f c o u n t e r p o i n t
in

an a t o n a l c o n t e x t .

2 5

Gorini's descriptions.
occurs
and

T h e r e a r e no e x a c t d a t e s
By h i s a c c o u n t s ,

j u s t beyond t h e scope o f t h i s

onward.

J o h n C.G. W a t e r h o u s e , La Musica
(Torino:
Nuova E R I , 1 9 9 0 ) , 1 4 5 .
2 4

2 5

Malipiero,

the t h i r d

study,

Nicolodi describes a f i r s t

phase

f r o m a r o u n d 1946

phase as l a s t i n g

di Gian-Francesco

G i n o G o r i n i , "La m u s i c a p i a n i s t i c a
ed. M e s s i n i s , 116.

given i n

Malipiero

d i M a l i p i e r o , " i n Omaggio

a r o u n d 20

years,

and

a second phase b e g i n n i n g

in

1932,

c h a r a c t e r i z e d by a more homogenous a p p r o a c h t o f o r m
expression.

For the purposes of t h i s

2 6

general delineations w i l l
piano

Period:

third

to

the f o l l o w i n g

f o l l o w e d f o r the d i v i s i o n

works i n t o t h r e e p e r i o d s :

( 1 9 2 0 - 1 9 3 0 ) , and

First

be

study

and

(1930

the f i r s t

and

(to 1920),

of
second

later).

1920

M a l i p i e r o n e v e r composed a m a j o r work d e a l i n g
e x p l i c i t l y w i t h the

F i r s t W o r l d War,

but

language used d u r i n g the p e r i o d p r i o r

involvement

Poemetti

demonstrates the path

t h e c o m p o s e r was

of m a l i n c h o l y

be

and

from these

lunari

betrays

The

a deep

collection

f r o m 1909-1910

of

already

t o f o l l o w , i n moods

" p u l s a t i o n s of death."
p i e c e s o n w a r d s , a new

musical

2 7

I t was

clear

l i n g u i s t i c code would

n e e d e d t o accommodate M a l i p i e r o ' s w i d e l y d i v e r g i n g

emotional

states.

Malipiero's

Already

evident

Preludi

autunnali

what w o u l d be

o f 1914

t e r m e d as t h e

t h o u g h t h e war

had

' N i c o l o d i , Musica,
Ibid.,

at t h i s

time

is

" p a n e l " f o r m , c h a r a c t e r i z e d by t h e s u c c e s s i o n

c o n t r a s t i n g s e c t i o n s w i t h no
The

t o 1920

w i t h the h o r r o r s of the time.

seven p i e c e s e n t i t l e d

that,

the

205.

thematic
continue

l i n k s b e t w e e n them.
t h i s path,

expressing

" m a l i n c o n i a m a l i p i e r i a n a , " even

b a r e l y begun.

204.

of

The

t h i r d of these

pieces

betrays Malipiero's interest

i n modal m e l o d i e s

creation of chant-like outlines.

According
experience
nature

Night

t o Waterhouse, " t h e f i r s t

o f t h e war seemed r e a l l y

Poemi asolani

of the Dead).

specifically

2 9

fundamental i n the
of the pieces i n the

The t i t l e o f t h e p i e c e

the graveyards

i n t h e town o f A s o l o ,

y e a r on
which

t h e c u s t o m was t o " i l l u m i n a t e a l l

and r i n g t h e b e l l s o f t h e churches
E e r i l y premonitory,

i n t e r p r e t a t i o n of the experience

far into

M a l i p i e r o composed h i s
only a year before the

horrors of the retreat of Caporetto

his

refers

t o t h e t r a d i t i o n which took place every

h i s home a t t h e t i m e ,

the n i g h t . "

p i e c e i n which

o f 1916, " L a n o t t e d e i m o r t i " (The

November 1 s t , A l l S a i n t s ' Day:

was

2 8

o f t h e m u s i c " was t h e f i r s t

collection

with the

i n 1917 f o r c e d h i m a n d

f a m i l y t o l e a v e t h e a r e a f o r Rome.
The

d i s s e r t a t i o n o f E l i z a b e t h Ann W a l l a c e

deals

s p e c i f i c a l l y with t h i s piece of M a l i p i e r o ' s i n the context

of p i a n o works w h i c h b e t r a y t h e e f f e c t o f war. Her
d e s c r i p t i o n o f t h e work i l l u s t r a t e s
compositional trends t y p i c a l
period.

2 9

o f t h e composer's s t y l e

As r e f e r e n c e s t o t h e R e n a i s s a n c e

mentions t h e absence o f time

2 8

a s w e l l many o f t h e

Gorini,

period

i n this

Wallace

s i g n a t u r e and c o n s t a n t

" L a m u s i c a p i a n i s t i c a , " 119.

W a t e r h o u s e , La Musica

di Gian-Francesco

Malipiero,

45.

W a t e r h o u s e , i b i d . , 4 5 - 4 6 ; t r a n s l a t i o n i n W a l l a c e , "The E f f e c t o f
War on t h e L i v e s a n d Work o f P i a n o C o m p o s e r s a n d t h e E v o l u t i o n o f
C o m p o s i t i o n a l T e c h n i q u e i n W a r - R e l a t e d P i a n o P i e c e s f r o m 184 9 t h r o u g h
t h e S e c o n d W o r l d War," (Ph.D. d i s s . , T e x a s T e c h U n i v e r s i t y , 1 9 9 0 ) , 1 2 5 .
3 0

f l u c t u a t i o n o f b e a t s p e r measure, w h i l e t h e absence o f key

s i g n a t u r e s she r e l a t e s t o b o t h R e n a i s s a n c e
practices.

and 2 0 t h - c e n t u r y

The i n f l u e n c e o f D e b u s s y i s v i s i b l e

stratification

of the texture,

i n the

a l t h o u g h w i t h a much

darker

e f f e c t a n d o f a more r e p e t i t i v e n a t u r e t h a n t h e F r e n c h
composer's p r e d i l e c t i o n s .

The i m p r e s s i o n o f t h e t o l l i n g

3 1

b e l l s o f a f u n e r a l p r o c e s s i o n i s e v i d e n t , t h r o u g h means o f a
slow o s t i n a t o i n o c t a v e s low i n t h e p i a n o range,
four-note semitone

c l u s t e r r i n g i n g ominously

with a

above

it.

3 2

Such p r a c t i c e s

show an a f f i n i t y w i t h t h e F r e n c h

Impressionism,

but r a t h e r than e n t e r i n g completely i n t o the

techniques of t h i s

school of composition, Malipiero's

style

s t r i v e s t o render the t r u t h of the impression, i t s emotional

effect,

i n as v i v i d terms as p o s s i b l e .

The

3 3

i n f l u e n c e o f D e b u s s y c o n t i n u e d t h r o u g h many o f t h e

works o f t h i s p e r i o d , a l t h o u g h always

with Malipiero's

on t h e t e c h n i q u e i n o r d e r t o u n d e r s c o r e

spin

the aggression,

frustration,

h o r r o r and a n g u i s h o f t h e p e r i o d i n which

was l i v i n g .

The " p a n e l " t e c h n i q u e o f f o r m a l c o n s t r u c t i o n

c o n t i n u e d t o be d e v e l o p e d

i n support of these

s p r i n g i n g f r o m an i n t u i t i v e
s e t form.

The e f f e c t t h r o u g h o u t

Wallace,
:

Ibid,

sense

"The e f f e c t

"La musica

seems t o be more o f

o f war," 125-6.

pianistica,"

needs,

r a t h e r t h a n f r o m any p r e -

126.

'Gorini,

he

120.

i m p r o v i s a t i o n o f s e c t i o n s w i t h o u t a s o l i d f o r m on w h i c h t o
hinge the i d e a s .
The

3 4

next s e t o f f i v e p i e c e s e n t i t l e d

Barlumi

(1917)

r e p r e s e n t t h e c o m p o s e r ' s most a v a n t - g a r d e a t t e m p t o f t h e
period.

A l o n g w i t h most w o r k s o f t h e p e r i o d d u r i n g t h e

3 5

F i r s t W o r l d War, t h i s

collection

i s a l s o c h a r a c t e r i z e d by-

tempos w h i c h f l u c t u a t e w i d e l y a n d s u d d e n l y , a n d m e l o d i e s
t h a t n e v e r become m e l o d i e s i n t h e p r o p e r s e n s e , b u t r a t h e r
stay i n t h e i r
the

decade,

pieces,

"atomic s t a t e s . "

Maschere

The f i n a l p i a n o w o r k o f

3 6

che passono

{Passing

Masks,

1919) c o n t i n u e s t h e t r e n d s o f t h i s

d i s s o n a n t c r a s h e s , harmonic

five

time, with i t s

a n g u l a r i t y and u n p r e d i c t a b l e

rhythms.

Second

Period:

the

1920s

I n t h e 1920s he was c o n s i d e r e d a r a d i c a l -- e v e n
r e v o l u t i o n a r y -- a n d was f r e q u e n t l y a t t a c k e d a s o n e .
T o d a y he i s n e g l e c t e d a n d c o n s i d e r e d b y many o l d f a s h i o n e d , b e c a u s e he h a s f o l l o w e d no a v a n t - g a r d e
tradition.
3 7

Through

comparing

s t a t e m e n t s made a b o u t

compositional process
his

style

critics

3 4

to Mila),

Waterhouse,
Ibid.

3 6

Ibid.

37

Helm,
8.

i t i s e v i d e n t how

seems t o e v a d e n e a t c l a s s i f i c a t i o n ,

with i t s idiosyncracies.

3 5

style,"

(compare

Malipiero's

La Musica

Always

di Gian-Francesco

"Gian Francesco M a l i p i e r o :

stumping t h e

uninterested i n t

Malipiero,

47.

a thoroughly contemporary

compositional trends o f h i s contemporaries,

Malipiero

c o n t i n u e d t o c u l t i v a t e an a r t t h a t came f r o m w i t h i n h i m s e l f
only.
The

years

1917-1929 r e p r e s e n t t h e h i g h p o i n t i n

M a l i p i e r o ' s output
beginning

for piano.

3 8

The m u s i c composed

a r o u n d 1920 shows a move t o w a r d

s e r e n i t y and exuberance."

3 9

more

"stability,

There i s a c l u s t e r o f f i v e

p i a n o works w r i t t e n i n t h e f i r s t

three years

of this

which demonstrate t h i s tendency:

A Claude

Omaggi

a n d La s i e s t a ( 1 9 2 1 ) , a n d

Tarlo
is

{Homages,
(1922).

(although s t i l l

atmosphere i n regards

idiota."

piano

(To a P a r r o t ) , "

1917.

The t i t l e s

d'tat

(For a Statesman),"

38

New

"A un e l e f a n t e , " a n d "A un

Grove,

three t i n y pieces t o the

p u b l i s h e d a r o u n d 1920, b u t

and premiered

i n one o f t h e Socit

tante heritage

obvious

t h r e e s h o r t and d e s c r i p t i v e p i e c e s :

of Lord Berners

composed e a r l i e r ,

less

a n d a g e n e r a l l y new s p i r i t u a l

Waterhouse compares t h e s e

collection

there

t o t h e world around him.

Omaggi c o m p r i s e

"A un p a p p a g a l l o

h a r m o n i e s become

d i s s o n a n t ) , t h e r e i s a more

o f modal i n f l e c t i o n ,

The

and

I n these works and o t h e r s o f t h e decade

a c l e a r e r succession o f events,

biting
use

1 9 2 0 ) , Cavalcate

Debussy

decade

by A l f r e d o C a s e l l a a t t h e

di Musica

Moderna

concerts of

o f t h a t c o l l e c t i o n a r e " P o u r u n homme
" P o u r un c a n a r i , " a n d " P o u r une

( F o r an H e i r e s s A u n t ) . "

Waterhouse

"Malipiero."

".
. . g r a n p a r t e d e l l a m u s i c a m a l i p i e r i a n a d e g l i a n n i 1920-22
s e m b r a t e s a v e r s o u n a n u o v a stabilit, serenit e d e s u b e r a n z a . "
W a t e r h o u s e , La Musica
di Gian-Francesco
Malipiero,
65.
39

d e s c r i b e s M a l i p i e r o ' s e f f o r t as p o s s e s s i n g

"the rare

o f b e i n g humorous m u s i c t h a t r e a l l y i s f u n n y . "
Tarlo

i s another

seem, t h r o u g h

their

4 0

s h o r t group o f m i n i a t u r e p i e c e s , which

improvisatory nature,

t o serve the

purpose o f e x p l o r i n g t h e s o n o r i t i e s o f t h e piano
own s a k e .

virtue

The p i e c e A Claude

Debussy

for their

i s a b i t o f an

anomaly, w r i t t e n as p a r t o f a c o l l e c t i o n o f p i e c e s by
various people
Illustration

i n honour o f t h e French

of the Second

This t r i o

Period:

composer.

41

Cavalcate

o f t i n y p i e c e s i s among M a l i p i e r o ' s

known c o m p o s i t i o n s .

lesser-

I t was composed t h e y e a r b e f o r e t h e

M a r c h on Rome a n d d e m o n s t r a t e s n o t o n l y many f a c e t s o f
Malipiero's continuing techniques,
characteristics

but also the

o f t h e new " S e c o n d P e r i o d " o f h i s

c o m p o s i t i o n a l s t y l e w h i c h began around t h i s t i m e
The

three pieces i n t h i s

"Cavalcade"

modes o f f o u r - l e g g e d l o c o m o t i o n . "
interest
animals

i n r e p r e s e n t i n g animals
i n hisdaily

k e p t many a n i m a l s

life

4 2

describe

(1920).
"three

The c o m p o s i t i o n a l

r e f l e c t s the importance

-- M a l i p i e r o i s r e p u t e d

a s p e t s i n h i s home i n A s o l o .

4 3

of

t o have
I t i s not

" Q u e s t e d i v e r t e n t i q u i s q u i g l i e hanno l a r a r a v i r t u d i e s s e r e
musica f a c e t a che averamente b u f f a . . . . "
I b i d . , 66.
4 0

4 1

Gorini,

"La m u s i c a p i a n i s t i c a , " 121.

M a u r i c e H i n s o n , Guide to the P i a n i s t ' s Repertoire,

2nd ed. r e v .
and e n l a r g e d ( B l o o m i n g t o n a n d I n d i a n a p o l i s : I n d i a n a U n i v e r s i t y P r e s s ,
1994), 478.
4 2

E v e r e t t H e l m was a s t u d e n t o f M a l i p i e r o ' s f o r a t i m e , a n d
r e c o u n t s t h e c o m p o s e r ' s home l i f e i n " G i a n F r a n c e s c o M a l i p i e r o : a
t h o r o u g h l y c o n t e m p o r a r y s t y l e , " 8.
4 3

the

first

o f M a l i p i e r o ' s works t o d e a l w i t h t h e

representation

o f a n i m a l s i n some r e s p e c t .

work Impressioni

dal vero

(Impressions

The o r c h e s t r a l

of Truth)

a r o u n d 1910 i s c o m p r i s e d o f a s e r i e s o f p i e c e s ,
b a s e d on a b i r d - c a l l .
two

composed
e a c h one

The Omaggi o f 1920 a l s o

4 4

a n i m a l movements:

a parrot

contains

a n d an e l e p h a n t .

The

three

movements o f t h i s p r e s e n t work a r e e n t i t l e d :
"I.

Rcalcitrante

"Recalcitrant
"Rocking

(Somaro)" which t r a n s l a t e s as

(Donkey)", " I I . Dondolante

(Camel)", and " I I I . Focoso

(Steed)."

Each p i e c e

Formal c o n s t r u c t i o n
t h i s work, p a r t i c u l a r l y
At

the heart

pages i n l e n g t h ,

impression

i n panels i s c l e a r l y evident i n
i n the f i r s t

of the three

i n vivid

terms, w i t h

intuitively

shifts

form, b u t r a t h e r

at the service of the impression

composer i s t r y i n g t o convey.

pieces.

i s the portrayal

s u d d e n mood

t h a t a r e n o t a t t h e mercy o f a p r e - s e t
evolve

each

of i t s t i t l e .

of t h i s type of c o n s t r u c t i o n

o f an i m p r e s s i o n

or

(Destriero)" or "Fiery

i s two t o t h r e e

s t r i v i n g t o present a v i v i d

(Camello)"

the

Such p a n e l s c o u l d v e r y

easily

be

r e f e r r e d t o m e r e l y as " s e c t i o n s , " b u t t h e d i f f e r e n c e

in

t h e f a c t t h a t each i d e a

visual,

that the succession

n e c e s s a r i l y any p r e s c r i b e d

i s a representation
of ideas

that there

New Grove,

f o r m , t h a t e a c h p a n e l b e a r s no

i s no p r e p a r a t i o n

"Malipiero."

of something

does n o t f o l l o w

t h e m a t i c r e s e m b l a n c e t o t h a t w h i c h comes b e f o r e
and

lies

or after i t ,

f o r the introduction of a

new i d e a ,

o t h e r t h a n perhaps by a c l e a r d e l i n e a t i o n w i t h t h e

use o f r e s t s o r a p a u s e .
that

The i m p r e s s i o n t h i s c r e a t e s i s

o f someone p l a c i n g ,

paintings

by v a r i o u s

i n f r o n t o f one's e y e s , d i f f e r e n t

artists practicing a variety

techniques, the only

constant being that

of the

subject

matter.
On t h e l a r g e r s c a l e ,

each o f t h e t h r e e

d r a s t i c a l l y d i f f e r e n t from t h e others,

pieces,

may e a c h be

c o n s i d e r e d a p a n e l o f i t s own, w h i c h w o u l d make t h e e n t i r e
work a s a w h o l e

three panels i n length.

grouping together short

set

descriptive pieces within

o r s u i t e i s c e r t a i n l y n o t new

Corner

their organization
Malipiero's

on t h e l a r g e r

harmonic

i t s basis,

often

with

pieces,

structures

style.

I t i s always t r i a d i c at

chords o f d i f f e r e n t keys
l u s h harmonies

treated

i n parallel

that

do n o t

These c h o r d s

formations to create

Used i n c o n j u n c t i o n

with

aural

p a n e l format, each

s e c t i o n makes u s e o f a d i f f e r e n t c h o r d a l

panel.

superimposed,

used i n t h e i m p r e s s i o n i s t i c sense o f sound

impressions.

create

reflecting

language i s a r e a d i l y - i d e n t i f i a b l e

key i n each hand, t o c r e a t e

rather

may be s e e n

structure.

necessarily maintain a syntactical function.

are

a larger

Children's

The d i f f e r e n c e

of the constituent

aspect of h i s compositional

one

(Debussy's

comes i n s t a n t l y t o m i n d ) .

i n the construction

The p r a c t i c e o f

construction

an e n t i r e l y d i f f e r e n t h a r m o n i c e f f e c t w i t h i n

to
each

The

a n c i e n t a s p e c t o f music d i s c u s s e d by M i l a

i s only

c l e a r l y e v i d e n t i n t h e m i d d l e movement o f t h e c o l l e c t i o n ,
where o r g a n u m - l i k e s p a c i n g a n d m o d a l m e l o d i e s e v o k e
practices of centuries e a r l i e r .
make s u c h o v e r t u s e o f a r c h a i c

I.

Rcalcitrante
This f i r s t

The o u t e r movements do n o t
allusions.

(Somaro)
p i e c e o f t h e c o l l e c t i o n most

clearly

demonstrates t h e form o f c o n s t r u c t i o n i n p a n e l s , which a r e

o r g a n i z e d i n t o a s o r t o f r o n d o f o r m , ABACA.

Rather than

s t a n d a r d r o n d o p r o c e d u r e s where one m i g h t r e a s o n a b l y e x p e c t
the

i n s t a n c e s o f "A" m a t e r i a l t o be i n s e c t i o n s o f

a p p r o x i m a t e l y t h e same l e n g t h a n d a l l i n t h e same k e y , h e r e
the

A s e c t i o n s a p p e a r a r o u n d t h e t o n a l c e n t r e s D, E, a n d

C-sharp
17),

respectively,

then only four

measures

(42-60).

with sections f i r s t

(measures
The f i r s t

o f 17 m e a s u r e s ( 1 -

31-34), and f i n a l l y

19

e p i s o d e ( p a n e l B) i s 13

m e a s u r e s l o n g a n d c e n t r e s a r o u n d D (measures

18-30).

S e c t i o n C i s b a s e d on F - s h a r p a n d i s s e v e n b a r s i n l e n g t h
(measures
sharp,

35-41).

The t o n a l o u t l i n e ,

then, i s :

D, D, E, F-

C-sharp.

At

t h e b a s i s o f each p a n e l i s t h e purpose o f

characterizing a different

aspect of the uncooperative

donkey i n d i c a t e d by t h e t i t l e .

Not programmatic

i nthe

s e n s e t h a t t h e r e a r e words s u p p l i e d f o r e a c h s i t u a t i o n , t h e

'Mila,

"Modernit."

music n o n e t h e l e s s has t h e e v o c a t i o n o f v i s u a l
its

i m p r e s s i o n s as

basis.
P a n e l A c o n t a i n s m e a s u r e s 1-17, a n d i s made o f two

types of textures.

I t begins t e n t a t i v e l y ,

were t i p t o e - i n g q u i e t l y a r o u n d
3/4 t i m e

t h e donkey.

a s i f someone
I n an i m p l i e d

( t h e r e a r e no t i m e s i g n a t u r e s i n t h i s

collection),

m e a s u r e s 1-9 a r e d i v i d e d i n t o t h r e e , t h r e e - b a r p h r a s e s , i n
which

t h e o n l y s o u n d s o c c u r on t h e t h i r d b e a t o f e a c h b a r

(example 4 . 1 ) .

Chords i n t h i s passage a r e comprised

almost

e n t i r e l y o f t r i a d s w i t h some "wrong" n o t e s , c e n t r e d a r o u n d
minor.

The r i g h t h a n d moves i n p a r a l l e l

inversion triads
left

o f the t o n i c i n D minor,

h a n d b y t h e t o n i c open f i f t h

fifth

(A-E) i s s u p e r i m p o s e d

This a l t e r e d

D-A,

ostinato

first-

supported i n the

on w h i c h

second

( m e a s u r e s 1, 2, 4, 5, 7, 8 ) .

v e r s i o n of the t o n i c chord s t a b i l i z e s

s o n o r i t y , w h i l e t h e measures i n between p r e s e n t

this

sonorities

that c l a s h w i t h the D minor f i r s t - i n v e r s i o n chord of the

r i g h t h a n d , p r o v i d i n g h a r m o n i c movement away f r o m t h e
tonic.

4 6

46
See t h e C m a j o r c h o r d i n m e a s u r e s 3 a n d 9, a n d t h e c l a s h i n g
o c t a v e i n t h e l e f t h a n d o f m e a s u r e 6.

G-sharp

I. Rcalcitrante (Somaro>
Non ritenuto

!\9

i >-

NM=H

11/

PP

~>v.

K r " l" ~ i i i

*p

Suddenly a t measure

i
pp f

* \x i
9-

ir

>

=r-

r '

>

i
ir

10 t h e " p a n e l " changes, as

seemingly the donkey e r u p t s i n a f i t o f p r o t e s t , opened by a

tumbling " f l o u r i s h " gesture A t o C-sharp (measures 10-12,
example

4.2).

The t e l l - t a l e

"bray" o f the animal i s

c h a r a c t e r i z e d by a melodic f a l l i n g
F-sharp

fourth, B to

i n the top o f the t e x t u r e , c r e a t i n g a B major-minor

seventh with the r e s t o f the r i g h t - h a n d notes, w h i l e under

it

the l e f t hand p l a y s a C t o Bb harmonic minor seventh,

forming a b i t i n g combination.
for

The t i p - t o e f i g u r e r e t u r n s

f o u r measures, and the p a n e l ends with a f u l l measure o f

r e s t with a fermata.
Example 4.2, M a l i p i e r o , Cavalcate,
(Somaro), measures 7-12.

I.

Rcalcitrante

Panel B begins
measure 17.

a f t e r i t s p r e p a r a t i o n by the fermata of

The marking here i s "Pi mosso, un po' g a i o "

(more movement, r a t h e r gay), and i s c h a r a c t e r i z e d by an

octave

d o t t e d f i g u r e o f descending f o u r t h s i n the l e f t hand

(example 4.3), perhaps suggesting

a bucking

donkey.

The

t o n a l c e n t r e D d e l i n e a t e d i n t h i s passage by the r i g h t
hand's f i r s t - i n v e r s i o n t r i a d s ,

i s , however, b l u r r e d by the C

major i m p l i c a t i o n s o f the l e f t - h a n d d o t t e d octaves.

At

measure 30 t h e r e i s a s h o r t , f o u r - b a r r e c a l l o f the
" b r a y i n g " motive o f panel A, p l a c e d a whole-tone higher, and
prepared

by an e i g h t h r e s t and the d e s i g n a t i o n "as b e f o r e "

(example 4.4).

I t a c t s as a reminiscence

of panel A

i n s e r t e d between B and the f o l l o w i n g panel,

Example 4.3, M a l i p i e r o , Cavalcate,
(Somaro), measures 17-21.

I.

C.

Rcalcitrante

The marking " p i u mosso, f l u i d o "

(more movement,

f l u i d l y ) marks the b e g i n n i n g o f panel C, which i s not

separated from the p r e v i o u s s e c t i o n .

The t o n a l

changes t o F-sharp, maintained by the l e f t

the

first

fifth,

centre

hand, where f o r

f o u r measures of the s e c t i o n an open harmonic

comprised of F-sharp and C-sharp, a l t e r n a t e s with a

major or minor 7th on i t s dominant, C-sharp (example 4.5).

In

these f o u r measures the r i g h t hand c o n t a i n s a descending

32nd-note f i g u r e o f an octave d i v i d e d evenly by a t r i t o n e .

The impression through t h i s passage i s o f a l i g h t
underscored by the r i g h t - h a n d rhythm which may

trot,

r e p r e s e n t the

bounce and quick s u c c e s s i o n o f l e g s o f a donkey i n motion.

The swaying l e f t - h a n d f i g u r e evokes whatever i s on i t s back,
whether cargo or a person.

The l a s t t h r e e measures o f t h i s

panel descend g r a d u a l l y over an octave t o p r e p a r e the

r e g i s t e r o f the r e t u r n of A.

Piu mossq, fluido

Panel A r e t u r n s i n a new t o n a l area,

C-sharp, and with

a few m o d i f i c a t i o n s from i t s o r i g i n a l i n c a r n a t i o n .

It

appears down a h a l f - s t e p from the o r i g i n a l , with the

t e n t a t i v e " r e s t - r e s t - c h o r d " o f the opening, but without the
three-measure r e g u l a r i t y o f b e f o r e .

Whereas the o r i g i n a l

phrasing

was i n r e g u l a r three-measure u n i t s , here the

phrasing

i s r e s p e c t i v e l y f i v e , three and f o u r measures i n

length.

The b i g g e s t change, however, occurs with t h e "bray"

motive.

The i n t r o d u c t o r y f l o u r i s h t o the bray

10,

(see measure

example 4.2) i s expanded, i t e r a t e d t h r e e times ascending

i n t r i t o n e s (example 4.6)

The bray i t s e l f

from the o r i g i n a l two measures t o f i v e .

i s a l s o expanded,

In the f i n a l

measure the f l o u r i s h i s s t a t e d e i g h t times, a l t e r n a t i n g

hands, and descending over f o u r octaves
Marked " p r e c i p i t a n d o , "
furious

conclusion.

(example 4.7).

fff, i t b r i n g s t h e movement t o a

Example 4.7, M a l i p i e r o , Cavalcate,

(Somaro),
measures 59-60.

I.

Rcalcitrante

So we can see then, without even r e p e a t i n g

materials

e x a c t l y , M a l i p i e r o shapes the p i e c e i n an A B [A] C A

p a t t e r n , which, however, presents
development.

i t s own

organic

T h i s i s t h e s l o w movement o f t h e s e t , a n d p a n e l
formation
first

i s n o t a s c l e a r l y e v i d e n t h e r e a s i t was i n t h e

piece.

The movement i s i n ABA f o r m a t ,

difference to the t r a d i t i o n a l
key

areas

finally

modulation,
The

middle
It

form of t h i s type being

of the A section, f i r s t

a r o u n d B.
they

with the only

i nthe

c e n t e r i n g a r o u n d E, a n d

T h e s e s e c t i o n s do n o t u n d e r g o a n y k i n d o f
simply exist

i n that p a r t i c u l a r t o n a l area.

s e c t i o n i s based i n F-sharp.

i s i n this piece that Malipiero's interest i n

ancient aspects

o f m u s i c a r e most c l e a r l y

seen.

The b a s i c

c h a r a c t e r i s t i c of the A section i s the spacing of the

chords.

The s i m i l a r i t y o f s p a c i n g t o m e d i e v a l

most r e a d i l y

seen i n t h e l e f t

hand

organum i s

(example 4 . 8 ) .

In the

r i g h t h a n d t h e r e e x i s t s t h e same a r r a n g e m e n t o f an
b i s e c t e d by i t s f i f t h ,
chord

o n l y w i t h t h e u p p e r two n o t e s

o f f s e t b y an e i g h t h - n o t e

rhythmic

gesture

piece's t i t l e .
working

helps

octave

f r o m i t s b o t t o m member.

This

c r e a t e t h e "swaying" i n d i c a t e d by t h e

T o n a l i t y r e v o l v e s a r o u n d E, w i t h t h e hands

g e n e r a l l y i n c o n t r a r y motion from each o t h e r .

avoidance of the leading-tone

passage's modal

of the

quality.

( D - s h a r p ) adds t o t h e

An

A repeated
beginning

arpeggiated

f i g u r e i n the r i g h t

hand,

at measure 4, t r a v e l s the l e n g t h o f s e c t i o n B

(example 4.9).

Based i n F-sharp, the f o u r notes used i n

t h i s p a t t e r n are F-sharp, G-sharp, C-sharp and D-sharp.

T h i s c r e a t e s a m a g i c a l atmosphere, under which a modal
o c t a t o h i c melody u n f o l d s w i t h i n the d i m i n i s h e d
C-sharp t o F - n a t u r a l , very v o c a l i n i t s e f f e c t ,

fourth
melismatic

i n p l a c e s , and g i v i n g an o r i e n t a l sound, r a t h e r l i k e t h a t o f
a snake-charmer

(example 4.10).

T h i s melody i s f o u r phrases

i n l e n g t h , grouped i n t o two p a i r s .
(measures 5-8)

The f i r s t phrase

r e v o l v e s around a D minor o c t a t o n i c s c a l e

with r e s t i n g p l a c e s on the l e a d i n g tone, C-sharp (see

example

4.9).

(measures 9-10

The second and f o u r t h m e l o d i c phrases

and 14-16, r e s p e c t i v e l y ) are i d e n t i c a l ,

making use o f a G-sharp harmonic minor s c a l e

melismas, and e x p l o i t i n g

the augmented second and d i m i n i s h e d

third intervals

of the s c a l e

example 4.10).

Similar

phrase

for i t s

for i t s oriental quality

(see

t o the f i r s t phrase, the t h i r d

(measures 11-14) i s based i n B - f l a t minor.

This

e n t i r e p r o c e s s u n f o l d s under the continuous f l o u r i s h i n Fsharp of the r i g h t

hand.

Example 4.9, M a l i p i e r o , Cavalcate,

measures 5-6.

Example 4.10, M a l i p i e r o , Cavalcate,

(Camello),
measures 9-10.

I I . Dondolante

II.

Dondolante

(Camello),

S e c t i o n A r e t u r n s a t measure 17 around a B t o n a l
centre.

The f i n a l

f i v e measures o f the p i e c e , r a t h e r than

expanding the l a s t bar of the f i r s t

s e c t i o n , a r e based on

the f i r s t phrase o f s e c t i o n B (example 4.11.

example 4.9).

Compare t o

In i t s c o n s t r u c t i o n the f i n a l chord

i n s p i r a t i o n from the organum s p a c i n g o f the f i r s t

with the arrangement i n f o u r t h s and f i f t h s c l e a r l y
At a c l o s e r glance,

takes
section,
evident.

the e n t i r e f i n a l harmony may be reduced

to a q u a r t a l s t r u c t u r e , comprised of f i v e notes i n
descending p e r f e c t f o u r t h s from B through D-sharp.

Example 4.11, M a l i p i e r o , Cavalcate,

(Camello),
measures 20-25.

III.

Focoso

II.

Dondolante

(Destriero)

Of the three p i e c e s i n t h i s c o l l e c t i o n , t h i s
movement i s , f o r m a l l y - s p e a k i n g ,

third

the l e a s t c l e a r - c u t .

Its

form i s most c l o s e l y r e l a t e d t o the Camel movement's ABA

structure,
lower

i n which the A s e c t i o n r e t u r n s

(in t h i s piece

C-sharp).

The

t h a t of the

the

t o n a l areas are

F-sharp

fourth

to

B s e c t i o n o f t h i s work i s a l s o s i m i l a r t o

second p i e c e ,

i n which the m a t e r i a l

i s comprised

first

two

phrases are

paired

r e l a t e d to the p a i r e d t h i r d

and

fourth phrases.

o f f o u r p h r a s e s where t h e
are

a perfect

only

formal

existence

d i f f e r e n c e between the

of t r a n s i t i o n a l

and

two

pieces

is

and
The

the

re-transitional material

in

t h i s p r e s e n t movement.
As

opposed t o the

musical

idea

other

passage, i n the
e n t i r e piece

rhythmically).
with

the

texture

Steed

character

movement t h e

i s "Mosso, ma
T h e r e i s no

ben

marking f o r

only

the

tempo i n d i c a t i o n f o r

ritmato"

(moving,

but

t h e m a t i c m a t e r i a l , and

tempo

the

i s , f o r most o f t h e movement, c h a r a c t e r i z e d by

Harmonically
applied.

The

compositional

though, the

same p r o c e d u r e s c o n t i n u e

t r i a d i c b a s i s of t h i n k i n g i n
s t y l e i s very

four-note

chords i n the

similarly

compact c h o r d s o r p a r t s
tonal centre

bass-note i n the

left

destination point

of chords i n the

i s vaguely F-sharp, being

of the

high

piece.

compact major

r i g h t hand c o u n t e r p o i n t e d

(although

be

i s c h a r a c t e r i z e d by

hand

to

Malipiero s

c l e a r l y a t work i n t h i s

( m e a s u r e s 1-20)

The

fast

chords.

Section A

the

new

d r a s t i c change o f mood o r

i n t r o d u c t i o n o f new

pounding, compact m a j o r

hand.

movements where a

( o r p a n e l ) i s u s u a l l y a c c o m p a n i e d by

c o r r e s p o n d i n g change i n the

the

two

by
left
the

first

in register)

s e c t i o n at the

downbeat

of

and

measure 20.

Between these two p o i n t s l i e t h r e e phrases,

each with s l i g h t l y d i f f e r e n t rhythmic f i g u r e s and l e f t - h a n d

treatment.
The
4.12)

f i r s t phrase o f s e c t i o n A (measures 1-6, example

begins f f i n an i m p l i e d 3/8 time

signature).
throughout

(again, no time

The r i g h t hand, as s t a t e d above, i s comprised

the s e c t i o n o f major four-note chords.

The l e f t

hand i n t h i s phrase makes use o f t r i a d s c o n s t r u c t e d o f a

major t h i r d on the bottom, and e i t h e r a minor t h i r d o r major
second above i t .

The key areas o f the two hands l i e a

fourth apart.
Example 4.12, M a l i p i e r o ,
measures 1-6.

III.

Cavalcate,

I I I . Focoso

(Destriero),

Foe oso <Destriero>

Mosso, ma ben ritrnato

In the second phrase

(measures 7-13) t h e r e i s t h e

i m p r e s s i o n o f a horse's "whinny", c r e a t e d by a l o n g stepwise

descent o f the r i g h t - h a n d ' s f o u r - n o t e chords supported by
major t h i r d s a f o u r t h lower i n the l e f t ,
notes

(example 4.13).

i n constant e i g h t h

A g a l l o p i n g motive c h a r a c t e r i z e s the

t h i r d phrase (measures 14-19), i n which the r i g h t

hand

remains f a i r l y s t a t i c on an A-major chord i n a v i g o r o u s

rhythmic f i g u r e ,

with a D-sharp t o G-sharp l o n g - s h o r t

o s c i l l a t i o n i n octaves i n the bass (example 4.14).

Example 4.13, M a l i p i e r o , Cavalcate,
measures 7-13.

I I I . Focoso

(Destriero),

Example 4.14, M a l i p i e r o , Cavalcate,

measures 14-20.

I I I . Focoso

(Destriero),

At

the a r r i v a l o f a bass-note F-sharp i n measure 20 the

t r a n s i t i o n to s e c t i o n B begins.

For f i v e o f the s i x

measures i n t h i s passage o n l y the chords F-sharp major and

G major a l t e r n a t e , s i m u l t a n e o u s l y between the hands, so that
the

two chords are c o n s t a n t l y juxtaposed

(example 4.15).

A-major/G-sharp-major combination ends the t r a n s i t i o n ,

An

which

i s then p i c k e d up by the b e g i n n i n g o f the B s e c t i o n at

measure 26.
Example 4.15, M a l i p i e r o , Cavalcate,
measures 21-25.

I I I . Focoso

(Destriero),

L i k e the middle s e c t i o n o f the Camel movement o f t h i s

set,

s e c t i o n B i n t h i s p i e c e i s made up o f two p a i r s o f

phrases.

The f i r s t phrase

(example

4.16) c o n t i n u e s the

A/G-sharp combination s e t up by the end o f the t r a n s i t i o n ,

u s i n g o n l y these chords i n a rhythm which p l a y s on the
e x p e c t a t i o n o f a t r i p l e t grouping by i n t r o d u c i n g a d u p l e t ,
which i s then t i e d over the b a r l i n e .
(example
of

The second

phrase

4.17) i s somewhat r e m i n i s c e n t o f the middle

section

Camel i n i t s use o f an o s t i n a t o f l o u r i s h i n an upper

r e g i s t e r , supported by a chord with F-sharp as i t s bass

(compare t o example 4.9).
At

measure 40 the p a i r o f phrases begins a g a i n , o n l y

t h i s time the f i r s t phrase p i c k s up the l a s t chords o f the

p r e c e d i n g measure, which are c o n s t r u c t e d l i k e the opening

E x a m p l e 4.17, M a l i p i e r o ,
m e a s u r e s 34-39.

m e a s u r e s o f t h e movement:
c h o r d , and t h e l e f t
built

o n A.

Cavalcate,

t h e r i g h t hand c o n t a i n s

has a m a j o r - t h i r d / m i n o r - t h i r d

higher

chords of the l e f t

hand a r e r e p l a c e d

D.

This

(Destriero),

a D major
structure

The f o u r t h p h r a s e , a n a l o g o u s t o m e a s u r e s 34-39

i s repeated a step

moves s l o w l y

I I I . Focoso

i n t h e r i g h t hand, w h i l e t h e
by an o c t a v e l i n e

f r o m F s t e p w i s e up t o B, s k i p s C a n d g o e s o n t o

f o u r t h phrase i s a l s o expanded from i t s p a r t n e r .

Whereas t h e s e c o n d p h r a s e i t e r a t e d t h e m e l o d i c f i g u r e
the

which

f o u r t h phrase states

the f l o u r i s h three

twice,

times i n f u l l ,

and

then

three times

i n a t r u n c a t e d f o r m o f two

each statement,

which e s s e n t i a l l y

measure o f t h e

motive.

The
to
and

r e t r a n s i t i o n begins

the t r a n s i t i o n beginning
4.15).

measures

l e a v e s out the

i n m e a s u r e 64,
i n m e a s u r e 20

and

middle

i s analogous

(see e x a m p l e s

T h i s r e t r a n s i t i o n i s b a s e d on an E p e d a l ,

i n v o l v e s the o s c i l l a t i o n

o f D-major and

perfect

fifths

on

F - s h a r p and

o f s e c t i o n A a t m e a s u r e 72

and

E-minor t r i a d s

t h e r i g h t hand w i t h t h e o c c a s i o n a l B m i n o r c h o r d ,
(example 4.18).

i s c a m o u f l a g e d , and

4.14

in

over
The

return

o n l y becomes

c l e a r l y e v i d e n t t h r e e measures i n t o i t s statement
(example 4 . 1 9 ) .

On

c l o s e r examination

the opening i s evident

the c o r r e l a t i o n

i n m e a s u r e s 72-74:

contains a major chord,

and

the r i g h t

t h e l e f t h a n d has

the

to

hand

major-

t h i r d / m i n o r - t h i r d c o n s t r u c t i o n o f m e a s u r e 1, t r a n s p o s e d
a f o u r t h i n t o the t o n a l area of C-sharp.

The

r e s t of

s e c t i o n i s simply a t r a n s p o s i t i o n of the o r i g i n a l
until

the

final

C-sharp support
held for three

p e r i o d of M a l i p i e r o ' s output,
left

comfortable,
technique

o f C - s h a r p m a j o r and

of
D major,

measures.

This c o l l e c t i o n of pieces

finally

the

passage

t h r e e m e a s u r e s , where t h r e e o c t a v e s
a chord b u i l t

down

f a l l s n e a t l y i n t o the
where t h e a t r o c i t i e s

h i s l a n g u a g e , t o be
settled,

of panel

and

l i g h t - h e a r t e d atmosphere.

although

o f t h e t h r e e p i e c e s , t h e Donkey.

war

r e p l a c e d by a more

c o n s t r u c t i o n developed

decade i s e v i d e n t here,

of

second

i n the

only c l e a r l y

The

previous

i n the

More a p p r o p r i a t e

an

first

Example 4.19, M a l i p i e r o , Cavalcate,

measures 72-79.

I I I . Focoso

(Destriero),

i l l u s t r a t i o n o f M a l i p i e r o ' s s t y l e i s the harmonic

language,

i n which the i n f l u e n c e of the French i m p r e s s i o n i s t s may

be

seen i n h i s use o f chords as p a r a l l e l s o n o r i t i e s , such as

the b l a t a n t l y t r i a d i c c o n s t r u c t i o n of the Steed

movement of

this

set.

their

A l t h o u g h t h e works a r e u n q u e s t i o n a b l y t o n a l i n

adherence

to a centre, traditional

tonic-dominant

syntax i s completely a b o l i s h e d i n these p i e c e s .

Neither are

t h e r e any a t o n a l p r o c e d u r e s , o t h e r t h a n a g e n t l e h i n t a t
bitonality
The

through the j u x t a p o s i t i o n of chords.

fascist

regime

was o n l y i n i t s f o r m a t i v e s t a g e s a t

the t i m e o f t h e s e c o m p o s i t i o n s , and M a l i p i e r o ' s r o l e as a

s u p p o r t e r o f t h e regime
With t h e advent

will

be e x a m i n e d l a t e r

this

o f t h e new g o v e r n m e n t , t h e s t y l e

these p i e c e s would

principles.

particular
history,
of

as seen i n

n o t undergo any m a g i c a l t r a n s f o r m a t i o n i n

o r d e r t o s e r v e a b u r e a u c r a t i c need o r t o adhere
cultural

chapter.

U n l i k e C a s e l l a ' s works,

t o any

these

p i e c e s do n o t r e s o n a t e w i t h a n y l a y e r s o f I t a l i a n

except perhaps,

i n a s t r e t c h , by t h e c o n s i d e r a t i o n

t h e organum t r e a t m e n t i n t h e Camel movement a s a

throwback

t o t h e days o f G r e g o r i a n chant, a c o n n e c t i o n which

M a l i p i e r o undoubtedly

intended.

I t was m e n t i o n e d

earlier

t h a t t h e c o m p o s e r h a d a deep l o v e a n d r e s p e c t f o r t h e
h i s t o r y o f I t a l i a n music

a n d o f f e r e d many i m p o r t a n t

c o n t r i b u t i o n s t o the r e p e r t o i r e through h i s m u s i c o l o g i c a l
efforts.

O n l y few a t t e m p t s t o i n c o r p o r a t e t h e s e i d e a s

his

own c o m p o s i t i o n s a r e e v i d e n t i n t h i s

one

example mentioned.

s t y l e s may be s e e n
(see

Another

group,

inspiration

from

into

such as t h e
earlier

i n t h e Donkey movement, m e a s u r e s 17-21

e x a m p l e 4.3) where t h e l e f t

hand r e s e m b l e s

a baroque

o s t i n a t o b a s s , w h i l e a b o v e i t t h e p a r a l l e l movement i n

first-inversion triads

i s reminiscent of a

renaissance

"fauxbourdon".
To

Italian

contemporaries,

t h e s e p i e c e s would have been

c o n s i d e r e d among t h e more " p r o g r e s s i v e " t r e n d s o f t h e

T h i s t e r m was

meant i n a d e r o g a t o r y

sense,

what were c o n s i d e r e d t h e more a d v e n t u r o u s

experiments

o f M a l i p i e r o and

Malipiero's

s t y l e underwent v e r y l i t t l e

lifetime,

and

techniques

but

t h r e a t e n e d by.

stands

his

s t u d i e d avoidance

tonic-dominant
such

of

other

From a
as

be

traditional

development, m o t i v i c
syntax,

as t i m e

and

even

such

s i g n a t u r e s o r key s i g n a t u r e s ,

c r e a t e d a s t y l e which d e f i e s the pigeon

hole

d e f i a n t l y apart from t h a t of h i s countrymen.

Period:
The

i d i o s y n c r a c i e s can a l s o

as t h e m a t i c

commonplace t o o l s
M a l i p i e r o has

their

In t h e i r

such

construction,

Third

change t h r o u g h

t h e s e w o r k s a r e as r e p r e s e n t a t i v e as any

"avant-garde,"

and

Casella.

s t a n d p o i n t t h e s e p i e c e s can h a r d l y been seen

appreciated.

designate

compositional

his compatriot

of the language h i s countrymen f e l t

later

used to

time.

later

1930s

and

1920s and

later
1930s r e p r e s e n t a t r e n d t o w a r d

" e v e n c l o s e r i n t e r a c t i o n b e t w e e n a r c h a i c and

early

an

20th-

c e n t u r y i d i o m s , " i n c l u d i n g more e l a b o r a t e c o n t r a p u n t a l
textures

(although u s u a l l y s h o r t - l i v e d ) ,

and m o d a l p a s s a g e s

c r e a t i n g dissonant textures i n combination

with

other

parts.

The p r e d i l e c t i o n t o w a r d

e v e n more i n s p i r a t i o n i n

forms o f t h e p a s t i s i n d i c a t e d

i n the t i t l e s

p i a n o works o f t h e s e decades:

Tre preludi

(1926) , Prelude

a une fugue

48

Bach

(1932),

Preludio

Preludio,

e fuga

lyrical

ritmi

(1940).

imaginaire
e canti

o f many o f t h e

a una
(1932),

Omaggio

gregoriani

The w o r k s are' g e n e r a l l y more

and p o l y p h o n i c t h a n t h o s e o f t h e p r e v i o u s p e r i o d ,

work E p i t a f f i o

o f 1931 d e m o n s t r a t e s

of Renaissance

polyphony,

another

i n which

among t h e v a r i o u s p a r t s o f t h e t e x t u r e .
Many o f t h e s e f o r m s ,

The s h o r t

procedure
a s h o r t and

e a s i l y - i d e n t i f i a b l e m e l i s m a t i c f i g u r e i s bounced

fuga,

(1937),

w i t h e q u a l i t y among p a r t s b e c o m i n g more common.

typical

fuga

around

4 9

e s p e c i a l l y t h e T r e Preludi

a una

b e t r a y t h e composer's i n t e n t i o n t o f i n d a f o r m a l

s t r u c t u r e a p a r t from t h e p a n e l c o n s t r u c t i o n o f t h e e a r l i e r
years.

T h i s a r r a n g e m e n t o f t h r e e p r e l u d e s r u n n i n g one a f t e r

the o t h e r , each

relating to a solid

fugue,

allows a

procedure

s i m i l a r t o t h e p a n e l c o n s t r u c t i o n , b u t now w i t h a

different

i n s p i r a t i o n behind i t .

The f u g u e

c o m p a r e d t o C a s e l l a ' s Due r i c e r c a r i
complete

4 7

melodic

Mila,

l i n e s and s o l i d

i n i t s diatonic

construction.

D e s p i t e t h e d a t e , t h i s work b e l o n g s
t h i r d p e r i o d as d e s c r i b e d .

Ibid.,

5 0

psychologically with the

M o n i c a L u c c i s a n o , " L a m u s i c a p i a n i s t i c a d i G.F.
R i v i s t a Musicale
I t a l i a n a 30 no.1/2 ( 1 9 9 6 ) , 129.
4 9

5 0

basis,

"Modernit."

4 8

Nuova

has been

130.

Malipiero,"

One

more s o l o p i a n o work l i e s

close within

boundaries of the

era of f a s c i s m :

1946.

i s a basic panel construction, with

This

first

again

seven of i t s e i g h t p i e c e s
The

eighth

variations,

but

i t s improvisatory

domani

(Five Studies

s u l l a pantomima
and

Blanchi

Approach

to

The

i n the

n a t u r e makes

the

T h r e e more

di Manuel

de

Cinque

Falla

c o n s e n s u s c o n c e r n i n g M a l i p i e r o and

place

the

were t h e

two

left

considerable

instrument.

not

-was

through
Casella

dell'ottanta

b o d y o f work f o r t h e p i a n o .

the piano f o r i t s p o s s i b i l i t i e s

a pianist,

and

as a t o n a l r e s o u r c e

d e s i r e t o produce works f o r the

Instead

basis

M a l i p i e r o and

generazione

C a s e l l a h o w e v e r , M a l i p i e r o was

performer.

neoclassical

a e s t h e t i c , where t h e

composers of the

o f any

the

t h r o u g h sound r a t h e r t h a n

m e c h a n i c a l e a s e on

t h a n out

physical

both I t a l i a n composer-pianists

in Malipiero s

of r e p r e s e n t a t i o n

any

of

the

r a t h e r of the m u s i c a l - i n t e r p r e t i v e v a r i e t y .

r o m a n t i c a t t r a c t i o n o f B u s o n i and

no

(1959),

(1964).

t e n d e n c i e s o f C a s e l l a -had

studi

Variazione

p i a n o i s t h a t t h e m u s i c demands a v i r t u o s i t y n o t

The

solo

Piano

general

gymnastics, but

the

this

composer's o u t p u t :

brujo

of

five

f o r Tomorrow, 1 9 5 9 ) ,

dell'Amor

e neri

conclusus

i s a theme w i t h

construction barely noticeable.

p i a n o works f o l l o w e d
per

Hortus

l a s t i n g e a c h a r o u n d a page

in length.

underlying

piece

the

the

who

Unlike
approached
rather

sake of

of the mechanical e x p l o i t a t i o n of

the

the

instrument's
and
--

capabilities,

t i m b r e s p o s s i b l e , and
a t h i c k n e s s and

stratification

of

dark

he e x p l o i t s more t h e p u r e

e s p e c i a l l y i n the f i r s t

e f f e c t p o s s i b l e through

sonorities.

f o r human v i r t u o s i t y .

where t h e e f f e c t

The

5 2

very well to

i s o f t e n of a

delineated formal structure.

most a p t l y be d e s c r i b e d as

Malipiero

and

t h e generazione

the death

piano

the

continuous
surrounded

by

s t y l e of M a l i p i e r o

"antivirtuosic

pianism."

5 3

Casella

T h e s e two

i n P a r i s and

The

improvisatory character

f a n t a s y of sound r a t h e r than a c o m p o s i t i o n

may

the

a t o n a l r e s o u r c e , not

of h i s "panel" c o n s t r u c t i o n lends i t s e l f
instrument,

period

5 1

F o r M a l i p i e r o , t h e p i a n o was
vehicle

sound

composers r e p r e s e n t the f o r w a r d - l o o k i n g
d e l l ' o t t a n t a composers.

The

two

met

in

began t h e r e a f r i e n d s h i p which would l a s t

o f C a s e l l a i n 1947.

The

piano

works of

extreme d i s s o n a n c e ,

chromaticism

and

o f war

1913
until

both

c o m p o s e r s d u r i n g t h e p e r i o d o f t h e F i r s t W o r l d War
not o n l y the i n f l u e n c e of the r e a l i t i e s

of

betray

through

clashing sonorities,

b u t t h i s p e r i o d e x i s t s as w e l l as t h e most h a r m o n i c a l l y
intense time

f o r each composer's output.

In a d d i t i o n ,

p e r i o d b e t w e e n t h e two

W o r l d Wars shows a r e t u r n t o

and

at r e c a l l i n g

a d e f i n i t e attempt
5 1

Gorini,

"La m u s i c a p i a n i s t i c a , "

5 2

Ibid.,

5 3

Luccisano,

shades of the

117.

115.
"La m u s i c a p i a n i s t i c a , "

120.

the

order,

Italian

past

and m a k i n g

language.

them r e l e v a n t i n a more u p - t o - d a t e h a r m o n i c

5 4

This generation
task:

o f composers

was

faced with a twofold

t h a t o f r e c u p e r a t i n g t h e a n c i e n t and o f b r i n g i n g

I t a l i a n musical
those

life

up t o d a t e .

o f t h e I t a l i a n s who

effectively,

achieved

this

C a s e l l a , modernism

and as we have

seen t h i s

knowledge

European

even e x t e n d e d

s t y l e of various

i n vogue a t t h e t i m e o f h i s composing.

M a l i p i e r o t h e n e e d s were d i f f e r e n t .
was

For

of contemporary

t o a s s i m i l a t i o n w i t h i n h i s own m u s i c a l
techniques

especially

s e c o n d o f t h e t w i n demands.

meant k n o w l e d g e

were

f e a t most

but t h e i r approaches vary w i d e l y ,

with respect to this

currents,

T h e s e two c o m p o s e r s

For

His brand of

modernism

c r e a t e d e n t i r e l y w i t h i n h i m s e l f , a i d e d by t h e

a s s i m i l a t i o n not of contemporary c u r r e n t s n e c e s s a r i l y , but

of t h e a r c h a i c ones.

"The

do n o t r e m a i n s e p a r a t e ,
homogenous e l e m e n t s . "

a n c i e n t and modern i n M a l i p i e r o

but mix w i t h each o t h e r

as

5 5

Casella himself recognized

M a l i p i e r o ' s harmonic language.
as a " p o s i t i o n o f t o t a l
attempts of the time.

the o r i g i n a l i t y

of

He d e s c r i b e d i t s e x i s t e n c e

independence" w i t h respect t o other

C o n c e r n i n g harmony he

describes

M a l i p i e r o ' s e l i m i n a t i o n of the " c a d e n t i a l f u n c t i o n of the

dominant
5 4

seventh,"

Waterhouse,

moving

La Musica

di

even f u r t h e r from t h e harmonic

Gian-Francesco

Malipiero,

145.

" A n t i c o e m o d e r n o i n M a l i p i e r o non r e s t a n o s e p a r a t i , come due

l i q u i d i d i p e s o d i v e r s o , ma a n z i s i m e s c o l a n o i n e s t r i c a b i l m e n t e come
e l e m e n t i omogenei."
M i l a , "Modernit ," 18.
5 5

d o m i n a n t n i n t h s and
o f modes was

elevenths

h i s way

o f D e b u s s y and

of widening the

resorting to atonal p r a c t i c e s .
remain " v i v i d
music. "

echoes of 16th

Ravel.

t o n a l language

Most i m p o r t a n t l y ,

century

The

Venetian

use

without

throughout

choral

56

Malipiero's

Involvement

N e a r t h e end

with

Fascism

of M u s s o l i n i ' s l i f e ,

the

Duce i s

reported

t o h a v e c o u n t e d M a l i p i e r o among h i s f a v o u r i t e c o n t e m p o r a r y
I t a l i a n musicians,

"although

fail

[for this opinion]."

t o u p b r a i d me

[ M a l i p i e r o ' s ] opponents

on t h e d e v e l o p m e n t o f an u p - t o - d a t e and

5 7

never

M a l i p i e r o ' s view

particularly

Italian

brand of i n s t r u m e n t a l music w i t h c l e a r l y v i s i b l e

roots i n

the

fascism's

I t a l i a n musical

p a s t went a l o n g

n a t i o n a l i s t i c purpose.

nicely with

I n a d d i t i o n , t h e c o m p o s e r ' s work

a m u s i c o l o g i s t of I t a l y ' s g l o r i o u s h i s t o r y , along w i t h
a s s o c i a t i o n w i t h D ' A n n u n z i o , show an a f f i n i t y w i t h
p o l i t i c a l movement o f t h e t i m e -Malipiero's musical

remembering

as

his

the

that

i d e a s were i n e x i s t e n c e w e l l

before

1922 .
Malipiero's o f f i c i a l
b e g a n i n 1926.

From t h i s p o i n t on,

i n t o the o f f i c e s

of those

Mussolini himself.

5 6

higher-up,

fascism

h i s l e t t e r s would pour
often directly

to

M a l i p i e r o w r o t e on numerous o c c a s i o n s

19-20.

N. D'Aroma, Mussolini
segreto
(Bologna:
i n S a c h s , Music
in Fascist
I t a l y , 16.
57

305;

Ibid.,

documented d e a l i n g s w i t h

C a p p e l l i , 1958),

304-

to

M u s s o l i n i and o t h e r l e a d e r s " t o p u t forward h i s p l a n s f o r

rescuing I t a l i a n musical culture,

t o ask f o r a chance t o

t a l k w i t h o r p l a y f o r t h e Duce, o r t o s e n d t h e g r e a t man a
score with d e d i c a t i o n . "
is of s e l f - p i t y ,

5 8

Throughout these

letters

t h r u s t i n g j a b s a t enemies, and c o m p l a i n i n g

c o n s t a n t l y about n o t h a v i n g h i s works p e r f o r m e d .
example o f t h e composer's a t t i t u d e toward
occurred

t h e tone

i n 1936, j u s t a f t e r t h e d e a t h

M a l i p i e r o and P i z z e t t i both

Cecilia

typical

t h e regime

of Respighi.

a p p l i e d f o r R e s p i g h i ' s much-

d e s i r e d p o s i t i o n as P r o f e s s o r o f C o m p o s i t i o n
Accademia d i Santa

i n Rome.

at the

M a l i p i e r o wrote

d i r e c t l y t o M u s s o l i n i , s t a t i n g t h a t he was b y f a r a n d away
the only person
Pizzetti

qualified

f o r the job i n a l l of I t a l y .

wrote i n s t e a d t o the M i n i s t e r of Education

outline of h i s teaching q u a l i f i c a t i o n s .
finally

awarded t o P i z z e t t i .

The

The p o s t

w i t h an

was

5 9

composer's a c t i v e involvement

w i t h t h e regime began

w i t h membership i n t h e N a t i o n a l F a s c i s t Union o f M u s i c i a n s
in

1940.

He e v e n t u a l l y became t h e U n i o n ' s

secretary f o r Venice,
board,

"interprovincial

a member o f t h e u n i o n ' s n a t i o n a l

and d i r e c t o r o f t h e V e n i c e

Conservatory."

i n t r o v e r t e d a n d moody c h a r a c t e r p r o v e d

6 0

His

t o be an i n c o m p a t i b l e

m a t c h f o r t h e faade o f t h e r e g i m e , h o w e v e r , a n d h i s m a i n
use

t o t h e r e g i m e i n t h e e n d was "as a p r e s t i g i o u s name t o

5 8

S a c h s , Music

5 9

Ibid.,

128.

6 0

Ibid.,

134.

in Fascist

Italy,

132.

be

added t o i t s v e r y

long l i s t

of enthusiasts."

Whether

6 1

h i s i n v o l v e m e n t made a n y d i f f e r e n c e t o t h e t r a n s m i s s i o n o f
h i s works, Sachs surmises t h a t
probably

"his compositions

p e r f o r m e d no more a n d no l e s s o f t e n u n d e r

t h a n t h e y would have been under o t h e r

conditions."

6 2

J u s t a s many o t h e r

a r t i s t s attempted i n the

o f t h e s y s t e m t h a t h a p p e n e d t o be i n p l a c e

Ibid.

"ibid.

fascism

political

same p e r i o d , M a l i p i e r o was m e r e l y t r y i n g t o t a k e

6 1

were

advantage

at the time.

LA GENERAZIONE DELL'OTTANTA:
ILDEBRANDO

Ildebrando

THE CONSERVATIVES

P I Z Z E T T I AND OTTORINO RESPIGHI

Pizzetti

Ildebrando

Pizzetti

(1880-1968) was v e r y w e l l

respected

as a c o m p o s e r d u r i n g t h e h i g h p o i n t o f h i s c r e a t i v e p o w e r s .
In

1921 G u i d o G a t t i c o n s i d e r e d P i z z e t t i

c o n t e m p o r a r y composer i n I t a l y ,

and Waterhouse h a i l s him as

" t h e most r e s p e c t e d a n d i n f l u e n t i a l
Italian

musicians

The

t o be t h e b e s t

o f t h e more c o n s e r v a t i v e

of h i s generation."

more modern o u t l o o k o f P i z z e t t i s
1

colleagues

C a s e l l a and M a l i p i e r o has been m e n t i o n e d .

i n t e r e s t s and c o m p o s i t i o n a l o u t p u t
course

followed a different

than d i d t h a t of h i s compatriots.

was i n o p e r a ,

Pizzetti's

H i s main

interest

m u s i c f o r t h e t h e a t r e , and h i s v o c a l m u s i c i n

general remained very i n f l u e n t i a l .

He

consistently

d e m o n s t r a t e d a "dogged r e f u s a l t o come t o t e r m s w i t h a n y b u t
t h e m i l d e s t modern d e v e l o p m e n t s , " a n d he r e t a i n e d t h e image
of " p r o v i n c i a l
reformers
against.

conservatism"

t h a t t h e more f o r w a r d - l o o k i n g

of the music world i n I t a l y

so h a r d

B o r n i n Parma, P i z z e t t i

studied piano with h i s f a t h e r

b e f o r e e n t e r i n g t h e Parma C o n s e r v a t o r y

^-New Grove,
2

fought

Ibid.

"s.v. P i z z e t t i ,

i n composition.

Ildebrando."

He

had

a l w a y s d i s p l a y e d more i n t e r e s t

but

the t u t o r s h i p of Giovanni

introduced

Pizzetti

i n t h e a t r e than i n music,

Tebaldini at the

t o the wonderful

world

of

Conservatory
Italian

i n s t r u m e n t a l and c h o r a l music o f t h e 1 5 t h and 1 6 t h

centuries,

an i n f l u e n c e w h i c h w o u l d r e m a i n c r u c i a l

compositional

language.

tohis

An a s s o c i a t i o n w i t h t h e p o e t

G a b r i e l e D'Annunzio r e s u l t e d i n a f r i e n d s h i p and a c o u p l e o f
collaborative efforts
held important
Florence

and i n f l u e n t i a l

(1908-24), M i l a n

Santa C e c i l i a
remaining
The

i n the e a r l y 1900s.

academic p o s i t i o n s , i n

i n Rome, r e p l a c i n g R e s p i g h i

i n 1936 a n d

t h e r e u n t i l 1958.
designation

affiliation
Moderna.

order

also

(1924-36), and a t t h e Accademia d i

"conservative" with reference to

P i z z e t t i m i g h t seem c o n f u s i n g

Pizzetti

Pizzetti

when one c o n s i d e r s h i s

i n 1917-19 w i t h C a s e l l a ' s Socit

di

F u r t h e r m o r e , i n 1914 d u r i n g h i s F l o r e n c e

Musica
years

f o u n d e d a m o d e r n i s t p e r i o d i c a l named Dissonanza

t o f u r t h e r t h e c a u s e o f new m u s i c .

only ran three

inclination

issues.

In support

however, P i z z e t t i

f r o m t h e Rite
disoriented.

of Spring
4

in

The p e r i o d i c a l

of h i s conservative

i s r e p o r t e d t o h a v e come away

premiere f e e l i n g perplexed

and

The p u b l i c s t a t e m e n t o f h i s n a t u r a l t e n d e n c y

w o u l d be c e m e n t e d i n 1932, w i t h h i s s i g n i n g o f t h e n o t o r i o u s
"Manifesto

of I t a l i a n

La Nave,
(1909-12)
3

"New Grove,

Musicians

f o r the T r a d i t i o n of

i n c i d e n t a l music f o r the p l a y
"Pizzetti."

(1905);

Fedra,

opera

Nineteenth-Century
R e s p i g h i , and

Romantic A r t , " which p l o t t e d h i m s e l f ,

o t h e r s f i r m l y a g a i n s t t h e more modern

composers of the time,

The

earlier

s p e c i f i c a l l y C a s e l l a and M a l i p i e r o .

f r a t e r n i t y of composers i n the

parted amicably,

Socit

r e s p e c t i n g e a c h o t h e r s ' a i m s and

w h i l e f o s t e r i n g e a c h h i s own.

Socit d i d n o t p r e s e n t

combat i t .

The

manifesto

a uniform

may

fame was
and

so.

c o n s e r v a t i v e , " a term

by t h e c a u s e o f r e f o r m i n g

w h i c h seems a p t l y

I t a l i a n music i n the 20th

n i n e t e e n t h - c e n t u r y h a r m o n i c and
c o n t r a s t t o C a s e l l a and
t h e most i m p o r t a n t

of v o c a l music.

I t a l i a n Renaissance

S a c h s , Music

Ibid.,

122.

he was

a s s i s t a n t conductor

Thus e x t r e m e l y

in

Fascist

Italy,

century,

In
interest,

l a y i n the

immersed i n t h e s t u d y

music w h i l e a student,

as a c o a c h and

house i n Parma.

M a l i p i e r o , P i z z e t t i ' s main

Although

direction

for

formal practices.

of h i s compositions,

as

to

i n one

y a n k e d i n t h e o t h e r by a s t r o n g i n c l i n a t i o n

j o b s was

domestic

compositional style

represent the d u a l i t y of h i s nature, p u l l e d

and

the

Sachs d e s c r i b e s P i z z e t t i ' s

and

f o r the

f e a r s about

Pizzetti's

to

c e r t a i n l y e q u a l t o t h a t o f C a s e l l a and M a l i p i e r o ,

R e s p i g h i ' s much more

"radical

t h e members o f

h a v e o f f e r e d an o u t l e t

works, but

front

s t y l e w i t h which

more c o n s e r v a t i v e c o m p o s e r s t o v o i c e t h e i r
t r a n s m i s s i o n o f t h e i r own

talents

Originally united i n a

a g a i n s t the backwardness of m u s i c a l c u l t u r e ,
the

had

one

of h i s

at the

w e l l - v e r s e d i n the
25.

field
of
first

opera

melodrama t r a d i t i o n ,

and a l r e a d y e n t h r a l l e d by t h e t h e a t r e

b e f o r e h i s s t u d e n t d a y s , o p e r a became f o r h i m t h e n a t u r a l
o u t l e t o f h i s i n t e r e s t s as a composer.
The

vocal writing

i n t h e operas i s i n i t s e l f

i m p o r t a n t s t e p away f r o m t h e 1 9 t h - c e n t u r y I t a l i a n

a very
tradition,

h o w e v e r , a n d i t i s w i t h i n t h i s medium where P i z z e t t i ' s most

important contributions l a y .
Pellas,

Pizzetti

I n a s i m i l a r v e i n t o Debussy's

created a vocal style inextricably

to t h e nuances o f t h e I t a l i a n
F l o r e n t i n e monodists

language,

and t h e f l e x i b l e

In a d d i t i o n t o these s o l o i s t i c

t a k i n g as models t h e

arioso of Monteverdi.

advances,

i s as i m p o r t a n t a c o n t r i b u t i o n .

i n the

The c o m p o s e r ' s

i n t e r e s t and f a m i l i a r i t y w i t h t h e R e n a i s s a n c e
madrigal t r a d i t i o n

the " r i c h l y

imaginative, often highly dramatic choral w r i t i n g "

operas

linked

finds root i n t h i s w r i t i n g ,

Italian
a n d was a

g r e a t i n f l u e n c e on t h e c h o r a l w r i t i n g o f many o f h i s
contemporaries,

including that of Malipiero.

This i n t e r e s t
Renaissance

i n m u s i c o f t h e p a s t d i d n o t end w i t h

I t a l i a n polyphony,

but extended t o Gregorian

c h a n t a n d t h e m e d i e v a l c h u r c h modes as w e l l .
of t h i s

time shared a s i m i l a r i n t e r e s t

With P i z z e t t i
complete

the p a r t i c u l a r

absorption of the tonal

Wew Grove,

Many c o m p o s e r s

i n these sources.

f o r m t h e s e s o u r c e s t o o k was t h e
language

m e l o d i e s n o t as q u o t a t i o n s o f i n t e r e s t
7

of the past, using

i n t h e m s e l v e s , b u t as

"Pizzetti."

W a t e r h o u s e , "The I t a l i a n A v a n t - G a r d e . . . . "
Some o f P i z z e t t i ' s
operas o f t h i s p e r i o d i n c l u d e :
Lo straniero
( 1 9 2 2 - 2 5 ) , Fra
Gherardo
( 1 9 2 5 - 2 7 ) , Orsolo
( 1 9 3 1 - 3 5 ) , a n d L'Oro
(1938-42).
8

a means o f e x p a n d i n g
which

was

always

the language

of f u n c t i o n a l

present i n h i s music.

tonality

Harmony

may

sometimes o c c u r i n c h r o m a t i c c o n t e x t s , but t h e m e l o d i c
are u s u a l l y d i a t o n i c or modal i n b a s i s .

These

practises,

c o m b i n e d w i t h f o r m a l p l a n s , l u s h s o n o r i t i e s and
melodies
unique

lyrical

i n s p i r e d by t h e R o m a n t i c p e r i o d , s e r v e t o c r e a t e a

s t y l e which

Pizzetti's

remained

r e l a t i v e l y unchanged

Music

p i a n o m u s i c i s c o n c e n t r a t e d i n t o two

periods:

1900-11 and

1942-43.

short character pieces, either

into sets.

through

compositional career.

P i z z e t t i ' s Piano
The

lines

The

The

distinct

e a r l y works c o n s i s t

of

s t a n d i n g alone or grouped

most i m p o r t a n t work o f t h e f i r s t

t h e c o l l e c t i o n o f t h r e e p i e c e s Da

un autunno

period i s

gi

lontano

(From an A l r e a d y D i s t a n t Autumn) o f 1911.

Even i n t h e s e

early pieces Pizzetti's

of modal

c h a r a c t e r i s t i c use

i s b l e n d e d w i t h an o r n a m e n t e d v o c a l s t y l e ,
would o f t e n use

in his later

works.

a technique

compositions

his compositional career.

i n the l a t e r works t h e r e i s a s h i f t

he

1 0

This v o c a l q u a l i t y of P i z z e t t i ' s
a constant throughout

melodies

toward

remained

Generally,

a more d r a m a t i c

M i l a , Breve s t o r i a d e l l a musica,
426; F r a n c e s c o Dgrada, "La
'generazione d e l l ' 8 0 ' e i l mito d e l l a musica i t a l i a n a , " i n N i c o l o d i ,
e d . , 93-94.
9

"The p i a n o works by I l d e b r a n d o P i z z e t t i , "

l i n e r n o t e s t o CD Complete
Piano
Works, 8.
10

trans.

Daniela

Pilarz,

style,

while s t i l l

m a i n t a i n i n g the b a s i c c h a r a c t e r i s t i c

many o f t h e themes "seem t o s u g g e s t a s u n g

Piano
Preludio

works of the

"L'ombra"

text." .
1 1

l a t e r p e r i o d comprise the

(Prelude

"Shadow," 1942)

i n s t e a d remained a s o l i t a r y work.

set of v a r i a t i o n s e n t i t l e d

Canti

di

short

which

o r i g i n a l l y t o have been p a r t o f a c o l l e c t i o n o f
but

ricordanza

dates

o p e r a Fra

obvious

Gherardo

o f 1927.

a l r e a d y from the t i t l e

f o u r "canti"

or "songs," the

The
and

first

canti

motives of t h i s

theme, d e v e l o p i n g

Pizzetti's

vocal influence i s

i t s source.

Comprised

of

p a r t o f the work i s a

r e d u c t i o n o f t h e o p e n i n g theme f r o m t h e o p e r a .
following three

(Songs o f

Remembrance) w h i c h u s e s as i t s b a s i s a theme f r o m
own

was

preludes,

From 1943

1 2

that

a r e l o o s e v a r i a t i o n s on

The
different

s m a l l components r a t h e r

t h a n m a i n t a i n i n g t h e m e l o d y o r h a r m o n i c scheme i n t a c t .

The

s e c o n d canto

of

i s marchlike,

b a s e d on t h e r h y t h m i c

t h e m a i n theme's a c c o m p a n i m e n t .
and

passionate,

The

using the descending

third

four-note

m a i n theme as i t s b a s i s .

The

p r o c e s s i o n on t h e m e l o d i c

o u t l i n e of the

a c c o m p a n i m e n t , and
end

of the
The

opera.

Sonata

f o u r t h begins

1 2

Grove,

Pilarz,

"ibid.,

"The
7-8.

is

melodic

f i g u r e of

as a

the

solemn

theme's

ends i n an e c s t a t i c r e p r e s e n t a t i o n o f

the

1 3

1942

i n t h r e e movements i s a

example of the c o m p o s i t i o n a l t e c h n i q u e s
^New

canto

motive

of P i z z e t t i ,

"Pizzetti."
Piano

Works b y

Pizzetti,"

wonderful

6.

fine

d e m o n s t r a t i o n the composer's c o m b i n a t i o n o f i n f l u e n c e s .
first

movement r e s e m b l e s s o n a t a f o r m w i t h f u g u e ,

r e p r e s e n t s many o f t h e f a c e t s o f P i z z e t t i ' s
have a l r e a d y b e e n m e n t i o n e d .

The

and

approach

which

Long n o t e v a l u e s a r e

r e m i n i s c e n t o f much R e n a i s s a n c e c h o r a l w r i t i n g ,

facilitated

by t h e t i m e s i g n a t u r e

6/2

"2" w h i c h t r a n s l a t e s i n t o

w i t h two d o t t e d - h a l f n o t e s p e r b a r .
in

third

Key a r e a s l i e g e n e r a l l y

r e l a t i o n s h i p s around the t o n i c A minor.

The

theme moves t h r o u g h A m i n o r , C m a j o r , A - f l a t m a j o r
F major b e f o r e s e t t l i n g
at

m e a s u r e 68.

111)

this

(measure

time,

i n A - f l a t major

In the r e c a p i t u l a t i o n

first

and

f o r the second

theme

( b e g i n n i n g measure

s e c o n d theme i s p r e s e n t e d i n C - s h a r p

major

145).

A chant-like

f i g u r e reappears i n various

forms

t h r o u g h o u t t h e movement, and a c t s as a s o r t o f r e f r a i n .
is

first

i n t r o d u c e d as a o n e - m e a s u r e f i g u r e i n o c t a v e s

between t h e hands,
fleeting

i n the middle of the t e x t u r e .

This

f i g u r e becomes an i m p o r t a n t m o t i v e i n t h e work a

few m e a s u r e s l a t e r ,

given f u l l

s e c t i o n m a r k e d Un poco
part of the f i r s t
melody r e t u r n s ,

pi

theme

thematic treatment i n a

largo

(example

e arioso,
5.1).

and i n t y p i c a l R o m a n t i c

which i s

5.2).

fashion,

215,

this

becomes

a c t i n g as a t r a n s i t i o n t o t h e s e c o n d theme

The

still

A t m e a s u r e 61

f r a g m e n t e d and m e t a m o r p h o s e s i n t o t h e b a s s l i n e o f a
section,

It

new
(example

l a r g e f u g a l c o n c l u s i o n , which b e g i n s i n measure

uses t h i s

theme as i t s b a s i s as w e l l .

s e c t i o n i s not i n s t r i c t

Although

f u g a l form, the u s u a l

this

procedures

are

e v i d e n t , such as augmentation and s t r e t t o .

The

p r e s e n t a t i o n o f the f u g a l s u b j e c t appears i n a manner much

l i k e a melody l i n e with c o n t i n u o bass, w i t h a
descending bass l i n e

characteristic

(example 5.3).

Example 5.1, P i z z e t t i ,
measures 24-27.

Sonata

1942, f i r s t movement,

- Un poco pi largo e arioso

i f

7 ' ^

_ _ _ _ 1 -H-==i-r
t

mil

Example 5.2, P i z z e t t i ,
measures 61-66.

Sonata 1942, f i r s t movement,

Jj Un poco pi largo

_j

Lo stesso movimento

PPcupo

1
JP'PfCon conveniente uso di pdale
an

To i l l u s t r a t e f u r t h e r P i z z e t t i ' s

characteristic

amalgamation o f r e n a i s s a n c e v o c a l techniques i n an
i n s t r u m e n t a l idiom, t h e r e a r e o c c a s i o n a l passages which a r e
clearly recitative-like

(beginning a t measure 84), i n v o l v i n g

the a l t e r n a t i o n o f c h o r d a l pauses prepared by bass motion

with faster-moving melodic passages.

Organum-like p a r a l l e l

f i f t h s a r e found o c c a s i o n a l l y as w e l l (m. 158 f f . ) .

The

second movement i s a c l e a r example o f the i n f l u e n c e

of the o p e r a t i c experience on the composer's i n s t r u m e n t a l

music.

I t i s an Adagio

i n B - f l a t minor, and t h e opening

s e c t i o n i s an a r i a with accompaniment
f i n a l movement, marked Turbinoso,

(example 5.4). The

continues t o d i s p l a y modal

harmony and f e a t u r e s r h y t h m i c a l l y - c o n t r a s t i n g

episodes.

-*

p^=^

Pizzetti's

>
?

H=4

with

VP

M.

9^

Generation,'

P i z z e t t i probably reaped the most b e n e f i t s

14

Fascism

"Among the composers o f the 1880S

system."

"

i.

Involvement

T-,

fr-

J - ^

^ molto espr
ss.

to pesante
p fiuttos

from the new

Even i n the e a r l y stages o f the regime the

favours began t o come h i s way from the government.

the "newly f a s c i s t i c i z e d M i n i s t r y o f P u b l i c

In 1923

Education"

15

decided i t was time t o r e p l a c e the aging d i r e c t o r o f the

M i l a n Conservatory.

Giuseppe G a l l i g n a n i had been

appointed

i n 1897 with V e r d i ' s b l e s s i n g , and had been a f i n e d i r e c t o r

i n h i s prime, but the time had come f o r him t o step down.
The government sent a c o n f i d e n t i a l l e t t e r t o P i z z e t t i ,
was d i r e c t o r o f the F l o r e n c e c o n s e r v a t o r y a t the time,

14

S a c h s , Music

1 5

I b i d . , 34.

in Fascist

Italy,

121.

who

o f f e r i n g t h e p o s i t i o n t o him.
telegram

Gallignani received a curt

i n t h e m e a n t i m e , a n d upon t h e r e c e i p t o f t h e

information

sent

i n this

man c o m m i t t e d s u i c i d e .

inhumane manner, t h e 72 y e a r - o l d

1 6

Conservatory d i r e c t o r s a f t e r t h i s

i n c i d e n t were c a r e f u l

"at l e a s t t o pay l i p - s e r v i c e t o t h e regime and t o p r a i s e i t s

magnanimity towards the a r t s . "

1 7

P i z z e t t i played

i n an e x c e l l e n t manner, q u o t e d a s s a y i n g

the part

i n 1938, "no

I t a l i a n o r f o r e i g n g o v e r n m e n t h a s e v e r done f o r t h e m u s i c a l
t h e a t r e a s much a s t h e f a s c i s t

Government h a s b e e n d o i n g f o r

y e a r s and g e n e r o u s l y

t o do

continues

Another opportunity
involvement i n the great
Enciclopedia

italiana,

music s e c t i o n .

This

so."

1 8

offered to Pizzetti

was t h e

project of the w r i t i n g of the

f o r w h i c h he t o o k c h a r g e o v e r t h e

c o l l e c t i o n of a r t i c l e s

s t a n d s a s "one

o f t h e most p o s i t i v e a c h i e v e m e n t s o f t h e f a s c i s t
The a r t i c l e s

seem a t f i r s t

period."

t o be r e m a r k a b l y f r e e o f o v e r t

f l a t t e r y o f t h e r e g i m e , e s p e c i a l l y i f one c o n s i d e r s
i n w h i c h i t was w r i t t e n .

1 9

the time

The w r i t e r s o f t h e a r t i c l e s ,

however, had r e a c h e d m a t u r i t y

before

the f a s c i s t

period

b e g a n , a n d came t o t h e i r t a s k s w i t h t h e o b j e c t i v i t y o f f r e e

Ibid.
I b i d . , 35.
I b i d . , 129.
I b i d . , 123.

thinkers.

C o l l a b o r a t i o n i n s u c h a p r o j e c t was c e r t a i n l y a

f e a t h e r i n P i z z e t t i ' s cap.
Sachs reduces

Pizzetti's

involvement

i n t h e regime t o

t h a t o f a n y o t h e r I t a l i a n m u s i c i a n ' s , o f j u s t t r y i n g t o make
a living

f o r h i m s e l f and f o r h i s f a m i l y by t a k i n g advantage

of t h e o p p o r t u n i t i e s as t h e y p r e s e n t e d t h e m s e l v e s .
cannot
but

really

speak o f h i s music b e i n g i n d e b t e d t o f a s c i s m ,

i n h i s use o f t h e system

an a c t i v e p a r t i c i p a n t
its

f o r h i s own a d v a n c e m e n t , he was

i n t h e regime,

negative aspects to inconvenience

Ottorino

One

a n d he d i d n o t a l l o w
h i s goals.

2 1

Respighi

" O t t o r i n o R e s p i g h i i s t h e o n l y I t a l i a n composer o f h i s
g e n e r a t i o n whose name s t i l l

r e g u l a r l y a p p e a r s on c o n c e r t

programmes b e y o n d h i s c o u n t r y ' s b o r d e r s . "

not as i m p o r t a n t

2 2

Although

he was

a c o m p o s e r i n t h e d e v e l o p m e n t o f a new

instrumental style

f o r I t a l y a s some o f h i s c o m p a t r i o t s

w e r e , a n d a l t h o u g h he r e p r e s e n t s t h e e n d o f a t r a d i t i o n
r a t h e r t h a n t h e b e g i n n i n g o f o n e , h i s m u s i c e n j o y e d an
immense p o p u l a r i t y w i t h t h e I t a l i a n p u b l i c o f t h e f i r s t
t h r e e decades o f t h e c e n t u r y .
Respighi
and

(1879-1936) s t u d i e d c o m p o s i t i o n w i t h M a r t u c c i

T o r c h i i n h i s e a r l y y e a r s , i n a d d i t i o n t o d e v e l o p i n g an

ability

on t h e v i o l i n t h a t l e d t o a c a r e e r a s a v i o l i n i s t i n

2 0

I b i d . , 124.

2 1

I b i d . , 131.

2 2

Ibid.

the

1910s.

Two t r i p s

him

i n contact

orchestration,

t o Russia,

i n 1900 a n d 1902-3, b r o u g h t

with Rimsky-Korsakoff,

w i t h whom he s t u d i e d

a d e f i n i n g i n f l u e n c e on t h e y o u n g

orchestral style.

I n 1913 he b e g a n t o t e a c h

(later Conservatorio)

d i Santa C e c i l i a

Italian's

at the Liceo

i n Rome, a p o s t he

h e l d u n t i l h i s d e a t h i n 1936 ( t o be s u c c e e d e d b y P i z z e t t i ) .
I n 1925-6 a n d a g a i n

i n 1932 R e s p i g h i

S t a t e s as a c o n d u c t o r and p i a n i s t .
Most o f R e s p i g h i ' s

toured

the United

2 3

fame a s a c o m p o s e r c a n be a t t r i b u t e d

t o two o f h i s o r c h e s t r a l t o n e poems, t h e Fontane

(Fountains

o f Rome) composed i n 1916,

( P i n e s o f Rome) w r i t t e n i n 1924.
n a t i o n a l consciousness
these

Fitting

di Roma

into therise i n

a r o u n d a n d a f t e r t h e F i r s t W o r l d War,

w o r k s d e s c r i b e t h e l a n d s c a p e o f Rome i n an e v o c a t i v e

manner.
quick

The employment o f t h e f o r m o f t h e t o n e poem i s

evidence of Respighi's

inclinations.
techniques,

" s o n g f u l m e l o d i e s and r i c h

p r i o r t o 1910,
Italian

interest

2i

New

Baker's

25

New

and R i c h a r d

Strauss.

began

Martucci,

w o r k s were o f t e n
2 5

Yet,

even

c o m p o s e r w o u l d n o t be immune t o t h e wave o f

s.v. "Respighi,

Biographical

Grove,

2 4

traditions

Giovanni

(whose p i a n o

i n music o f t h e I t a l i a n past.
Grove,

orchestral

i n German r o m a n t i c

composer Sgambati

this traditional

23

romantic-period

harmonies."

i n f l u e n c e d by h i s t e a c h e r

performed by C a s e l l a ) ,

interest

traditional

H i s w o r k s r e l y on b r i l l i a n t

Respighi's

the

a n d Pini

di Roma

i n part

Ottorino."

Dictionary,

"Respighi."

A r o u n d 1916,

s.v. "Respighi,

Ottorino."

i n f l u e n c e d b y h i s w i f e who was a s i n g e r and h e l d a d e g r e e i n

G r e g o r i a n c h a n t , R e s p i g h i t o o became
traditions.

interested i n archaic

H i s employment o f t h e m e l o d i e s d i f f e r s

that of P i z z e t t i .

Whereas P i z z e t t i

completely

from

internalized

t h e m e l o d i c o u t l i n e s and p r a c t i c e s and i n c o r p o r a t e d them

i n t o the harmonic

language,

R e s p i g h i used t h e melodies

i n a s e n t i m e n t a l manner, f o r c o l o r i s t i c p u r p o s e s ,
t h a n as an i n t e l l e c t u a l
modes and m e l o d i e s

exercise.

2 6

1927) ,
21

R e s p i g h i ' s use o f t h e

di chiesa

(1925) .
28

Other evidence of R e s p i g h i ' s i n t e r e s t

p a s t t a k e s t h e f o r m o f t r a n s c r i p t i o n s and
mostly f o r orchestra,
Airs

i n music

of the

arrangements,

as w e l l as a p i a n o a r r a n g e m e n t o f t h e

and Dances.

Rather than s t r i v i n g

f a i t h f u l p r e s e n t a t i o n of the o r i g i n a l
notation,

(Church

a n d i n t h e l a t e r c o n c e r t o s s u c h as t h e

p i a n o c o n c e r t o In modo m i s o l i d i o

Ancient

rather

i s p r o b a b l y b e s t known t h r o u g h h i s l a t e r

s y m p h o n i c poems s u c h as t h e Vetrate
Windows,

more

for a

s o u r c e i n modern

as a s c h o l a r l y t r a n s c r i p t i o n a t t e m p t s t o do,

R e s p i g h i ' s t r a n s c r i p t i o n s t y p i c a l l y aim f o r c o l o r i s t i c
e f f e c t and a r e d e c o r a t i v e i n n a t u r e .

2 9

S e r g i o M a r t i n o t t i , " ' G r e g o r i a n o ' , 'Romano', ' I t a l i a n o ' :

d e c l i n a z i o n i d e l l a n u o v a m u s i c a , " i n N i c o l o d i , e d . , 104.
2 6

21

New

28

Ibid.

Grove,

tre

"Respighi."

The premiere

i n New

Y o r k had R e s p i g h i as t h e p i a n o

soloist.

Respighi . . . occupies a p e c u l i a r p o s i t i o n i n
I t a l i a n music.
W h i l e h i s p i c t u r e s q u e t o n e poems . . .
h a v e become famous t h e w o r l d o v e r , h i s m u s i c i s
s t r i k i n g l y u n r e p r e s e n t a t i v e of the I t a l i a n m u s i c a l
scene of h i s t i m e s .
3 0

The

interest

i n e a r l y I t a l i a n music i s concurrent

trends of the time,

but

t h e i r employment i s s t r i c t l y

t h e medium o f German 1 9 t h - c e n t u r y

models.

so much a t h i n k e r as an a v i d o b s e r v e r
e s p e c i a l l y receptive to v i s u a l
musical

crisis

scrambling

v o i c e i n the
evident

of the 20th

i n search

century,

o f a new

of t h i n g s ,

being

The

3 1

There are

few

R e s p i g h i made use

traditions,

i s not

Perhaps the v e r y

works f o r s o l o p i a n o

works.
early

Three works f o r piano

Concerto

Concerto
The
time

in A minor

of M u s s o l i n i

t h e New
Gregorian

3 0

in the
292 .
21

(1902),

in modo m i s o l i d i o
only solo piano

Grove

and

but

accompanying

other

chamber

orchestra also exist:

Toccata

(1928),

the

and

(1925).

work i n e x i s t e n c e f r o m a r o u n d

(and t h e o n l y s o l o p i a n o

works l i s t )

Melodies,

and

success.

i n existence,

i n prominent

r o l e s f o r songs, i n s t r u m e n t a l sonatas

fact

his art i s

d e s t i n e d f o r such long-term

of the piano

Italian

compositional

t h a t he d i d n o t h a v e an agenda t o p u r s u e t h r o u g h
t h a t i t was

"not

which i n v o l v e d composers

instrumental

face of 19th-century

through

R e s p i g h i was

impressions."

i n t h i s composer's s c o r e s .

the reason

with

work l i s t e d

i s the set of three

composed i n 1919

and

Preludes

published i n

the
in
on
1921.

R e g i n a l d S m i t h B r i n d l e , " I t a l y , " i n F.W.

S t e r n f e l d , ed.
Music
Modern Age
(New Y o r k , W a s h i n g t o n :
Praeger P u b l i s h e r s , 1973),

New

Grove,

"Respighi."

These p r e l u d e s a r e t h e o r i g i n a l v e r s i o n o f t h e l a t e r
orchestral
version,
added.

Church

Windows,

t o which,

i n the orchestral

a f o u r t h movement a n d d e s c r i p t i v e t i t l e s
In addition,

has u n e a r t h e d

r e c e n t s c h o l a r s h i p by S e r g i o M a r t i n o t t

some p r e v i o u s l y unknown e a r l y p i a n o

d a t i n g from R e s p i g h i ' s student y e a r s .

p u b l i c a t i o n o f t h e New Grove
light:
minor

list,

(1897-8);

an Allegro

3 2

Since the

(1895-6),

da concerto

a n d one i n F

( 1 8 9 6 ) ; two s u i t e s

(18 9 8 - 1 9 0 3 ) ; a few p r e l u d e s , a n d a c o u p l e o f
R e s p i g h i 's piano music,
The f i r s t

sopra

Andantes.

t h e n , may be d i v i d e d i n t o two

p e r i o d i n c l u d e s t h e s e works a l o n g w i t h

t h e A m i n o r c o n c e r t o , and t h e second
Preludi

mlodie

gregoriane,

i n c l u d e s t h e Tre

t h e two l a t e r w o r k s f o r

p i a n o and o r c h e s t r a , and t r a n s c r i p t i o n s o f l u t e
The

works

more w o r k s h a v e come t o

two s o n a t a s , one i n A m i n o r

periods.

were

music.

two e a r l y s o n a t a s a r e c l e a r r e p r e s e n t a t i v e s o f

R e s p i g h i ' s p r o p e n s i t y f o r t h e 1 9 t h - c e n t u r y German

tradition

E a c h s o n a t a h a s t h r e e movements, w i t h t h e e x p e c t e d
plans

3 3

(first

movements i n s o n a t a f o r m ,

ternary

formal

second

movements), and t h e A m i n o r s o n a t a has a t r a d i t i o n a l

tonal

p l a n o f A m i n o r f o r t h e o u t e r movements a n d F m a j o r f o r t h e
s l o w movement.
demonstrates

According t o Pedarra the A minor

a few r e c o g n i z a b l e i n f l u e n c e s :

sonata

Schumann i s

e v o k e d i n t h e p a s s i o n a t e m a i n theme o f t h e f i r s t

movement,

P o t i t o P e d a r r a , "The P i a n o i n t h e e a r l y R e s p i g h i , " t r a n s .
T i m o t h y A l a n Shaw, n o t e s t o CD Opre indite per
pianoforte
3 2

3 3

Pedarra,

"The P i a n o , " 17.

as w e l l a s i n t h e c h o r d a l m a r c h p r o g r e s s i o n o f t h e t h i r d ,
piano

technique

and m e l o d i c

construction are reminiscent of

Rachmaninov, and t h e r e i s even a b i t o f P u c c i n i i n t h e

s e c o n d movement, w i t h some c h a r a c t e r i s t i c
parallel
The

ninths.

descending

3 4

F minor sonata

a l s o demonstrates i n f l u e n c e of the

19th

century.

This sonata

year

1897-98, w h i l e t h e c o m p o s e r was t a k i n g t h i r d - y e a r

harmony c l a s s e s .
generation

was w r i t t e n d u r i n g t h e s c h o o l

The c l o s e t i e s w i t h t h e r o m a n t i c

are c l e a r l y evident

from t h e f i r s t measures.

f i r s t movement i n F m i n o r opens w i t h a

The

five-measure

i n t r o d u c t i o n l e a d i n g t o t h e dominant, f o l l o w e d by a
passionate
degree

theme i n t h e t o n i c k e y w i t h a r a i s e d f o u r t h

(B-natural) supported

arpeggiated
expected

figures i n the l e f t

formal areas

contrasting

by r u n n i n g
hand

b r o k e n - c h o r d and

(example 5 . 5 ) .

are a l l c l e a r l y

stated.

s e c o n d theme i n D - f l a t m a j o r

(measure 50) a n d f u l l

themes a r e a l s o p r e s e n t

There i s a

(measure 3 4 ) , a n d

the e x p o s i t i o n i s even i n d i c a t e d w i t h r e p e a t s .
development

The

clear

r e c a p i t u l a t i o n of both

(measures 90 a n d 102 r e s p e c t i v e l y ) ,

as w e l l a s a an e l e v e n - m e a s u r e c o d a t o e n d t h e movement
(measure 12 6 ) .
The

s e c o n d movement i s a Lento

i n A - f l a t major i n c l e a r

A-B-A f o r m , w i t h t h e c o n t r a s t i n g s e c t i o n i n E m a j o r .
return of A i s embellished

Pedarra,

"The P i a n o , "

and e n r i c h e d by c h o r d a l

19-20.

The
support

of the melody i n the r i g h t hand and a s e x t u p l e t

f i g u r e i n the l e f t

(example 5.6).

broken-chord

As i n the f i r s t

movement's main theme, t h i s theme a l s o employs the r a i s e d

f o u r t h degree, D n a t u r a l .
Example 5.5, R e s p i g h i ,
measures 6-8.

Sonata

in F minor,

f i r s t movement,

Example 5.6, Respighi,

measures 72-73.

Sonata

in F minor,

second movement,

ft.
r -

A scherzo, marked A l l e g r e t t o
the t h i r d movement.

-f-

fcft;

1V-

i n B - f l a t minor e x i s t s as

The c e n t r a l s e c t i o n i s i n the r e l a t i v e

major, and the r e t u r n of the main theme i s e m b e l l i s h e d

slightly.

There i s an extended s e c t i o n o f 31 measures

o c c u r r i n g b e f o r e the r e t u r n o f the main theme, a c t i n g as a

s o r t o f cadenza.

I t begins as i f i t were an a c t u a l

return

b u t i t i s i n t h e wrong

key, and t h e appearance o f a r p e g g i o s

s o o n g i v e i t s b r a v u r a p u r p o s e away.

The e n d i n g o f t h e

movement i n B - f l a t m i n o r l e a v e s t h e c l e a r i m p r e s s i o n t h a t a
f o u r t h movement i n t h e F m i n o r o f t h e o p e n i n g movement i s
missing, but the musical e f f e c t

Tre preludi
The
in

sopra
Three

mlodie

Preludes

i s c o m p l e t e w i t h o u t one.

gregoriane

on Gregorian

1919 a n d p u b l i s h e d i n 1 9 2 1 .

Melodies

were

written

I t i s the only solo piano

work w h i c h d a t e s f r o m a r o u n d t h e t i m e o f t h e f a s c i s t
Alfredo Casella i s the recipient of the dedication,
h a v i n g t o do w i t h t h e two c o m p o s e r s ' c o l l a b o r a t i o n
t h e y e a r s 1917-1919 i n t h e Socit

di Musica

period.
perhaps

during

Moderna,

well

b e f o r e t h e d a y s o f t h e n o t o r i o u s m a n i f e s t o ( w h i c h was s i g n e d
by R e s p i g h i a s w e l l a s b y P i z z e t t i

and o t h e r s ) .

Like the

s o n a t a s , t h e s e p r e l u d e s a r e an e x t e n s i o n o f t h e r o m a n t i c
virtuoso tradition,

particularly

second p r e l u d e i n C-sharp m i n o r .
consisting of a "nocturnal"

e v i d e n t i n t h e tempestuous
3 5

first

The t h r e e f o r m a g r o u p
p r e l u d e i n G-sharp minor,

t h e t e m p e s t u o u s C - s h a r p m i n o r one, a n d a t h i r d
m i n o r , 5/4 t i m e , w i t h a r e p e a t e d - n o t e o s t i n a t o

i n F-sharp
accompaniment

t h a t evokes t h e sound o f b e l l s .
The t h r e e p r e l u d e s were l a t e r o r c h e s t r a t e d b y t h e
composer

w i t h t h e a d d i t i o n o f a f o u r t h o r c h e s t r a l movement,

given d e s c r i p t i v e t i t l e s

'Martinotti,

and s h o r t synopses o f t h e e v e n t s ,

" ' G r e g o r i a n o ' , " 103-104.

and

renamed Vetrate

di

and

f o u r t h movements o f t h e o r c h e s t r a l work a r e c a l l e d

Matins of St. C l a i r e "

titles

of the f i r s t

chiesa

and

and

(Church Windows).

"St. Gregory

second

The

the Great"

movements w i l l

r e l a t i o n t o the p i a n o works, below.)

of

t h e " c h a n t s " i s e v i d e n t l y s p u r i o u s , h o w e v e r , as

e v o c a t i o n s of genuine

"These

(the

gregorian basis

were i n v e n t e d by R e s p i g h i h i m s e l f m e r e l y

the o u t l i n e s of a u t h e n t i c chant.

"The

be d i s c u s s e d

in

melodies

The

third

the
t o evoke

beautiful

p l a i n s o n g are c l e v e r l y s y n t h e s i z e d

t u n e s , i n t o n e d o v e r r o c k i n g p e d a l s o r s p a r s e open h a r m o n i e s
to

I.

suggest

Molto
The

the r e l i g i o u s ambiance of the m o n a s t e r y . "

lento,

G-sharp minor,

5/4

p i a n o p i e c e s were o r i g i n a l l y

c o n c e i v e d as a b s o l u t e

music,

and had

no p r o g r a m a t t a c h e d t o them.

titles

t o t h e movements i n t h e o r c h e s t r a t e d v e r s i o n ,

they are i n c l u d e d here

for interest.

o r c h e s t r a l v e r s i o n of the f i r s t

3 7

The

R e s p i g h i gave
and

t i t l e to the

movement r e a d s

thus:

The F l i g h t into
Egypt
"... t h e l i t t l e c a r a v a n moved t h r o u g h t h e d e s e r t , i n a
n i g h t a l i v e w i t h s t a r s , c a r r y i n g the Treasure of the
world. "
38

A rhythmic o s t i n a t o i n the l e f t
throughout

hand w h i c h

runs

almost

a l l t h e movement e v o k e s t h e s t e a d y p r o g r e s s

T h e t h r e e p i a n o p r e l u d e s e x i s t as t h e f i r s t t h r e e o f t h e
o r c h e s t r a l movements.
The f o u r t h movement d o e s n o t e x i s t i n p i a n o
format.
36

CD l i n e r n o t e s t o Church Windows,
Symphony O r c h e s t r a , R e f e r e n c e R e c o r d i n g s
37

3 8

Ibid.

K e i t h C l a r k and
RR-15CD, 1985.

Pacific

of

the caravan
of
J

through the d e s e r t n i g h t , i n a l u l l i n g p a t t e r n

e i g h t h - and s i x t e e n t h - n o t e s i n the 5/4 time s i g n a t u r e :

J~J ~$ (example 5.7).

In a d d i t i o n t o i t s e v o c a t i v e

purpose, the o s t i n a t o i t s e l f comprises t h e e n t i r e

accompaniment p a t t e r n , i n v o l v i n g bass notes,
o u t l i n e , and a t times,

counter-melodic

Example 5.7, R e s p i g h i , Three Preludes

I. Molto Lento, measures 1-3.

harmonic

interest.
on Gregorian

Melodies,

Molto lento. (J-go.)

The movement i s i n t e r n a r y form, with a key s i g n a t u r e

of

f i v e sharps.

T h i s key s i g n a t u r e i n d i c a t e s a t o n a l area

of

G-sharp minor, which i s , however, mostly

i m p l i e d , as

t h e r e i s great emphasis given t o the dominant t o n a l area,

D-sharp m i n o r .
(either

The l a c k o f l e a d i n g t o n e s f o r e i t h e r k e y

F - d o u b l e - s h a r p o r C-double-sharp) and t h e modal

q u a l i t y c o n t r i b u t e t o t h i s avoidance of a strong
centre,

perhaps r e f l e c t i n g the p r o g r e s s i o n

w h i c h n e v e r comes t o r e s t .

tonal

of the caravan

The m i d d l e s e c t i o n o f t h e

movement i s i n A - f l a t m a j o r , t h e e n h a r m o n i c m a j o r o f t h e
first

section's

t o n i c key, G-sharp minor.

S i m p l e h a r m o n i c o u t l i n e s p e r v a d e t h e movement.

The

h a r m o n i c r h y t h m i n e a c h b a r i n v o l v e s g e n e r a l l y one c h o r d and
o c c a s i o n a l l y two, t h e r o o t
in

the bass o f the rhythmic o s t i n a t o

Phrasing

i s also very

sections being
two

o f each chord i n d i c a t e d

three

regular, with

clearly

( r e f e r t o example 5.7).
a l l phrases i n the A

measures i n l e n g t h ,

a n d i n s e c t i o n B,

measures.
S u c h r e g u l a r i t y o f r h y t h m , harmony a n d p h r a s i n g

the

a t t e n t i o n o f t h e movement t o be f o c u s s e d

factors.

The m a i n i n t e r e s t i n t h i s p i e c e

on

allows

other

i s the chantlike

melody w h i c h i s d i s g u i s e d by s u b t l e v a r i a t i o n s each t i m e i t
appears.
and

T h i s melody appears f i r s t

i n subsequent p r e s e n t a t i o n s

inner voice.

In the outer

measures l o n g ,

i n t h e topmost

i t i s s o m e t i m e s moved t o an

sections

divided i n t o three

t h i s melody i s nine

phrases.

The f i r s t

is

i n e x a m p l e 5.7, a n d t h e s e c o n d a n d t h i r d p h r a s e s

in

e x a m p l e 5.8.

Characterized

motion, o c c a s i o n a l

voice,

by p r e d o m i n a n t l y

phrase

follow

stepwise

s h o r t m e l i s m a s , and modal o u t l i n e s

t h r o u g h t h e a v o i d a n c e o f t h e l e a d i n g t o n e , t h i s m e l o d y was

created

by R e s p i g h i to i m i t a t e the o u t l i n e s o f g r e g o r i a n

chant.
Example 5.8, Respighi, Three Preludes
I. Molto
Lento,
measures 4-9.

on Gregorian

Melodies,

ben contoto

poco rit. a tempo

dim.: ,

The f i r s t

v a r i a t i o n on t h i s melody begins i n measure 10

with a grand f l o u r i s h c o n t a i n i n g
measure

(example 5.9).

the o r i g i n a l .

the o u t l i n e s o f the f i r s t

Upward stems i n the score i n d i c a t e

In the next measure

(measure 11) a second

v o i c e i s added an octave above the melody, but i n the same

rhythm as the accompanying o s t i n a t o .
c o n t i n u e s i n t o the next phrase

T h i s new v o i c e

(measures 13-16) where the

melody i s presented i n r i g h t - h a n d octaves, and with some r e harmonization.

treatment

The t h i r d phrase

(example 5.10) r e c a l l s the

o f measures 10-12 with a melodic f l o u r i s h i n one

measure, and with the upper melodic v o i c e echoing the

o s t i n a t o i n another.
Example 5.9, R e s p i g h i , Three Preludes
I. Molto Lento, measures 10-12.

on Gregorian

Melodies,

An

enharmonic r e - s p e l l i n g o f D-sharp t o E - f l a t

executes

a common-tone modulation i n t o A - f l a t major f o r the middle

s e c t i o n o f the work (example 5.11).

This section

i n much the same manner as do the o u t e r s e c t i o n s ,

i s constructed

o f a melody with v a r i a t i o n s .

functions
i n that i t

There a r e ,

though, many d i f f e r e n c e s i n how the melody i s t r e a t e d i n

these passages.

Whereas the melody i n the A s e c t i o n i s

repeated always a t the same p i t c h , i n the middle s e c t i o n the

four-bar

melody appears f i r s t b e g i n n i n g on A - f l a t ,

D - f l a t and C - f l a t .
longer

then on

The o s t i n a t o i s s t i l l p r e s e n t , o n l y no

the e x c l u s i v e domain o f the r i g h t hand, nor does i t

encompass the bass f u n c t i o n as i t d i d i n the f i r s t

section.

In t h i s melody's

f i r s t presentation

(measures

20-23)

the o s t i n a t o appears i n the r i g h t hand, bass notes a r e added

i n h a l f and d o t t e d - h a l f notes,
inner voice.

and the melody appears i n an

In i t s second appearance

(measures 24-27) the

melody l i e s a t the top o f the t e x t u r e , the o s t i n a t o i n the

bottom v o i c e a t the same range as the p r e v i o u s

melody, and

the bass appears

24).

as g r a c e n o t e s

( s e e e x a m p l e 5.11, m e a s u r e

A t m e a s u r e 28 t h e c h o r d s h i f t s t o C - f l a t

major,

and

the melody i s t r e a t e d i n canon between t h e soprano-range

tenor-range voices of the previous melodic
The

same e n h a r m o n i c p r o c e d u r e

statements.

that l e d into

the middle

s e c t i o n b r i n g s i t back out a g a i n , w i t h t h e E - f l a t
b e i n g r e - i n t e r p r e t e d as D-sharp.
section differs
length.
is

from t h e f i r s t

The r e t u r n o f t h e A

melody i n a v a r i e d

o n l y once,

t h e n added t o a c t as a t r a n s i t i o n ,
based

o f t h e key

section primarily i ni t s

The o r i g i n a l n i n e - m e a s u r e

presented i n i t s entirety

and

i t s first

form

phrase i s

and a t h r e e - m e a s u r e

coda,

on t h e t h i r d m e a s u r e o f t h e movement, c o m p l e t e s t h e

work.
A t m e a s u r e 32 t h e m e l o d y o f t h e A s e c t i o n r e t u r n s ,
o c t a v e h i g h e r and d o u b l e d
The

ostinato interjects

phrase
opening

(example

5.12).

i n t h e bass t h r e e octaves

an

lower.

only at places of rest within the

The t e x t u r e r e t u r n s t o t h a t o f t h e

s e c t i o n i n t h e n e x t two p h r a s e s , a t f i r s t

with the

melody i n o c t a v e s and t h e o s t i n a t o r e l e g a t e d t o t h e l e f t
hand, a n d t h e n w i t h an a c c o m p a n i m e n t a l

l i n e i n o c t a v e s and

t h e m e l o d y i n an i n n e r v o i c e i n a v e r y d e n s e
A transitional

passage

texture.

b e g i n s i n measure 41, w h i c h i s

t h e p a r t n e r t o m e a s u r e 10 ( s e e e x a m p l e 5.9) where t h e n i n e m e a s u r e m e l o d y b e g i n s anew.

in

this

The e x t e n d e d

flourish

i s varied

r e t u r n , b u t i n t h e next measure t h e t e x t u r e i s

simplified

t o a p r e s e n t a t i o n o f t h e melody i n o c t a v e s a l o n g

w i t h t h e o s t i n a t o l e f t - h a n d a l o n g w i t h a Largamente

marking,

l e a d i n g i n t o the coda.
f u r t h e r , marked Rallent.

The l a s t three measures slow down

i l tempo

melody i s taken from t h e p r e v i o u s

(example 5.13).

Their

measure, e q u i v a l e n t t o

measure 3 (see example 5.7), and the change o f mode t o major

i n i t s f i r s t measure c l e a r l y d e l i n e a t e s the b e g i n n i n g o f the
end.
and

The f i n a l measure has an augmentation o f the o s t i n a t o ,

the melody and harmony come t o r e s t where i t began, on

the dominant o f the movement, D-sharp.

Example 5.12, R e s p i g h i , Three Preludes
on
Melodies,
I. Molto Lento, measures 32-34.

Gregorian

II.

Tempestoso,

C-sharp minor, 2/2

St. Michael
Archangel
"And t h e r e was a great b a t t l e i n heaven; Michael and
h i s angels s t r u g g l e d w i t h the dragon, and fought the
dragon and h i s angels.
But these d i d not p r e v a i l , nor
was t h e r e any l o n g e r p l a c e f o r them i n heaven."
39

The

o r c h e s t r a l v e r s i o n o f t h i s p r e l u d e i n c l u d e s the

a d d i t i o n o f an i n t r o d u c t i o n and p o s t l u d e which evoke the

sound o f a great b a t t l e u n f u r l i n g through
s c a l a r motion through
identical

the o r c h e s t r a .

use o f sweeping

The two v e r s i o n s are

otherwise.

In c o n t r a s t t o the f i r s t prelude, the form o f t h i s

movement i s f o r m a l l y l e s s c l e a r .

I t may be understood

as

having a formal l a y o u t o f A B C A D Coda (measures 1, 32,

77,

107, 147, 157, r e s p e c t i v e l y ) .

difficult

The reason the form i s so

t o l a b e l i s t h a t the melodic

c o n t r a s t between

s e c t i o n s i s not very pronounced, although t e x t u r e , key, and

tempo, do change a c c o r d i n g t o the s e c t i o n s .

39

CD l i n e r notes t o Church

Windows.

As

i n t h e f i r s t p r e l u d e , R e s p i g h i s own

melody i s the

b a s i s f o r t h e movement.
opening,

It is clearly

s t a t e d at

i n C - s h a r p m i n o r , by t h e l e f t h a n d i n o c t a v e s ,

a c c o m p a n i e d a b o v e by t e m p e s t u o u s e i g h t h - n o t e
right

(example 5.14).

T h i s m e l o d y w i l l be

o t h e r themes d u r i n g t h e c o u r s e
g r e g o r i a n chant

f o r one

(measure 5 ) .
line,

I t evokes

longer note-values

and

remains w i t h i n the range of a f i f t h

tone

Pauses f o r b r e a t h i n g are a l s o w r i t t e n i n t o
by h a l f - and

triplet

d o t t e d - h a l f note

i n each

values.

f i g u r e a l s o continues throughout

p i e c e w i t h t h e e x c e p t i o n o f one
changing

i n the

related to a l l

e x t e n s i o n of a t h i r d to the l e a d i n g

suggested

eighth-note

and

triplets

of the prelude.

i n i t s predominantly

stepwise motion,
except

the

passage, the

the

The
the

figuration

section.

A t m e a s u r e 11 t h e m e l o d y i s r e p e a t e d
octave

higher.

A transition,

begins

a t m e a s u r e 21.

The

in i t s entirety

b a s e d on a d o m i n a n t

an

pedal,

m e l o d y w o r k s i t s way

c h r o m a t i c a l l y down f r o m G - s h a r p t o C - n a t u r a l , w h i c h becomes
p a r t of the t o n i c chord

o f s e c t i o n B,

i n A minor,

at

measure, 32 .
A new

g a l l o p i n g eighth-note

i n p r e s e n t a t i o n , begins
for

t h e moment, t h e c h a n t

melody drops out

t h e n t w i c e more an o c t a v e

getting
like

louder, u n t i l

figuration,

triadic

a l o n g w i t h t h e c h a n g e o f key,

A two-measure p h r a s e b e g i n n i n g
and

triplet

(example

5.15).

the s e c t i o n i s repeated

once,

h i g h e r each time, g r a d u a l l y

a v a r i a t i o n of the chant

an a n t h e m a t m e a s u r e 42

and

(example 5.16).

melody

erupts

A further

Terapestoso. ( J - wo.)

1
= P = = t ,1 1

~~d

Jftfr

r r J r r~j

J 1

vn* 4
v

f=r=M

V H = 5 = *=r=

j;

2-

# - iit
r
.
p

f p

'

jj

f E=
~M

;*

&.XL

v a r i a t i o n on the chant appears i n the same s e c t i o n b e g i n n i n g

i n measure 53, making use o f t h e t r i p l e t

f i g u r e t o generate

the melodic o u t l i n e i n the manner o f a t o c c a t a

5.17).

(example

'

Example 5.16, R e s p i g h i , Three Preludes

on
Melodies,
I I . Tempestoso,
measures 41-43.

Gregorian

Example 5.17, R e s p i g h i , Three Preludes

on
Melodies,
I I . Tempestoso,
measures 53-56.

Gregorian

T h i s t o c c a t a f i g u r a t i o n r e v o l v e s a r o u n d t h e key o f
E minor, w i t h the avoidance of the l e a d i n g tone
c o n t r i b u t i n g t o t h e modal f e e l

o f t h e melody.

(D-sharp)
The

i n t r o d u c t i o n o f an F - s h a r p i n m e a s u r e 73 f o r e s h a d o w s
key c h a n g e ,

t h i s t i m e t o E m a j o r a t m e a s u r e 77 and t h e

beginning of s e c t i o n

C.

A t t h i s p o i n t t h e tempo s l o w s s l i g h t l y ,
note t r i p l e t
pattern
still

and t h e

e v o l v e s i n t o a l e s s c h o r d a l , more

(example 5 . 1 8 ) .

present i n the l e f t

major,

another

eighth-

undulating

A v a r i a n t o f the chant melody i s

hand,

and a l t h o u g h i t i s now

i t s r e l a t i o n s h i p to the o r i g i n a l

s e e n i n i t s o u t l i n e s and r h y t h m

can s t i l l

(compare

in

clearly

t o example

5.14).

A t m e a s u r e 91 t h e a c c o m p a n i m e n t t r a n s f e r s t o t h e l e f t
for the f i r s t

t i m e i n t h i s movement,, w i t h t h e m e l o d y

s e c t i o n C r e p e a t e d i n t h e r i g h t hand,

be

hand
of

r e i n f o r c e d by o c t a v e s

and an a r p e g g i a t e d c h o r d on t h e downbeat o f e a c h b a r
(example

5.19)

A four-measure t r a n s i t i o n
opening melody
stringendo,

of s e c t i o n C

using

the

7 7 - 7 8 ) , and m a r k e d
and

i n t o a r e t u r n o f A a t measure

S e c t i o n A i s r e p e a t e d e x a c t l y as i t s o r i g i n a l

presentation,

until

t h e p o i n t o f t r a n s i t i o n a t measure

t h e c o r o l l a r y t o m e a s u r e 21.
first,

(measures

103-106),

moves t h e f i g u r a t i o n b a c k t o t h e r i g h t hand,

the passage ascends d i r e c t l y

107.

(measures

This t r a n s i t i o n ,

a l s o c e n t r e s on G - s h a r p ,

like

b u t makes u s e o f t h e

127,

the
melody

i n the form i n which i t appeared i n s e c t i o n C

(example

5.20).

i s repeated

The

two-measure p h r a s e i n t h i s

example

i n sequence, down by t h i r d s , always over the dominant p e d a l

The momentum g r a d u a l l y d i e s ,
triplet

figuration,

(example 5.21).

now

with a fragmentation of the

i n octaves, b e g i n n i n g i n measure 13

As i n the f i r s t

t h i s passage a l s o descends,
C-sharp i n measure

t r a n s i t i o n , the bass i n

o n l y t h i s time t o r e s t

on

147.

Example 5.20, R e s p i g h i , Three Preludes

on
Gregorian
Melodies,
I I . Tempestoso,
measures 127-128.

feW

-a

fe&r=
}) 1 *

Jr

1
1

.1

dim.

S e c t i o n D i s an extended

-tf-

f a n t a s y on the p r e l u d e ' s

o r i g i n a l melody.

I t i s i n C-sharp major, 8/4

Largo

l a melodia).

(espressiva

time, marked

The melody i n i t s e n t i r e t y

i s presented, m a i n t a i n i n g i t s o r i g i n a l note v a l u e s
5.22).

(example

The accompaniment i s comprised of ascending

f l o u r i s h e s o f h a r p - l i k e arpeggios, which generate the melody

notes f l o a t i n g above them.

A second statement

appears i n the f o u r measures immediately

o f the melody

f o l l o w i n g , with an

echo treatment a c t i n g as a commentary on each

phrase

(example 5.23).

Example 5.22, R e s p i g h i , Three Preludes

on
Melodies,
I I . Tempestoso,
measure 147.

Largo. (J=8o)
[espressiva la mdodia)

Gregorian

(Lento

-,

vpl

TI

3&

T?

H a

*=;

At measure 157 begins a coda, based on the t e x t u r e and

melody o f s e c t i o n B, i n the o r i g i n a l key o f C-sharp minor
(example 5.24.

Compare t o example 5.19).

The r i g h t hand

takes over the accompaniment at measure 171, a l l o w i n g the

l e f t hand t o resume i t s statement o f the melody i n o c t a v e s .
The passage ascends s t e a d i l y , i n c r e a s i n g i n dynamic u n t i l
the f i n a l two measures, where grand a r p e g g i a t e d t o n i c chords
marked f f f b r i n g the f u r i o u s movement t o a c l o s e .
R e s p i g h i i s the o n l y composer a c t i v e d u r i n g the f i r s t
h a l f of the f a s c i s t p e r i o d who may be r e c o g n i z e d g e n e r a l l y
by today's i n t e r n a t i o n a l m u s i c a l p u b l i c .

This popularity

d i d not a r r i v e posthumously, as he e x p e r i e n c e d h i s fame

f u l l y during h i s l i f e t i m e .

The most well-known o f h i s

compositions i s l i k e l y the s u i t e o f o r c h e s t r a l tone poems

Pines

of Rome, which was composed i n 1924.

The t h r e e p i e c e s

i n t h i s piano c o l l e c t i o n were w r i t t e n f i v e years p r i o r t o

the s u c c e s s f u l o r c h e s t r a l s u i t e , and R e s p i g h i ' s penchant f o r

o r c h e s t r a l w r i t i n g can a l r e a d y c l e a r l y be seen i n t h i s

trio

of piano

that

works.

In support

of t h i s t h e o r y i s the f a c t

the composer h i m s e l f o r c h e s t r a t e d them i n

1925.

Example 5.24, R e s p i g h i , Three Preludes

on
Gregorian
Melodies,
I I . Tempestoso,
measures 157-163.

Respighi's

fame l i e s i n s t a r k c o n t r a s t t o the

struggles

of h i s contemporary c o l l e a g u e s ' e f f o r t s i n the r e v i v a l of an

I t a l i a n instrumental t r a d i t i o n .

What t h i s composer

doing d i f f e r e n t l y from C a s e l l a and M a l i p i e r o was

not a c t i v e l y

searching f o r a compositional

such as melodic development,

harmonic p r o g r e s s i o n s
related

t o n a l areas,

t h a t he

language, but

r a t h e r made use of the one he a l r e a d y possessed.

romantic t r a i t s ,

was
was
he

German

syntactical

such as dominant-tonic t e n s i o n or
are a l l present

i n these p i e c e s , u n l i k e

t h e w o r k s o f some o f h i s c o l l e a g u e s .
the p o p u l a r i t y o f archaisms,

Respighi

d i d embrace

b u t h i s use o f chant melodies

h e r e a r e o n l y one r e f e r e n c e , p e r s o n a l l y c o n s t r u c t e d
in

a t o n a l language t h a t has l i t t l e

t o do w i t h

at that,

20th-century

progression.

Respighi's

Involvement

There i s very

with

little

information concerning

a t t i t u d e s toward the f a s c i s t
Executive
and

regime.

Respighi's

He was p r e s e n t

C o u n c i l o f t h e N a t i o n a l Union o f Musicians

on t h e
i n 1931

was o f f e r e d many o p p o r t u n i t i e s b y t h e g o v e r n m e n t .

Harvey Sachs has l i t t l e

and

Fascism

t o say about R e s p i g h i ' s

involvement,

one p a r a g r a p h i s an a d e q u a t e s u m m a t i o n o f what he h a s

gleaned

from t h e a v a i l a b l e i n f o r m a t i o n :

I t may b e , h o w e v e r , t h a t R e s p i g h i d i d n o t a t t e m p t t o
i n g r a t i a t e h i m s e l f w i t h t h e r e g i m e b e c a u s e he was t h e
one c o m p o s e r o f h i s g e n e r a t i o n whom t h e r e g i m e b a c k e d
without being asked. . . . Respighi's p a l a t a b l e
modernism, h i s b r i l l i a n t l y a t t r a c t i v e o r c h e s t r a l
spectrum and t h e e t h n o c e n t r i c i t y o f h i s p o p u l a r tonepoems were j u s t what t h e r e g i m e n e e d e d t o d e m o n s t r a t e
t h a t p r o g r e s s i v i s m a n d f a s c i s m were n a t u r a l a l l i e s . . .
[The] f a s c i s t s o p e n e d d o o r s f o r R e s p i g h i b e f o r e he
knocked.
4 0

'Sachs, Music

in Fascist

I t a l y , 132.

CHAPTER V I
THE NEXT GENERATION
GOFFREDO PETRASSI AND L U I G I DALLAPICCOLA

Both

c o m p o s e r s were b o r n

i n 1904, a n d r e p r e s e n t a

y o u n g e r g e n e r a t i o n o f c o m p o s e r s who b e n e f i t e d f r o m t h e
strides

f o r w a r d made b y t h e '80s g e n e r a t i o n i n t h e f i e l d o f

I t a l i a n music.
neoclassical

P e t r a s s i a n d D a l l a p i c c o l a were h e i r s t o t h e

s t y l e and i n t e r e s t

i n Italian

Baroque

i n s t r u m e n t a l music o f t h e i r o l d e r c o m p a t r i o t s , and both

extended t h e language i n t o a t o n a l i t y and dodecaphony t h a t
the e a r l i e r
approach.

composers e i t h e r c o u l d not, o r chose n o t t o ,

The m a j o r s i m i l a r i t i e s

composer's p r o g r e s s
the

end t h e r e , as each

t o o k an e n t i r e l y

i n d i v i d u a l path

other.

Goffredo

Petrassi

P e t r a s s i ' s humble b e g i n n i n g s

made t h e s t u d y o f m u s i c

u n a v a i l a b l e t o h i m a t t h e e a r l y age e x p e c t e d
profession.
St.

age 15 he a t t e n d e d

b y many i n h i s

t h e S c h o l a Cantorum i n

i n Rome, where he became w e l l - v e r s e d i n

and t h e l i t u r g i c a l music o f t h e 1 6 t h and 1 7 t h

centuries.
assistant
scores.

in

Until

S a l v a t o r e Laura

chant

age

from

When h i s v o i c e b r o k e he s o u g h t employment a s an
i n a m u s i c s h o p , where he h a d a c c e s s

He r e t a i n e d t h i s

j o b f o r 11 y e a r s .

t o many

I n 1928 a t t h e

o f 24, P e t r a s s i e n t e r e d t h e C o n s e r v a t o r i o S a n t a
Rome, g r a d u a t i n g w i t h d i p l o m a s

i n composition

Cecilia

i n 1932,

and

organ t h e f o l l o w i n g year.

H i s organ teacher

there,

F e r n a n d o G e r m a n i , was an a u t h o r i t y on J . S . B a c h a n d
Frescobaldi.
Living

i n Rome, t h e young e n t h u s i a s t was a b l e t o a t t e n d

many c o n c e r t s

a t t h e h i s t o r i c Augusteum c o n c e r t

hall.

Many

e x c i t i n g w o r k s b y young modern c o m p o s e r s came t h i s way,

o f t e n by v i r t u e o f A l f r e d o C a s e l l a ' s e f f o r t s .

The

concert

these

t o u r c o n d u c t e d b y S c h o e n b e r g was among

concerts.

A f r i e n d s h i p w i t h C a s e l l a b e g a n i n 1932 when t h e

o l d e r composer h e a r d

Petrassi's graduation

piece

T h i s f r i e n d s h i p and c o l l a b o r a t i o n l a s t e d u n t i l
death

year

o f 1932 was s i g n i f i c a n t ,

marked t h e c o m p l e t i o n

f o r many r e a s o n s .

of P e t r a s s i ' s diploma

It

i n composition,
I t was t h e

of the t e n t h a n n i v e r s a r y of fascism, which proceeded

w i t h a l l t h e pomp a n d c i r c u m s t a n c e
composer's P a r t i t a

winning

of t h i s

deiMusicisti

prize

Concerts,

A l s o t h e young

i n this

c o m p e t i t i o n was a s t e p p i n g

greater things f o r Petrassi.

won f i r s t

expected.

f o r o r c h e s t r a won a c o m p e t i t i o n

by t h e S i n d i c a t o N a z i o n a l e

des

cori.

Casella's

g a r n e r i n g t h e a t t e n t i o n o f C a s e l l a and o t h e r s .

The

Tre

i n 1947.
The

year

Pierrot

sponsored

same

year.

stone t o

The f o l l o w i n g y e a r

the piece

i n P a r i s i n t h e Fdration I n t e r n a t i o n a l e

bringing with i tinternational recognition.

I t was s h o r t l y t h e r e a f t e r p e r f o r m e d i n s e v e n

different

N e w Grove, s . v . " P e t r a s s i , G o f f r e d o , " b y J o h n C.G. W a t e r h o u s e ;

A n d r e w Thomson, " G o f f r e d o P e t r a s s i a n d t h e Phantoms o f F a s c i s m , " The
Musical
Times 133 ( J u n e 1 9 9 2 ) , 2 8 8 .
i

c o u n t r i e s by
Italian

seven d i f f e r e n t

composition

Amsterdam.

represented

P e t r a s s i was

after this

La F e n i c e

back t o Santa

Goffredo

i n Venice.

Cecilia,

he was

He

(1938).

Two

years

P e t r a s s i ' s s t y l e underwent a

n e o c l a s s i c a l and
combining

o r c h e s t r a belongs

continuous

a personal idiom

P e t r a s s i ' s own

outspokenly

s t y l e was

The

highly-applauded

at

to t h i s early style.
Ciaccona

f o r m s and

and

The

Giga,

Partita

saxophones i n the P a r t i t a ' s

J o h n C.G. W a t e r h o u s e ,
( J u l y 1 9 7 7 ) , 12.

"Petrassi

J o h n S. W e i s s m a n n , Goffredo
Z e r b o n i , 1 9 8 0 ) , 11.

60,"

Petrassi

Jazz

heightened

first

Music

for

already a

Italian tradition.
as w e l l ,

own

t h r e e movements

and

by

the

movement.

Other works of the mid-1930s c o n t i n u e the a i r of

of

b a s i c a l l y d i a t o n i c i n the C a s e l l a

i n f l u e n c e s a r e added t o the mix

At

elements of European ideas w i t h h i s

Gagliarda,

reference to past

o f two

composition,

i n t e r e s t e d i n t h e a c h i e v e m e n t s o f C a s e l l a and

t r a d i t i o n a l background.

use

moved

of h i s c o m p o s i t i o n a l career.

"because i t suggested

are e n t i t l e d

i n the

l a t e r he

the c h a i r of

the

years.

I t a l i a n a t t h e same t i m e . "

tradition,

in

fame,

D i r e c t o r at

contemporary, European v a l i d i t y which remained

first

only

ISCM c o n c e r t

took over the post

t a k i n g over

e v o l u t i o n d u r i n g the course

Malipiero

the

spring into international

r e m a i n e d t h e r e f o r 20

first

1933

o f f e r e d the post of General

year o f the r a c i a l bans

and

i n the

was

Four years

Teatro

o r c h e s t r a s , and

optimism

Musicians

(Milano: E d i z i o n i

12

no.11

Suvini

set f o r t h

i n t h i s work, a l t h o u g h

disappears,
modal

the jazz i n f l u e n c e

t o be r e p l a c e d by i n c r e a s i n g u s e o f c h a n t

practices.

and

I n 1940, when I t a l y e n t e r e d t h e S e c o n d W o r l d War

on t h e

s i d e o f Germany, P e t r a s s i r e s p o n d e d w i t h one o f h i s most

important

compositions,

(1940-41).

I t s unusual

t h e c h o r a l work Coro
s c o r i n g i s f o r chorus

voices, brass, three pianos,

and

the w r i t i n g

chromaticism.

o f male

s t r i n g b a s s e s and p e r c u s s i o n ,

o f t h e 1930s

c o m p l e t e l y w i t h t h i s work, d i r e c t l y
changing

morti

i s a h i g h l y s u c c e s s f u l mix o f m o d a l i t y
The o p t i m i s m

di

s t a t e of a f f a i r s

and

disappears

i n reference to the

i n h i s country.

Always r e s p o n s i v e t o c u r r e n t s around him, P e t r a s s i ' s

m u s i c a t t h e same t i m e manages t o i n c o r p o r a t e new
and m i x them i n t o a u n i f i e d

language.

currents

Waterhouse r e f e r s t o

P e t r a s s i a s " n o t so much a c o n s e r v a t i v e o r an i n n o v a t o r as a
'synthesist.'"

the path toward

serialist

From t h e 1940s onward P e t r a s s i c o n t i n u e d

c o m p l e t e a t o n a l i t y and e v e n t u a l l y i n t o

procedures.

tonal i n s t a b i l i t y ,

I n t h e 1940s h o w e v e r , " d e s p i t e i t s

P e t r a s s i ' s music . . . u s u a l l y r e t a i n e d a

c e r t a i n neo-baroque s t y l i s a t i o n which kept

dissolving

i n t o a t o n a l i t y or s t a t i c

^Waterhouse,
5

Ibid.

Ibid.

Ibid.

on

"Petrassi

60," 12.

i t from

contemplation."

The s o l o p i a n o m u s i c o f P e t r a s s i ,

i n keeping with the

general trend of the 20th century, i s scant.

for

piano solo e x i s t :

Invenzioni

per

was composed,

a Toccata

Pianoforte

o f 1933 and e i g h t

o f 1944.

Up u n t i l

c h o r a l and o r c h e s t r a l works.

last

has been n o t e d .

mixed v o i c e s ,

The i n s t r u m e n t a t i o n o f Coro

A n o t h e r work s i m i l a r

strings,

of

IX o f 1934, s c o r e d

b r a s s , two p i a n o s and p e r c u s s i o n .

for

d i s p l a y s obvious influence of C a s e l l a ,

t h e Undid
piano

pezzi

and

infantili.

orchestra

There

i s also a

especially
Concerto

from the f i r s t

m e a s u r e s o f t h e o p e n i n g movement.

The s e c o n d movement

displays highly pianistic writing,

with f i o r i t u r a

reminiscent of Chopin.
a similar

f a s h i o n t o t h e Concerto,

the.Toccata f o r

two m e a s u r e s s t a t e m o t i v e s w h i c h a p p e a r

e n t i r e work

(example

few

passages

p i a n o f r o m 1933 i n v o l v e s economy o f m u s i c a l m a t e r i a l .
first

( 1 9 3 6 - 3 9 ) , a t h r e e - m o v e m e n t work

whose t h e m a t i c m a t e r i a l i s t a k e n e n t i r e l y

In

di

i n performing

A s m a l l w o r k f o r p i a n o f o u r - h a n d s f r o m 1930, S i c i l i a n a
marcetta,

work

and v e r y n o t a b l y i n l a r g e r

f o r c e s t o i t i s t h e r e l i g i o u s work Salmo
for

this

P e t r a s s i d i d h o w e v e r make u s e o f t h e

i n s t r u m e n t i n chamber s i t u a t i o n s ,

morti

O n l y two w o r k s

6.1).

The

throughout the

The work i s a c o n t i n u a l

e v o l u t i o n and c o m b i n a t i o n o f t h e s e m o t i v e s ,

often

materializing

19, 23, 28 f o r

into thematic lines

(measures

Piero Rattolino, " I I pianoforte d i Petrassi,"

Enzo R e s t a g n o ( E d i z i o n i d i T o r i n o , 1986), 285.
8

Weissmann,

Goffredo

Petrassi,

20.

i n Petrassi,

ed.

example), with f a n t a s i a - l i k e passagework l i n k i n g

sections.

the

There i s a r e t u r n of the opening m a t e r i a l

measure 123

which g i v e s the impression

but with none of the other themes

Example 6.1,

P e t r a s s i , Toccata,

at

of a r e c a p i t u l a t i o n ,

reappearing.

measures

1-2.

Adagio- tcontemptotivo)

[ h

-,

. - ^ tie 1

i i

,p

Ed

~i

If
There are two

general

formal

rr^

^fTrl

types of " t o c c a t a " at work

at the same time i n t h i s composition, forming a s y n t h e s i s

baroque and

19th-

baroque t o c c a t a

and

of

20th-century t o c c a t a s t y l e s . The

form c o n s i s t s of " a l t e r n a t i n g p o l y p h o n i c

and

homophonic s e c t i o n s , " whereas i n t h i s p i e c e the

chordal

passages are r e p l a c e d by

In keeping

" v i r t u o s o cadenzas."

with the p a u c i t y of musical

m a t e r i a l , even these cadenzas

are r e l a t e d t h e m a t i c a l l y to the f i r s t two

piece.

1 1

The more recent

work's " p e r p e t u a l
The

10

measures of

" t o c c a t a " s t y l e i s evoked i n the

motion" rhythmic d r i v e .

1 2

work i n v o l v e s much p i a n i s t i c w r i t i n g ,

but

P e t r a s s i ' s t r a i n i n g as an o r g a n i s t i s b e t r a y e d by many
10

Weissmann, Goffredo

Petrassi,

13.

"Ibid.
1 2

Rattolino,

the

"II pianoforte d i P e t r a s s i , "

285.

s e c t i o n s which a l s o evoke music f o r t h i s instrument,

with

t h i c k c o u n t e r p o i n t and l e f t - h a n d octaves which r e p r e s e n t the

pedals o f the organ

(example 6.2).

Example 6.2, P e t r a s s i ,

The
war

e i g h t Inventions

Toccata,

measures 28-30.

for Piano

years, completed i n 1944.

were w r i t t e n d u r i n g the

Organ w r i t i n g r e c u r s i n some

of these p i e c e s as w e l l , and t h e r e i s much evidence o f

baroque i n s p i r a t i o n i n i t s e s s e n t i a l l y c o n t r a p u n t a l b a s i s as
w e l l as i n i t s use o f baroque d e v i c e s , such as a r i t o r n e l l o
scheme ( i n the e i g h t h i n v e n t i o n ) , hemiola,
stretto,

repeated

s e q u e n t i a l p a t t e r n s , and pedal p o i n t s .

1 3

notes,

The most

r i g o r o u s l y c o n t r a p u n t a l movement i s the s i x t h i n v e n t i o n ,
which i n v o l v e s a double fugue

(example 6.3).

The l i n e a r

v o i c e s a r e f o r the most p a r t c l e a r l y a u d i b l e , but when there

i s much a c t i o n o c c u r i n g s i m u l t a n e o u s l y
l i n e i s compromised.

14

the c l a r i t y o f each

The l e v e l o f t e c h n i c a l d i f f i c u l t y o f

the s e t i s on a p a r with a s e t o f etudes,

but the b a s i s o f

01ga Stone, "Goffredo P e t r a s s i ' s Eight Inventions

for
P i a n o f o r t e : A Study o f Twentieth-Century C o n t r a p u n t a l S t y l e , "
Review 33 no.3 (1972), 211.
13

1 4

Rattolino,

"II. p i a n o f o r t e d i P e t r a s s i , " 290.

The Music

the c o l l e c t i o n i s not o f p i a n i s t i c v a r i e t y but o f

contrapuntal exploration.
Example 6.3, P e t r a s s i , Invenzioni
VI.
Tranquillo,
measures 16-18.

per

pianoforte,

These two works c l e a r l y show P e t r a s s i ' s i n t e r e s t i n

e a r l y forms and s t y l e s .

The

Toccata

i t s e l f i s a keyboard

type which was made p o p u l a r d u r i n g the l a t e Renaissance and

e a r l y Baroque by I t a l i a n keyboard v i r t u o s o s , such as Merulo
and F r e s c o b a l d i .

1 5

. The use of the term Invenzioni

f o r the

set o f e i g h t c o n t r a p u n t a l p i e c e s i s another nod t o the

Baroque e r a , a term which was used by Bach, a l s o f o r a
c o l l e c t i o n o f c o n t r a p u n t a l keyboard p i e c e s .

In a d d i t i o n ,

P e t r a s s i manages t o b l e n d these e a r l y i n f l u e n c e s w i t h l a t e r
ones, such as the romantic bravura i n c l i n a t i o n s i n the
Toccata,

15

London:

and the t e c h n i c a l d i f f i c u l t y of many o f the

T h e Norton/Grove
Concise Encyclopedia
of Music (New
W.W.
Norton & Company, 1988), s.v. " T o c c a t a . "

York

and

Invenzioni,

with techniques

rapid arpeggiated

s u c h as d o u b l e s i x t h s

( I I ) , and

passages i n n o n - t r i a d i c formations

(III).

E v e n P e t r a s s i ' s t o n a l l a n g u a g e shows a b l e n d o f e a r l y
and

later influences.

As

e x a m p l e s 6.1

and

6.3

demonstrate,

t h e d e r i v a t i o n o f t h e v e r t i c a l harmony i s o f t e n
b a s e d , and

this

i s t r u e o f most o f t h e w r i t i n g

i s a b i t o f an e x c e p t i o n
specific
being

effect).

One

" i n a key,"

Only the

first

in this

(example

as he was

6.2

after

cannot speak of P e t r a s s i ' s p i e c e s

although

of the

regard,

horizontally

a t o n a l centre i s always

Invenzioni

has

a key

as

evident.

signature

(three

flats).

Petrassi
It

's Involvement

w i t h a man

who

regime, having

allowed
has

l i v e d through

b e e n 18 y e a r s

situation

of M u s s o l i n i .
The

the experience

o f age

i n 1922.

for musicians

time,

which h i s career f i r s t

Sachs

discuss with

him

i n I t a l y during

t h e r e t o be

two

distinct

d e l i n e a t e d by t h e y e a r s

b e g a n , 1932-33.

the

during this

t h a t P e t r a s s i heard

S a c h s , Music
in Fascist
and N i c o l s o n , 1 9 8 7 ) , 139-47.
from these pages.

periods

around

Until this

f r e e o f s t a t e i n t e r v e n t i o n , and

1 6

the

Harvey

a r t s were f a i r l y
time

of

contact

1 6

composer r e c a l l s

of a r t d u r i n g t h i s

composer's

the o p p o r t u n i t y f o r f i r s t - h a n d

t h e o p p o r t u n i t y t o meet P e t r a s s i and

p e r s o n a l l y the
time

Fascism

i s of great h i s t o r i c a l value t h a t t h i s

l o n g e v i t y has

had

with

time

i t

the

was

t h e many modern w o r k s

I t a l y (London:
Weidenfeld
A l l information i n this section

gleaned

P e t r a s s i r e c a l l s the general musical currents of the time,

and

that "international

c u l t u r e was n o t v e r y

widespread

among us -- n o t b e c a u s e o f l a c k o f i n f o r m a t i o n o r o f t h e
means f o r g e t t i n g i t ,

but simply because t h e I t a l i a n

c u l t u r a l e n v i r o n m e n t was b a c k w a r d , a v i c t i m o f t h e
nineteenth-century

operatic tradition."

o f t h i s h a d a n y t h i n g t o do w i t h f a s c i s m :
music i t s e l f

circulated

freely t i l l

From a r o u n d t h e a c t i o n - p a c k e d
s i t u a t i o n began t o change.
Musicians

of this

year

Furthermore,

"none

i d e a s , books and

the early

1930s."

y e a r o f 1932, t h e

The Manifesto

of

s e r v e s as a r e m i n d e r

m e n t a l i t y o f many c o m p o s e r s o f t h e t i m e ,

Italian
of the musical

and i n a d d i t i o n ,

t i g h t e r b e a u r o c r a t i c c o n t r o l s began t o t a k e e f f e c t .
composer r e c a l l s t h e m a n i f e s t a t i o n o f t h e s e
i n terms o f a l e s s l i v e l y
before.
1938

Not u n t i l

1 8

changes

c i r c u l a t i o n of performers

the r a c i a l

and

one c o u l d s t i l l

but

g u i l t y by a s s o c i a t i o n ) u n t i l

recall,

The
mostly
than

l a w s came i n t o e f f e c t i n

w e r e t h e r e r e a l b a n s on c o m p o s e r s o f s p e c i f i c
perform

1 7

Schoenberg and Berg

t h i s time.

origin,

( n o t a Jew,

Petrassi

does

though, t h a t h i s works as w e l l as t h o s e o f

D a l l a p i c c o l a a n d M a l i p i e r o were b a n n e d i n Germany d u r i n g
these

years.

19

I b i d . , 141.
I b i d . , 142.
Ibid.

The

d i r e c t o r s h i p o f L a F e n i c e was

when he was
in this

33 y e a r s o f age.

type of f i e l d ,

know i n a few

office.

he t a u g h t h i m s e l f what he n e e d e d t o

He p u r p o s e l y h i r e d a young

This youthful staff,

laws.

had

L'Heure

espagnole;

as g e n e r a l manager

S t r a u s s ' s Elektra

in Italy;
w i t h the

present; a concert d e d i c a t e d t o Bartok which

attended;
fascist

and

Vittorio

P e t r a s s i never
actual

a Carmen

conducted

G u i , who

2 0

Arlecchino
Ravel's

composer
the

composer

by t h e f e r v e n t l y

r e t u r n e d f o r a second

antiseason.

went so f a r as t o p r e s e n t t h e w o r k s o f

f o r b i d d e n composer.

say t r u l y

and

were made upon me."

2 1

an

Of h i s t i m e a t L a F e n i c e and

r e f e r e n c e t o government i n t e r v e n t i o n ,
" I can

the

staged Busoni's

b e f o r e been performed

La

powers, l e d t o

even i n the v e r y year of

h o u s e , P e t r a s s i had

never

press

along w i t h the f a c t that

During h i s three-year s t i n t

the opera

which

took

26-year-old

v i r t u a l l y i g n o r e d by t h e p o l i t i c a l

e x t r e m e l y modern s e a s o n s ,

of

Sorely lacking i n experience

as w e l l as a 2 9 - y e a r - o l d t o be h e a d o f t h e

F e n i c e was

racial

Petrassi

s h o r t months o f c l o s e o b s e r v a t i o n , and

over the post.

conductor,

offered to

t h e composer

in

recalls,

i n g o o d c o n s c i e n c e t h a t no i m p o s i t i o n s

22

F e r r u c c i o B u s o n i ( 1 8 6 6 - 1 9 2 4 ) was an I t a l i a n - G e r m a n c o m p o s e r and
p i a n i s t who s p e n t most o f h i s c a r e e r i n Germany, b u t who r e m a i n e d
i n t e r e s t e d i n the f a t e of I t a l i a n music i n the e a r l y 20th century.
He
had a t t e m p t e d t o i n t r o d u c e I t a l i a n s t u d e n t s t o E u r o p e a n a v a n t - g a r d e
c u r r e n t s p r i o r t o C a s e l l a ' s more s u c c e s s f u l p r o j e c t s i n t h e 1910s
and
'20s.
He r e m a i n e d a s t r o n g p i o n e e r f o r t h e f o r w a r d - l o o k i n g I t a l i a n
c o m p o s e r s o f t h e 1 9 2 0 's a n d l a t e r , p a r t i c u l a r l y i n h i s c o m p o s i t i o n a l
a p p r o a c h i n v o l v i n g a m i x o f " f u t u r i s m and c l a s s i c a l r e c o v e r y . "
The
Norton/Grove
Concise
Encyclopedia
of Music,
s.v. " B u s o n i , F e r r u c c i o . "
2 0

2 1

Sachs,

Music

in

Fascist

Italy,

144.

The p o s t

at Santa

a t t h e same t i m e

C e c i l i a was o f f e r e d t o h i m i n 1939,

t h a t D a l l a p i c c o l a was g i v e n a p o s i t i o n a t

the Florence Conservatory.

appointed

"Like Dallapiccola

' f o r e m i n e n c e , " t h e composer e x p l a i n s .

1

Petrassi recalls

a similar

l a c k of r e s t r i c t i o n s

his teaching at the Conservatory.

b e e n an a t t e m p t
Italian

...

by t h e b o a r d

I was

2 3

i m p o s e d upon

The o n l y e x a m p l e may

t o use o n l y t e x t b o o k s

have

by

a u t h o r s , b u t t h i s p r a c t i c e was n e v e r a c t u a l l y p u t

into place.

2 4

P e t r a s s i c l a i m s n e v e r t o have g i v e n o u t r i g h t s u p p o r t
the regime.
was

such

The s i t u a t i o n ,

f o r h i m and f o r s o many o t h e r s ,

t h a t "an o u t w a r d show o f c o n f o r m i t y was

f o r him t o pursue h i s c a r e e r . "

support

2 5

required

The o n l y o u t r i g h t show o f

came i n a c o m p a r a t i v e l y v e i l e d

form:

o f 1934 was w r i t t e n w i t h a t e x t t h a t i n v o k e s
w h i c h may

to

be s e e n t o r e p r e s e n t M u s s o l i n i .

t h e Salmo
a

IX

legislator,

Rather

than

an

b l a t a n t d e d i c a t i o n h o w e v e r , t h e c o m p o s e r d e d i c a t e d t h e work
to h i s parents.

T h i s work i s i n t h e n e o - c l a s s i c a l

s t y l e of

o t h e r w o r k s o f t h i s p e r i o d , and was w r i t t e n d u r i n g "a

when p o p u l a r

consensus toward

I t a l y and when i n t e r n a t i o n a l

f a s c i s m was a t i t s maximum i n
i n f a t u a t i o n w i t h and a t t e n t i o n

f o r M u s s o l i n i was a l s o a t i t s h e i g h t . "

2 2

Ibid.,

143.

2 3

Ibid.,

145.

2 4

Ibid.

2 6

A n d r e w Thomson, " G o f f r e d d o P e t r a s s i a n d t h e Phantoms

Fascism,"
The Musical
Times 133 (June 1 9 9 2 ) , 289.
25

time

of

Even under the v e i l

of fascism, c l e a r l y these

t i m e s when c o m p o s e r s c o u l d p r e t t y much p r o c e e d
wished.

through

l e a n i n g s of C a s e l l a ,
own

Luigi

shaped through

more o r g a n i c m u s i c a l means.

e a r l i e r pathbreakers,

his

they

As w i t h t h e o t h e r c o m p o s e r s m e n t i o n e d t h u s f a r ,

P e t r a s s i ' s i n f l u e n c e s were not

but

as

were

p a r t i c u l a r l y the

the

government

In t h i s case

the

neo-classical

showed t h e y o u n g c o m p o s e r t h e way

compositional

to

language.

Dallapiccola
T h r o u g h o u t t h e i r c o m p o s i n g c a r e e r s , P e t r a s s i and

c o l l e a g u e L u i g i D a l l a p i c c o l a concerned
renewal

i n m u s i c a l l y r i c i s m t h a t had

d u r i n g the e a r l i e r generation's
excesses.

2 7

themselves

been s o r e l y

his

with a
missed

reaction against operatic

Most o f D a l l a p i c c o l a ' s m a j o r w o r k s i n f a c t

i n c l u d e t h e v o i c e , and
sensitive writing

he

i s p a r t i c u l a r l y respected for his

f o r v o i c e w i t h i n a modern m u s i c a l

vocabulary.
Dallapiccola's compositional progress
into three s t y l i s t i c
w o r k s up

periods.

t o the middle

The

1 9 3 0 s , and

first

forms,

t e x t u r e s , b u t w i t h f a r more c h r o m a t i c i s m

26

S a c h s , Music

in

Fascist

" L a u r e n c e Davies, Paths

Wagner to the Present Day
(New
182 .

Italy,

stage

inherits

generation diatonicism, traditional

c a n be d i v i d e d
encompasses

from the C a s e l l a
and

transparent

within this

146.

to Modern Music:
Aspects of Music from
York: C h a r l e s S c r i b n e r ' s Sons, 1971),

diatonic idiom.
1942,

The

second p e r i o d c o n t i n u e s u n t i l

and i n v o l v e s an i n c r e a s i n g u s e o f c h r o m a t i c

which e v e n t u a l l y take over the d i a t o n i c elements

previous stage.

The

final

stage a f t e r

1942

of s e r i a l t e c h n i q u e s i n v a r y i n g d e g r e e s .

2 9

I t a l i a n music
musicale
The

titles

(Songs

(Songs

1904,

Quaderno
1953.

the opera

and

C a n t i di

S u c h an i n t e r e s t

D a l l a p i c c o l a was

II

and t h e c h o r a l w o r k s Canti

of Prisoners)
3 0

works

most n o t a b l y i n t h e

i s undoubtedly
early

b o r n t h e same y e a r as

i n Pisino d'Istria.

di

liberazione

i n f l u e n c e d by e v e n t s o f h i s y o u t h and

adulthood.
in

(The P r i s o n e r ) ,

of L i b e r t y ) .

directly

compositions:

use

of

and themes o f some o f D a l l a p i c c o l a ' s

l a r g e r and b e t t e r - k n o w n

prigionia

entry

f o r solo piano, written i n

display a preoccupation with l i b e r t y ,

prigioniero

of the

of

i n t o t h e a r e a o f dodecaphony, the

di Annalibera

lines

i n v o l v e s the

One

D a l l a p i c c o l a ' s best-known works i s the f i r s t

about

Petrassi,

T h i s i s a b o r d e r town w h i c h ,

at the time of D a l l a p i c c o l a ' s c h i l d h o o d , belonged to the

A u s t r o - H u n g a r i a n Empire.
became p a r t o f I t a l y ,
o v e r by Y u g o s l a v i a .

A f t e r W o r l d War

and a f t e r t h e n e x t war

region

i t was

H i s p a r e n t s were b o t h I t a l i a n ,

R o b e r t P. M o r g a n , Twentieth-Century
Style
in Modern Europe and America
(New
Company, 1 9 9 1 ) , 253.
2 8

R o l l o H. M y e r s , e d . ,
a n d B o y a r s , 1 9 6 8 ) , 187.
2 9

I this

Twentieth

Music:
A History
York, London:
W.W.
Century

Music

(London:

taken
and h i s

of
Musical
Norton &
Calder

E v e n t h e name o f h i s d a u g h t e r , A n n a l i b e r a , r e f l e c t s t h i s
tendency.
See L u i g i D a l l a p i c c o l a , "The G e n e s i s o f t h e Canti
di
P r i g i o n i a a n d II P r i g i o n i e r o :
An A u t o b i o g r a p h i c a l F r a g m e n t , " The
Musical
Quarterly
34 no.3 ( J u l y 1 9 5 3 ) .
3 0

m o t h e r was o f J e w i s h d e s c e n t .

D a l l a p i c c o l a ' s f a t h e r had

b e e n a c l a s s i c s p r o f e s s o r a t an I t a l i a n
t o w n , a n d when t h e f i r s t

W o r l d War b r o k e

school i n the small

o u t , t h e s c h o o l was

c l o s e d , h i s f a t h e r p u t on a p e n s i o n , a n d t h e e n t i r e
was moved i n t o t h e i n t e r i o r o f t h e E m p i r e ,

family

t o Graz.

They

were d e t a i n e d t h e r e f o r 20 m o n t h s .
Dallapiccola

r e c a l l s t h a t t h e y d i d n o t s u f f e r any

v i o l e n c e , b u t t h e e v e n t was g r e a t l y d i s r u p t i v e t o t h e young
boy.

One a d v a n t a g e

rations

d i d come o f t h e s i t u a t i o n :

i n p l a c e , i t was f a r more e x p e n s i v e t o b u y a l o a f o f

b r e a d on t h e b l a c k m a r k e t t h a n t o p u r c h a s e
top

w i t h food

g a l l e r y of Graz's

operational

a ticket

f o r the

o p e r a h o u s e , w h i c h managed t o s t a y

f o r t h e d u r a t i o n o f t h e war.

The b o y a t t e n d e d

r e g u l a r l y , b e c o m i n g f a m i l i a r w i t h some o f M o z a r t ' s
and t h e e n t i r e o p e r a t i c w o r k s o f Wagner.

The

operas

budding

c o m p o s e r h a d b e g u n p i a n o l e s s o n s a t t h e age o f e i g h t a n d h a d
a l r e a d y made h i s f i r s t
performances

attempts a t composing,

and t h e s e

w e r e an i m p o r t a n t f o r m a t i v e e x p e r i e n c e f o r h i m .

He r e p o r t e d i n 1953:
I had d e c i d e d i n w a r d l y t o devote m y s e l f e n t i r e l y t o
music:
I h a d , i n f a c t , made t h i s d e c i s i o n on t h e n i g h t
when I h e a r d The Flying
Dutchman f o r t h e f i r s t t i m e .
I
f e l t h o w e v e r t h a t , i n o r d e r t o u n d e r t a k e an a r t i s t i c
c a r e e r , I would have t h e d i f f i c u l t t a s k o f c o n v i n c i n g
my f a m i l y .
3 1

A f t e r t h e war, t h e f a m i l y moved b a c k t o t h e i r
and

life

hometown

r e s u m e d a s i t was b e f o r e t h e i r d e p a r t u r e .

D a l l a p i c c o l a went on t o F l o r e n c e a few y e a r s l a t e r ,

entering

the

Florence

piano

Conservatory,

i n 1924.

Conservatory,

I n 1930-31 he
and

of secondary piano
Political
Dallapiccola's
was

and

achieved
i n 1934,

graduated with a diploma i n

taught

an o f f i c i a l
a post

he

freedom.
first

He

at

the

p o s i t i o n as

opera,

Volo

l a t e r i n more o b v i o u s f a s h i o n .

officially

di

notte

very

Fascism

discreetly,

have u n l e a s h e d
Adolf

"race manifesto"

His colleague

"I

. . . when

at f i r s t

Could

F i v e months l a t e r t h e
inaugurated.

3 2

disrupt

campaign a f t e r the model of the d a s t a r d l y

3 3

years.

r e c a l l s t h e e v e n t s o f 1938:

c u r i o u s rumours began t o c i r c u l a t e

Hitler?"

professor

k e p t f o r 35

events again would l a t e r

w o r k i n g on my

a race

piano

was

P e t r a s s i remembers

D a l l a p i c c o l a ' s involvement w i t h the regime around t h i s

time:

D a l l a p i c c o l a was a t f i r s t a f e r v e n t f a s c i s t -- so
f e r v e n t t h a t he s o m e t i m e s a n n o y e d u s , h i s f r i e n d s .
. . . Then, w i t h t h e c o m i n g o f t h e s p e c i a l l a w s and
a b o v e a l l t h e r a c i a l l a w s , t h i n g s c h a n g e d f o r h i m and
he became a p a s s i o n a t e a n t i - f a s c i s t .
3 4

Wanting t o p r o t e s t but
situation,

r e a l i z i n g the

D a l l a p i c c o l a began the

first

c o m m e n t a r i e s on t h e theme o f l i b e r t y .
Prigionia
The

futility

of h i s
The

of

compositional

Canti

di

(Songs o f P r i s o n e r s ) were composed d u r i n g

t e x t s f o r t h i s work a r e t h e

famous p r i s o n e r s :

last

appeals

M a r y Queen o f S c o t s ,

the

1938-41.

s p o k e n by

Boethius,

three

and

B i o g r a p h i c a l i n f o r m a t i o n f r o m The New Grove Dictionary

of
Music
Musicians,
s . v . " D a l l a p i c c o l a , L u i g i , " by J o h n C.G.
Waterhouse.
3 2

and

3 3

Dallapiccola,

"The

G e n e s i s o f Canti

di

Prigionia,"

362.

I n t e r v i e w w i t h H a r v e y S a c h s , i n Music
in Fascist
I t a l y , 14 6.
The t e r m " f e r v e n t f a s c i s t " means "a f e r v e n t s u p p o r t e r o f t h e f a s c i s t
g o v e r n m e n t , " and i s n o t meant t o d e s c r i b e someone as p a r t i c i p a t i n g i n
oppressive acts against others.
3 4

Girolamo Savonarola.
radio

four

May,

and

December 11,

25,

lived.

1941,

and
The

the

day

the

place,

faith.

The

o p e r a II
1944-48.

and

1943

n e x t day

on

the

on

was

by

short-

a f t e r the

di

the

Prigioniero

months

difficulties,
at her

hiding

The

with

the

orchestra,

liberazione

"The

startling

the

was

di

to

such

pessimistic

work, t h i s

subject again,
of

1955.

D a l l a p i c c o l a , " Music
Canti

held

his

composed d u r i n g

more l a r g e

(Songs o f L i b e r t y )

Genesis of

had

shift

profoundly

r e l a t e d to the

N o r m a n Kay,
"The H u m a n i t y o f
(Aug 1 9 6 6 ) , 23.
Dallapiccola,

the

Prisoner),
one

were

f o r m a t i v e events of

g o v e r n m e n t i n w h i c h he

n e x t d e c a d e saw

time.

war.

e f f e c t s of t h i s p e r i o d

(The

and

Jewish

of about f i v e

Despite these

July

Hitler,

Dallapiccola s

for a period

n e x t work of p r o t e s t ,

c h o r u s and

3 6

S e p t e m b e r 8,

c o l o u r e d p e r m a n e n t l y by

r a c i a l p o l i c y by

no.12

on

of M u s s o l i n i

v i s i t e d his wife every night

psychological

y o u t h , and

14

of

arrest

I t a l y began.

compounded i n D a l l a p i c c o l a

35

performed

in

b e i n g c a r e f u l to choose a d i f f e r e n t r o u t e each

The

Canti

France

d e c l a r e d war

" l i b e r a t e d " the

were s e p a r a t e d .

They w e r e r e u n i t e d

for

Mussolini

armistice

Duce was

Dallapiccola

first

of

the

3 6

w i f e went i n t o h i d i n g ,
two

German i n v a s i o n

e n t i r e work was

N a z i o c c u p a t i o n of

the

movement p r e m i e r e d on

e l a t i o n s u r r o u n d i n g the

1943,

the

the

States.

The

first

weeks b e f o r e t h e

1940,

United

The

Prigionia,"

time
the

37

and

Musicians

365.

T h e s e w o r k s s e r v e as s t a t e m e n t s on o p p r e s s i o n and l o s s o f
l i b e r t y , and do n o t f u n c t i o n as d i r e c t c o m m e n t a r i e s on t h e p r o c e d u r e s
3 7

of

Compositional

Style

Dallapiccola allied
premises

h i m s e l f v e r y e a r l y on w i t h

s e t f o r t h by t h e more p r o g r e s s i v e o f

Generazione

d e l l ' o t t a n t a c o m p o s e r s , and

the

the

with Malipiero i n

particular.
M a l i p i e r o s e x a m p l e has b e e n v e r y i m p o r t a n t f o r a l l o f
us i n I t a l y .
He has t r i e d t o show -- s u c c e s s f u l l y , I
b e l i e v e -- what t h e s p i r i t o f I t a l i a n m u s i c r e a l l y i s
-- t h r o u g h i t s s o u r c e s :
Monteverdi, Orazio Vecchi,
E m i l i o de ' C a v a l i e r i . . . .
1

38

H i s own

work t o o k a d i f f e r e n t

stylistic

course

than d i d t h a t

of h i s r o l e model, but the I t a l i a n element i s o f t e n

e v i d e n t i n h i s c o m p o s i t i o n s , whether through

clearly

i t s lyricism

w i t h i n e v e n t h e most a t o n a l i d i o m s , h i s a d h e r e n c e t o
Italian
which

use

(who
up.)

language

was

(or L a t i n t e x t s ) ,

q u o t a t i o n s , one

from

or i n h i s t h r e e works

P a g a n i n i and

a l s o from the area i n which

two

from

Dallapiccola

grew

i s o f t e n r e f e r r e d t o as t h e f i r s t

composer t o adopt t h e t w e l v e - t o n e
abound c o n c e r n i n g h i s u n i q u e

method, and

approach

entail

showed t h a t t h e s y s t e m

a Germanic s t y l i s t i c

to the technique.

d i d not

orientation;"

4 0

Hans Nathan,
( 1 9 6 6 ) , 311.
39

New

40

Grove,

Morgan,

"Fragments from

Conversations,"

"Dallapiccola."

Twentieth-Century

Music,

253.

"[His
irrevocably
"[Dallapiccola]

the f a s c i s t regime or the N a z i s , although these experiences

undoubtedly i n t e r t w i n e d .
38

Italian

comments a l s o

such o b s e r v a t i o n s i n c l u d e the f o l l o w i n g :

compositions]

no.4

Tartini

3 9

Dallapiccola

few

the

The

Music

are
Review

27

a s s i m i l a t e d t h e t h i n k i n g o f t h e modern V i e n n e s e
the c e n t u r i e s - o l d t r a d i t i o n
and

"he

has'achieved

vocal style,
technique."
and

and
An

4 2

a p e r f e c t balance

a solo piano

of the s e t , e n t i t l e d

s e e n i n t h e Quaderno

composition

m e t h o d composed i n 1952-53.

The

(example

new
lyricism

Musicale

final

The

m a r k i n g "con

di

number

grande

a l s o helps to u n d e r l i n e the e f f e c t the

seeking

W.W.

" M a c h l i s , Introduction
to Contemporary
N o r t o n & Company, 1 9 7 9 ) , 543.
"The

naturally

twelve-tone

e l e v e n t h and

was

42Kay,

i n the

4 1

"Quartina," d i s p l a y s a c l e a r t e x t u r e of

melody-plus-accompaniment.
espress."

between h i s

i l l u s t r a t i o n 'of t h i s m e r g i n g o f
be

to

lyricism;"

the p o s s i b i l i t i e s inherent i n the

s e r i a l s t r u c t u r e may

Annalibera,

of I t a l i a n v o c a l

school

composer

6.4).

Humanity of D a l l a p i c c o l a , "

Music,
22.

2nd

ed.

(New

York:

Example 6.4, D a l l a p i c c o l a , Quaderno

N. 11 - Quartina,
measures 1-5.

Musicale

di

Ananlibera,

Molto lento j fantastico (J = 40)

The

f i r s t major i n f l u e n c e on h i s c o m p o s i t i o n a l

style

was the music o f Debussy, which he came i n c o n t a c t with i n

1919

w h i l e v i s i t i n g Bologna.

composer was so profound

The e f f e c t on the young

t h a t he i n t e n t i o n a l l y

w r i t i n g music f o r a number o f years, convinced

he would w r i t e would smack o f Debussy-isms.
i n f l u e n c e o c c u r r e d i n 1924.
the performance o f Pierrot

43

stopped
that

anything

Another

That year D a l l a p i c c o l a attended

i n F l o r e n c e , t h a t same t o u r

o r g a n i z e d by C a s e l l a , the same c o n c e r t i n F l o r e n c e t o which

P u c c i n i made the t r e k from h i s v i l l a
Dallapiccola

i n T o r r e d e l Lago.

recalls:

The p u b l i c f o r t h e i r p a r t , caused an uproar, stamping

t h e i r f e e t and l a u g h i n g .
But Giacomo P u c c i n i d i d not
laugh on t h a t o c c a s i o n .
He l i s t e n e d t o the performance
with the utmost a t t e n t i o n , f o l l o w i n g i t with the score,
and a t the end o f the concert asked t o be i n t r o d u c e d t o
Schoenberg.
44

P u c c i n i ' s a t t e n t i o n and reverence

composer made a l a s t i n g impression
New Grove,

f o r the Viennese

on D a l l a p i c c o l a .

"Dallapiccola."

Dallapiccola,

"On the Twelve-Note Road," 318.

The

I t a l i a n master's r e s p e c t f o r such
language confirmed

Dallapiccola's idea that

w o r k s were w o r t h t h e a t t e m p t
p o i n t on,
and

an u n p o p u l a r

Schoenberg's

of f u r t h e r study.

t h e young I t a l i a n examined s c o r e s o f

of the o t h e r composers of the Viennese

Pierrot

t o t h e new

around the time

a n y t h i n g he
interest,

i n t h e a b s e n c e o f any

over a p e r i o d of years
t o g e t h e r h i s own

popular

Dallapiccola

Not

intense
topic,

system.

t h e y were d i f f i c u l t

t o p i c f o r these

Viennese

o n l y were
t o get

-- t h e y were

M u s i c a l m o d e r n i s m i n I t a l y was

Dallapiccola

examined

w r i t i n g s on t h e

1930s w o r k s by t h e c o m p o s e r s o f t h e

these
in

Italy

not

j u s t not

t i m e s , w h e t h e r t h e w o r k s were o f

German o r I t a l i a n o r i g i n .
time,

emerging

Through t h i s

e v e n t h o u g h -- t h e o r e t i c a l l y

suppressed.

the

D a l l a p i c c o l a managed t o p i e c e

s c h o o l were i m p o s s i b l e t o come by.

as w e l l ,

From

a p p l i c a t i o n of the twelve-tone

b a n n e d i n Germany, b u t

this

Schoenberg's

system j u s t

of these performances,

c o u l d g e t h i s hands on.

and

In the

twelve-tone

From

s c h o o l , e v e n when

s u c h w o r k s were n e a r l y i m p o s s i b l e t o a c q u i r e .
atonal

musical

Concerning

the a t t i t u d e of

the

states,

E v e r y day some aesthetician

(a c r i t i c - c o m p o s e r , o f
c o u r s e ) p u b l i c l y a r r a i g n e d one o r o t h e r o f t h e
composers b e l o n g i n g t o the s o - c a l l e d vanguard of
i n t e r n a t i o n a l i s m , which i n the language of t h o s e days
meant anti-fascism
o r , more p r e c i s e l y ,
communism.
45

T h i s was

the time

of the

"Manifesto of I t a l i a n

t h e n o t o r i o u s document w h i c h p l a c e d i n p r i n t

Musicians,"

the d e s i r e s of

a c o n s e r v a t i v e f a c t i o n o f I t a l i a n composers, demanding a
r e t u r n t o more t r a d i t i o n a l modes o f m u s i c a l
m e a n i n g , an u n a b r a s i v e

t o n a l language.

discourse,

The v i c t i m s o f t h i s

a t t a c k were t h e r e l a t i v e l y a v a n t - g a r d e C a s e l l a a n d
Malipiero.

The m u s i c a l

language o f these

two c o m p o s e r s

seems t o p a l e i n c o m p a r i s o n t o t h e a t o n a l a n d s e r i a l
e x p e r i m e n t s h a p p e n i n g n o r t h o f t h e A l p s , a n d y e t , t o some
t h e y were s e e n a s a t h r e a t t o t h e t r a d i t i o n o f
musical

language i n I t a l y .

more c l e a r l y

i n context,

To p l a c e t h e s i t u a t i o n

4 6

and

" S o - c a l l e d a t o n a l m u s i c had

seldom been p e r f o r m e d b e f o r e
was v e r y

even

D a l l a p i c c o l a r e p o r t s on t h e s t a t e

of p r o g r e s s i v e music i n I t a l y ,
very

coherent

the a r r i v a l

of

seldom performed d u r i n g t h e r e i g n o f

so t h a t no d i f f e r e n c e was t o be p e r c e i v e d . "

Fascism,
Fascism:

4 7

In t h i s atmosphere D a l l a p i c c o l a began h i s a t t e m p t s
l a n g u a g e w h i c h was c o n s i d e r e d

out of f a s h i o n ,

politically

unacceptable,

a n d f o r w h i c h m o d e l s were

unavailable.

H i s unique approach t o the twelve-tone

was a d i r e c t
himself.
concerning

4 6

Cf.

entirely

r e s u l t of the necessity of f i g u r i n g

H e r e i s one f i n a l
h i s involvement

chapter I I .

at a

i t out f o r

s t a t e m e n t by t h e composer
with the technique:

method

I began t o c o n c e r n m y s e l f w i t h d o d e c a p h o n i c music i n
1936 and 1937 a t a t i m e when a l l t h e w o r l d s a i d : " I t
i s f i n i s h e d , t h i s e x p e r i m e n t -- nobody e v e n s p e a k s o f
i t any more". W i t h t h i s " e n c o u r a g i n g " p r o p o s , w h i c h
i s t h e s o r t I h a v e a l w a y s had i n my l i f e , I went a h e a d
a l o n e , w h i l e e v e r y o n e e l s e l a u g h e d a t me. . . .
48

Dallapiccola

s u p p r e s s e d h i s e a r l y works

(until

1930)

g i v i n g h i m s e l f t h e t i m e t o a b s o r b t h e i n f l u e n c e s o f Debussy
and S c h o e n b e r g
is

mentioned

an o r c h e s t r a l

f o r m a t was

above.

The

first

definitive

P a r t i t a composed d u r i n g 1930-32.

b y no means new

f o r composers i n I t a l y

This
during

t h i s t i m e , b u t he i m m e d i a t e l y s e t t h i s work a p a r t by
a d d i t i o n of a soprano s o l o i s t

i n t h e f o u r t h and

movement o f t h e work, w h i c h was

the

final

otherwise neo-classical i n

accordance w i t h the f a s h i o n of the t i m e s .

p r i o r t o 1939

work

Other

4 9

d i s p l a y a h i g h degree of d i a t o n i c i s m ,

works
with

chromatic elements appearing g r a d u a l l y w i t h i n the idiom.

the

T r e laudi

f o r h i g h v o i c e and o r c h e s t r a

(1936-7)

In

there

o c c u r s a t one p o i n t a m e l o d y c o m p r i s e d o f a l l t w e l v e t o n e s ,
s u p p o r t e d by a t r i a d .

Other c h a r a c t e r i s t i c s

of the period

i n v o l v e t h e a l s o - f a s h i o n a b l e u s e s o f m o d a l i t y and
"Renaissance-inspired
The
work Canti

polyphony."

5 0

s e c o n d c o m p o s i t i o n a l p e r i o d i s m a r k e d by t h e
di P r i g i o n i a

p r o t e s t - w o r k , t h i s was

(1939-41).

O f t e n r e f e r r e d t o as a

Dallapiccola's

first

N a t h a n , " F r a g m e n t s f r o m C o n v e r s a t i o n s , " 295.

w i t h Nathan o c c u r r e d d u r i n g 1961-62.
4 8

4 9

Kay,

"The

Humanity

of D a l l a p i c c o l a , "

composition to

The c o n v e r s a t i o n s

23.

L y n n e M a r c i a Ransom, " D a l l a p i c c o l a ' s Canti

I t a l i a n L y r i c i s m a n d V i e n n e s e C r a f t , " (DMA d i s s . ,
C i n c i n n a t i , 1 9 8 7 ) , 8.
5 0

choral

di p r i g i o n i a :
U n i v e r s i t y of

t r e a t the

theme o f o p p r e s s i o n .
two

h a r p s , and

The

scoring i s unusual

two

pianos,

a large percussion

The

h a r m o n i c l a n g u a g e i n t h i s work i s more c h r o m a t i c

the

e a r l i e r period's

w o r k s , and

1939

w i t h the

finally

composition

on h i s 7 5 t h b i r t h d a y .
in general
t h e new

the world

elements.

Yet

poemi,

dedicated

modern m u s i c was

Schoenberg

of the

method

n o t e s and

choice

of

often

pentatonic

o f s e r i a l i s m a t a t i m e when

a l r e a d y b a n n e d i n Germany t e s t i f i e s

s p e c i a l brand of I t a l i a n
musical

to

i n i t s atonal bias than that

t o i n c l u d e even d i a t o n i c or

the very

than

of s e r i a l i s m i n

Viennese school, p e r m i t t i n g repeated

row

5 1

way.

D a l l a p i c c o l a ' s adoption

i s less rigorous

a l l o w i n g the

fascism,

and

to

i t s non-intrusion

the
into

matters.

The

o p e r a II

compositional
de

composer.

The

52

P r i g i o n i e r o (1944-48) o f t h e

period

by V i l l i e r s

"Prisoner."
t o n e row,

described

Kay,

p l i g h t of the

Ibid.

La

torture

libretto

third

par

1'esprance

a d a p t e d by

captive i s clear i n

around the main c h a r a c t e r ,

an

the
this

anonymous

I t i s a s e r i a l work w h i c h i n v o l v e s more t h a n
and

above.

"The

i s b a s e d on

l ' I s l e Adam, t h e

work, w h i c h c e n t r e s

one

entered
Tre

section.

i n c l u d e s some d o d e c a p h o n i c

p r a c t i c e s u s e d i n a more s y s t e m a t i c
Dallapiccola

--

i n c l u d e s rows w h i c h r e f l e c t

the

approach

A l w a y s s e n s i t i v e t o t h e demands o f

H u m a n i t y o f D a l l a p i c c o l a , " 23.

the

voice,

the o r c h e s t r a l m a t e r i a l i n t h i s

chromatic

than the

Although

The
1951

two

"serial"

one,

there

e a c h i n v o l v i n g t h e use

o r c h e s t r a l works c a l l e d

and

5 3

t h i s t h i r d period i s r e f e r r e d to

Dallapiccola's
tonality,

choral sections.

o p e r a i s more

1957,

the

first

a r e two

as

throwbacks

of quotations
Tartiniana

from

to

Tartini

were w r i t t e n i n

as a c o m m i s s i o n f o r T a n g l e w o o d .

T h i s work, a l t h o u g h

e n t i r e l y t o n a l , betrays Dallapiccola's

l o v e o f s y s t e m s and

counterpoint,

intricate

crab

canon" at the h e a r t

s e c o n d Tartiniana

gains

Although

throwback to times
procedures are

of the work.

i n contrapuntal

t h r o u g h o u t t h e work, c u l m i n a t i n g
various types.

i l l u s t r a t e d by

The

5 4

complexity

i n a s e r i e s of canons

such t o n a l indulgences

long past,

"an

the canonic

s e e n as a c h a l l e n g e ,

and

to apply

might

of
seem

contrapuntal
a

rigorous

s y s t e m t o an

existing

set of notes,

so d i f f e r e n t

from the

i m p o s i t i o n of a r i g o r o u s system onto

row

of twelve

Music

for

Solo

Piano
w r i t t e n o n l y t h r e e works f o r s o l o

a l l composed b e t w e e n 1942

known o f t h e s e
5 3

Ibid.

5 4

Ibid.

piano

and

1952.

55

works i s a c o l l e c t i o n of

T h e r e a l s o e x i s t Music for Three Pianos

Piccolo
Concerto
per Muriel
Couvreux
f o r piano
1939-41).
5 5

really

notes.

D a l l a p i c c o l a has
piano,

an a p p r o a c h n o t

The

least

three

(Inni)
(1936),
and
and chamber o r c h e s t r a ,

movements f r o m a b a l l e t Marsia,
c o m p o s e r i n 1942-43.

The

transcribed

f o r p i a n o by

s t y l e o f t h i s work i s a m i x

d i a t o n i c i d i o m s w i t h some t w e l v e - t o n e p r o c e d u r e s .
l a s t o f t h e s o l o p i a n o c o m p o s i t i o n s i s one
most r e c o g n i z e d w o r k s , t h e Quaderno

of

musicale

with l i b e r t y ) .

The

and

Dallapiccola's
di

Annalibera,

-- and

collection is entirely
and was

Canonica,

was

throwbacks

to t o n a l i t y .

e n t i r e l y on s e l e c t i o n s
violin,

this

of the s o l o piano works,

and

I t s f o u r movements a r e

the

rigorous canonic

with

based

f r o m t h e P a g a n i n i Caprices

tendency

as

i s also

of D a l l a p i c c o l a ' s experiments

treated i n different

Concerning

though

Tartiana.

w r i t t e n i n 1942

c h r o n o l o g i c a l l y the f i r s t

serial,

composed t h e same y e a r

e n t i r e l y t o n a l --

C h r o n o l o g i c a l l y the f i r s t
Sonatina

(note the

the r e f e r e n c e to h i s preoccupation

rather consonant-sounding,
the f i r s t

of
The

5 6

a c o l l e c t i o n of pieces d e d i c a t e d to h i s daughter
name o f h i s d a u g h t e r

the

for solo

formats.

to revert to t o n a l i t y ,

Dallapiccola

states,
I w a n t e d t o see o n c e more what c o u l d be done ( o r , a t
any r a t e , what I c o u l d do) w i t h t o n a l m u s i c o r p e r h a p s
t o c o n v i n c e m y s e l f t h a t t h e t o n a l s y s t e m was d e a d . "
He has a l s o n o t i c e d o f h i s own p r o g r e s s t h a t " a f t e r
e a c h t o n a l e p i s o d e , my d o d e c a p h o n i c p r o c e d u r e s h a v e
gained i n severity. . . .
5 7

58

Kay,

"The

Nathan,
Ibid.,

Humanity of D a l l a p i c c o l a , "

"Fragments,"
300.

296.

24.

Sonatina
Niccolo

with

Canonica
Paganini

in mi
per

The

idea

the

head of the

Zerboni,

who

publishing

Paganini,

with

Scarpini,
plan

was

had

Sonatina

and

sul

Canonica.

1942,

a few

years l a t e r ,

its first

t o whom t h e

N.

14

fourth

so much t h a t

final

i n 1945.

6 0

version
The
by

he
reaching

Sonatina
Pietro

Dallapiccola's

t r a d i t i o n of o t h e r p i a n i s t s
of Paganini,

strove

di

59

work i s d e d i c a t e d .

Caprices

month

became t h e

p e r f o r m a n c e i n 1946

to c o n t i n u e the

Brahms, he

the

Capriccio

project

more movements, t h e

have a d a p t e d t h e
Liszt

a meeting, i n

Within

which e v e n t u a l l y

completed three

Canonica

di

company E d i z i o n i S u v i n i

Studio

D a l l a p i c c o l a enjoyed the

publisher

"Capricci"

on p u t t i n g t o g e t h e r a c o l l e c t i o n

composers.

returned

movement o f t h e

the

su

f o r s t u d e n t s c o m p r i s e d e n t i r e l y by

contemporary I t a l i a n

Niccolo

work b e g a n w i t h

planning

of piano p i e c e s

maggiore

pianoforte

f o r the

was

Dallapiccola

bemolle

but

unlike

for "contrapuntal

who

Schumann,

solutions

for

S t e v e n J o s e p h O y l e r , "An I n t e r p r e t i v e A n a l y s i s o f t h e S o l o P i a n o
M u s i c o f L u i g i D a l l a p i c c o l a , " (DMA d i s s . , U n i v e r s i t y o f H a r t f o r d , 1 9 8 9 ) ,
5-6.
Source:
D i e t r i c h Karnper, Gefangenschaft
und F r e i h e i t :
Leben
und
Werk des Komponisten
Luigi
D a l l a p i c c o l a , G i t a r r e und L a u t e
V e r l a g s g e s e l l s c h a f t , 1984,
51-52.
This c o l l e c t i o n i s c u r r e n t l y a v a i l a b l e under the t i t l e
'900
Storico
Italiano:
13 Composizioni
p i a n i s t i c h e , p u b l i s h e d i n 1944.
The
c o m p o s e r s i n c l u d e some a l r e a d y f a m i l i a r names, and o t h e r s o f t h e t i m e
who w r o t e l i t t l e o t h e r p i a n o m u s i c a s i d e f r o m t h e i r c o n t r i b u t i o n t o t h i s
collections:
Bruno B e t t i n e l l i , A l f r e d o C a s e l l a , Francesco C i l e a , L u i g i
D a l l a p i c c o l a , O t t o r i n o G e n t i l u c c i , Gino G o r i n i , G i o r g i o
Federico
G h e d i n i , A c h i l l e Longo, G i a n F r a n c e s c o M a l i p i e r o , F r a n c o M a r g o l a ,
G o f f r e d o P e t r a s s i , R i c c a r d o P i c k M a n g i a g a l l i , and I l d e b r a n d o P i z z e t t i .
5 9

6 0

Oyler,

"An

Interpretive Analysis,"

5.

m u s i c w h i c h was
imagine. "

apparently,

as n o n - c o n t r a p u n t a l

could

Caprices

for

61

A t t h e b a s i s o f t h i s work a r e t h e
solo v i o l i n ,

but

used not

Paganini

j u s t as a s t y l i s t i c

merely f o r c l e v e r quotations.

T h e s e Caprices

b a c k b o n e o f e a c h movement, w i t h a P a g a n i n i
appearing

i n i t s e n t i r e t y i n each of the

t h e work.

W i t h v e r y few

work a r e g e n e r a t e d
remaining

as one

notes

exceptions,

from these

springboard
are the

being d e r i v e d through

very

original

f o u r movements o f

a l l the notes

original

or

sources,
standard

i n the

with

the

contrapuntal

procedures.
The

f o u r movements o f t h e

Sonatina

are arranged

a c c o r d i n g to the o u t l i n e s of a c l a s s i c a l piano
first

and

sonata.

f o u r t h movements r e v o l v e a r o u n d E - f l a t m a j o r ,

a r e g e n e r a l l y A l l e g r o i n tempo and

character.

The

c o n t r a s t i n g , movement i s f o r t h e most p a r t i n t h e
B - f l a t m a j o r , and
C

major.

the

s l o w movement i s i n t h e

The
and

second,
dominant,

submediant,

6 2

F i r s t Movement
I. Tempo
Paganini's
It

roughly

- Allegro
20th

comodo, Allegro

Caprice

i s i n t e r n a r y f o r m , A-B

molto

misurato,

i s t h e b a s i s f o r t h i s movement.

and

da

capo,

w i t h two

" Q u o t e d i n O y l e r , "An I n t e r p r e t i v e A n a l y s i s , " 7.

D a l l a p i c c o l a , B r o a d c a s t t a l k , R a d i o 3, F e b r u a r y 3, 1974.
c o u r t e s y o f BBC R a d i o 3 M u s i c D e p a r t m e n t , L o n d o n .

internal

Luigi
Transcript

I b i d . , 34.
T h i s d i s s e r t a t i o n by O y l e r o f f e r s a t h o r o u g h
a n a l y s i s o f the c a n o n i c p r o c e d u r e s employed i n t h i s work.
What f o l l o w s
h e r e i s a g e n e r a l o v e r v i e w o f t h e f i r s t and f o u r t h movements a l o n g w i t h
some a d d i t i o n a l o b s e r v a t i o n s .
6 2

repeats i n the B section.

illustrated
Figure

The f o r m o f t h e movement i s

i n f i g u r e 6.1.

6.1, f o r m o f P a g a n i n i ,

section

measures

1-24

25-32

Caprice

No. 20 in D
A

33-57

1-24

With t h e e x c e p t i o n o f key (the o r i g i n a l

t r a n s p o s e d t o E - f l a t major)
Dallapiccola

and r e g i s t e r

remains f a i t h f u l

m e a s u r e o f t h e Caprice

Major.

(da

capo)

D major i s

changes,

to the o r i g i n a l ,

present i n the canonic

with every
version.

R e p e a t s a r e a l s o m a i n t a i n e d w i t h t h e e x c e p t i o n o f one
(measures

33-57), but these a r e w r i t t e n

time, whether
The

out and v a r i e d

t h e y be t h e i n t e r n a l r e p e a t s o r t h e da

form o f t h e D a l l a p i c c o l a

appears i n f i g u r e

F i g u r e 6.2, f o r m o f D a l l a p i c c o l a ,
I. A l l e g r e t t o comodo.

section

measures

1-24

25-40

Sonatina

each
capo.

6.2.

Canonica,

A'
41-66

67-90

One g l a n c e a t t h e o p e n i n g m e a s u r e s o f t h e two w o r k s i s
enough t o o b s e r v e t h e c o m p l e x i t y w i t h w h i c h
treats h i s subject

( e x a m p l e s 6.5 a n d 6 . 6 ) .

there three voices,

e a c h on i t s own s t a f f ,

Dallapiccola
Not o n l y a r e
b u t each

voice

has i t s own time s i g n a t u r e as w e l l .

The o r i g i n a l i s

p r e s e r v e d i n the upper and lower p a r t s o f the Sonatina.

The

lower p a r t i s roughly e q u i v a l e n t t o the d o t t e d - h a l f - n o t e Ds

in

the Caprice,

o f f s e t by a q u a r t e r note i n the

Sonatina.

The t o p v o i c e i s the most f a i t h f u l t o the o r i g i n a l , with t h e

e x c e p t i o n o f octave d o u b l i n g and displacements.

The middle

v o i c e i s the canonic v o i c e , i n augmentation, d e l a y e d by one

measure
The

(of 6/8),

and transposed down a p e r f e c t

fifth.

6 3

second phrase begins i n measure 9, and i n the

o r i g i n a l i s almost

i d e n t i c a l t o the f i r s t

D a l l a p i c c o l a v a r i e s the melodic

phrase.

f i g u r e by adding

parallel

p e r f e c t f o u r t h s under the top v o i c e , which a r e intended t o

g i v e the impression o f harmonics

(example 6.7).

The middle

v o i c e i s a l s o v a r i e d , by t r e a t i n g i t as a canon o f i t s own,
d e l a y e d by one o f i t s 6/4 measures.
s i m i l a r i t y o f the f i r s t

D i s g u i s e d by t h e

and t h i r d measures o f t h i s melody,

the e n t r y o f middle v o i c e ' s canonic echo i s not e v i d e n t

u n t i l measure 9 (example 6.7).
Example 6.5, P a g a n i n i , Caprice
1-5.

No. 20 in D Major, measures

Allegretto.
A*

rlo

dolce

it

"Measures a r e numbered a c c o r d i n g t o the t o p v o i c e i n 6/8 time, as

r e f e r s t o the o r i g i n a l .

Example 6.6, D a l l a p i c c o l a , Sonatina

I. A l l e g r e t t o comodo, measures 1-5.

Canonica,

Example 6.7, D a l l a p i c c o l a , Sonatina

I. A l l e g r e t t o comodo, measures 6-11.

Canonica,

In

the t h i r d phrase

(measures

changes a g a i n , w i t h the t o p l i n e
the

original,

the

first
The

is

19-24) t h e t r e a t m e n t

r e f l e c t i n g more

and t h e m i d d l e v o i c e m a i n t a i n i n g t h e m e l o d y o f

phrase

in inversion.

6 4

l o n g m i d d l e s e c t i o n b e g i n s a t m e a s u r e 25.

i n d i c a t e d by a c h a n g e o f tempo, Allegro

which

i s not i n the o r i g i n a l .

At f i r s t ,

c o n t i n u e s i n t h e r i g h t hand o f t h e p i a n o
6.9).
the

accurately

In the l e f t

Contrast

molto

misurato,

the 20th

Caprice

(examples

h a n d i s an e n t i r e l y d i f f e r e n t

6.8

Caprice,

middle s e c t i o n of the t h i r t e e n t h i n B - f l a t major

i s a l s o t r a n s p o s e d down by a s e m i t o n e

(example

which

6.10).

A v a r i a t i o n t o the second phrase o c c u r s through

a d d i t i o n of p a r a l l e l
the

Dallapiccola

i n m e a s u r e s 33-40 o f t h e

in

13th i n the r i g h t ,
i t s second

Where

Sonatina

i n s t e a d w r i t e s o u t a v a r i a t i o n by s w i t c h i n g

v o i c e s so t h a t t h e 2 0 t h Caprice
the

the

t h i r d s to the l e f t - h a n d voice.

r e p e a t s h o u l d be,

and

appears

i n the l e f t

hand

r e t a i n i n g the i n c l u s i o n of the

the
and

thirds

phrase.

A f u l l y d e t a i l e d account of the procedures appears

I n t e r p r e t i v e A n a l y s i s , " w i t h a summary on p a g e 51.

i n Oyler,

"An

Example 6.9, D a l l a p i c c o l a , Sonatina

Canonica,
I. A l l e g r e t t o comodo, measures 25-28.

Example 6.10, P a g a n i n i ,
measures 17-20.

Caprice

No. 13 in B-flat

m* Vfe

Major,

Measure 41 i s e q u i v a l e n t
measure.

t o the 20th Caprice's

33rd

T h i s span i s the o n l y s e c t i o n i n which

D a l l a p i c c o l a does not m a i n t a i n and vary the o r i g i n a l

( r e f e r t o f i g u r e 6.1).

The e x t r a Caprice

repeat

i s abandoned and

t r a d i t i o n a l canonic procedures are resumed w i t h the 20th

Caprice.

For most of the s e c t i o n spanning measures

the procedure i s a s t r a i g h t f o r w a r d
d i s p l a c e d by a h a l f - b a r .

41-55,

canon at the octave

At measures 45-48 i n v e r s i o n i s

brought i n , r e s u l t i n g i n some r a t h e r c o m p l i c a t e d
(example 6.11).

Example 6.11, D a l l a p i c c o l a , Sonatina

I. A l l e g r e t t o comodo, measures 45-47.

Canonica,

overlapping

C o r r e s p o n d i n g w i t h measure
measure
in

56 o f t h e D a l l a p i c c o l a .

I n t h e Caprice

the grouping

t h i s p a s s a g e b e a r s a s t r o n g a f f i n i t y w i t h 3/4

(example 6.12).
of

48 o f t h e P a g a n i n i i s

time

T h i s p l a y on t h e m e t e r i s t a k e n a d v a n t a g e

i n D a l l a p i c c o l a ' s treatment of t h i s

same p a s s a g e , by t h e

a d d i t i o n of a f i v e - n o t e f i g u r e i n the accompanimental

(left)

hand, w h i c h i n f a c t d o e s n o t a d h e r e t o a r e g u l a r m e t e r a t
all

( e x a m p l e 6.13).

T h i s new

p a r t o f t h e 1 3 t h Caprice
section

(see e x a m p l e

f i g u r e i s d e r i v e d from the

w h i c h was

6.10).

The

used e a r l i e r

figure i t s e l f

i n the
i s not

r h y t h m i c a l l y nebulous, but i t i s c o n s t a n t l y p l a c e d
the

upper l i n e

i n different

and i t i s s o m e t i m e s

against

rhythmic relationships with i t ,

s e p a r a t e d by a r e s t ,

sometimes

n o t , so

t h a t the u n d e r l y i n g meter of the passage i s p r a c t i c a l l y

eradicated.
The o p e n i n g m e a s u r e s
concluding six,
in

r e s u m i n g t h e p a i r i n g up o f t h e 2 0 t h

t h e r i g h t hand and t h e 1 3 t h i n t h e
At

t h e da capo

of the A s e c t i o n ,

w r i t e s out a v a r i a t i o n .
are

of the s e c t i o n are echoed i n the

very s i m i l a r ,

Caprice

left.
again

Dallapiccola

The two A s e c t i o n s o f t h e

v a r i e d o n l y by t h e a d d i t i o n o f

Sonatina

parallel

p a r t s t o t h e l o w e r and m i d d l e v o i c e s f o r most o f t h e
section,

as w e l l as an o c t a v e d i s p l a c e m e n t o f t h e m i d d l e

voice's canonic

echo.

Example 6.12, Paganini,

48-52.

Caprice

No. 20 in D Major,

Example 6.13, D a l l a p i c c o l a , Sonatina

I. A l l e g r e t t o comodo, measures 56-60.

a tempo

Canonica,

measures

P a g a n i n i ' s 14th Caprice

movement.

i s the o r i g i n a l used f o r t h i s

I t s form i s asymmetrical b i n a r y , each

marked by r e p e a t s .

section

The much l o n g e r B s e c t i o n i s d i v i d e d

halfway by a fermata, and the second h a l f o f t h i s s e c t i o n i s

much l i k e

a v a r i a t i o n , w i t h some use o f i n v e r s i o n .

The form

i s o u t l i n e d i n f i g u r e 6.3, and the f i r s t e i g h t measures

appear i n example 6.14.
F i g u r e 6.3, form o f P a g a n i n i , Caprice
Major.

section
measures

A
1-8

y\y,

y n v n n

n_ n n
^

f I b

JJ j ,
i
8

E-flat

'

9-27

Example 6.14, P a g a n i n i , Caprice

measures 1-8.

No. 14 in

28-45

No. 14 in E-flat

Major,

v n
J

-<

it

-* L99

-9-- 9

L_

rf

ft.
9

Dallapiccola

retains a l l repeats i n h i s treatment,

again w r i t i n g out the repeated s e c t i o n s w i t h v a r i a t i o n s .

In

t h i s movement, l o c a t i o n s where t h e r e p e a t s i g n s s h o u l d be
are r e p l a c e d by d o u b l e b a r l i n e s

i n t h e s c o r e , so t h a t t h e

r e l a t i o n s h i p b e t w e e n t h e two i s e a s y
see.

The s e c t i o n s a r e b r o k e n

f o r the performer t o

down f o r r e f e r e n c e i n f i g u r e

6.4.
F i g u r e 6.4, f o r m o f D a l l a p i c c o l a ,
IV. A l l a marcia;
moderato.

section

measures
varied repeats

The

Sonatina

Canonica,

B'

1-8
9-17

18-36
55-74

37-54
75-92

movement b e g i n s w i t h a s t a n d a r d c a n o n , t h e s e c o n d

v o i c e d e l a y e d b y one m e a s u r e a n d d i s p l a c e d up two o c t a v e s
(example 6 . 1 5 ) .
Dallapiccola

6 5

At t h e repeat o f these e i g h t measures,

i n t r o d u c e s something

e n t i r e l y new.

The

appears

u n a l t e r e d i n t h e r i g h t hand, i t s m a r c h l i k e

clearly

i n d i c a t i n g t o n i c and dominant c h o r d s .

Caprice

motive

In the l e f t

h a n d t h e r e i s an a c c o m p a n i m e n t w h i c h w o u l d a p p e a r t o be a
standard tonic-dominant
exceptions:

bass

s u p p o r t , b u t w i t h two m a j o r

t h e n o t e s o f D - f l a t a n d A - n a t u r a l do n o t b e l o n g

t o t h e key o f t h e upper p a r t ,

and r h y t h m i c a l l y t h e y

fall

j u s t a f t e r where t h e y s h o u l d , t h e v a l u e o f a s i x t e e n t h - n o t e

R e f e r t o O y l e r , "An I n t e r p r e t i v e A n a l y s i s , "
summary o f c a n o n i c p r o c e d u r e s i n t h i s movement.
6 5

73 f o r a d e t a i l e d

l a t e every time.
but

The e f f e c t of the s o n o r i t y

i t i s also ghostly.

march, the hushed lontano

i s humorous,

The combination o f the r e l e n t l e s s

marking and the accompaniment

which i s not o n l y comprised o f "wrong notes," but a l s o o f a

skewed rhythm.
Example 6.15, D a l l a p i c c o l a , Sonatina
Canonica,
IV. A l l a marcia;
moderato,
measures 1-17.

Alia marcia; moderato (J =M-SS)

Poco meno piano

quasi senza 31

A
at

m corda!
senza &.

mm m
f

j i f f
(non cresc}

The c a p r i c i o u s n a t u r e o f b o t h t h e P a g a n i n i
and

D a l l a p i c c o l a ' s t r e a t m e n t o f them t a k e s a s a r d o n i c

with

t h i s o u t - o f - t u n e accompaniment.

"Gallows humour,"
source m a t e r i a l .

a d a r k commentary

66

This

already

on t h e l i g h t - h e a r t e d

t h e war was c o n t i n u i n g

c o m m e n t a r i e s a s t h e s e humorous

composed.

i n t h e s e t , a n d was

begun h i s p r e o c c u p a t i o n w i t h

satirical

i s an e x a m p l e o f

i n w h i c h t h i s work was

f o u r t h movement came f i r s t

1942, w h i l e

This

on.

the

liberty,

and such

t o u c h e s may be c o n s t r u e d a s

r e m a r k s on t h e s y m b o l o f a d v a n c i n g w a r , t h e m a r c h .

t h e b e g i n n i n g o f s e c t i o n B a t measure
original divides

distinct
the

subsections

i t i n t o two h a l v e s ,

structured
a fanfare

18.

continue

A fermata i n

r e s u l t i n g i n four

i n t h e D a l l a p i c c o l a movement

r e p e a t s a r e w r i t t e n out and v a r i e d ) .

(as u s u a l ,

Each s u b s e c t i o n i s

i n b a s c i a l l y t h e same f a s h i o n :

f o u r measures o f

motive s i m i l a r t o t h e A s e c t i o n , s i x measures o f

sequential

patterns,

and n i n e measures o f c l o s i n g

b a s e d on t h e r e p e a t e d n o t e s o f t h e f a n f a r e .
each s i d e o f t h e "fermata" i s c o n s t r u c t e d
with

composed

D a l l a p i c c o l a had

The i r o n y i s s h o r t - l i v e d , a n d t h e p r o c e d u r e s
with

turn

I t i s u s e f u l t o r e c a l l the events

surrounding the period

in

originals

the f i r s t

to t o n i c .

The m a t e r i a l

i n t h e same way,

h a l f moving t o dominant and t h e second

Section

B of the Paganini

half

appears i n example

6.16.

'Oyler,

material

"An I n t e r p r e t i v e A n a l y s i s , " 15.

on

Example 6.16, P a g a n i n i , Caprice

measures 9-27.

No.

14 in E - f l a t

Measures 18 t o 36 i n the D a l l a p i c c o l a

Major,

form the t o n i c to

dominant motion of the f i r s t h a l f of the s e c t i o n .

The

fermata of the o r i g i n a l i s r e p r e s e n t e d i n measure 36 by a

3/4

measure marked sempre

in tempo, with the chord h e l d f o r

a h a l f note f o l l o w e d by a q u a r t e r r e s t .
by the fermata i n the Caprice
relentless interpretation.
entire section
a q u a r t e r note.

is a strict
The

The

repose

offered

i s not allowed i n t h i s
The canonic technique i n t h i s

canon at the octave, s e p a r a t e d by

r e s u l t i n g s u p e r i m p o s i t i o n of v o i c e s

r e s u l t s i n some i n s t a n c e s o f dissonance, but the t o n a l

of B - f l a t

(the dominant of the home key)

area

i s always c l e a r .

The

second h a l f o f t h i s f i r s t

"repeat" begins a t

measure 37, a g a i n with the f a n f a r e motive,

t h i s time with a

canon at the octave separated by an e n t i r e measure.

procedure
appears

c o n t i n u e s through s e q u e n t i a l p a t t e r n as w e l l , and

t o be on course t o f o l l o w through t o the end o f the

s e c t i o n a t measure 54.

Instead, a q u o t a t i o n i s i n s t e r t e d i n

measures 51-54 from a d i f f e r e n t

(examples 6.17 and 6.18).

Caprice,

t h i s time the n i n t h

The q u o t a t i o n takes t h e a t t e n t i o n

completely away from the s t r u c t u r a l Caprice

it.

and t h e f a n f a r e motive o f the f o u r t e e n t h ,

comprised

two s i x t e e n t h - n o t e s and an e i g h t h , but o f f s e t by the

value o f an e i g h t h .
for

o c c u r r i n g below

There i s a rhythmic s i m i l a r i t y between the n i n t h

Caprice
of

The

T h i s p a r t i c u l a r q u o t a t i o n has meaning

p i a n i s t s as w e l l , being the f i f t h

L i s z t i n h i s Paganini

Etudes.

Example 6.17, P a g a n i n i , Caprice

1-2.

o f the ones s e t by

61

No. 9 in E Major,

measures

Allegretto.
Snlla tastiera imitando il Flauto

The

" r e p e a t " f o l l o w s s i m i l a r procedures

time through,

to the f i r s t

o n l y the degree o f dissonance which occurs as

a r e s u l t o f the c o n t r a p u n t a l process i s taken up a few

notches

i n intensity.

In measure 55, where the

first

i t e r a t i o n i n v o l v e d a canon a t the octave, t h i s time t h e r e i s

a canon a t the major second i n i n v e r s i o n .
continued a f t e r the "fermata"

The

i n measure 74,

l e s s d i s s o n a n t i n t e r v a l of a minor t h i r d .
i n s t a n c e of c o n t r a p u n t a l dissonance

inversion i s

o n l y now

to a

striking

c r e a t e d through

these

means occurs i n measures 80-82, the end of the f a n f a r e

measures o f i t s p a r t i c u l a r s e c t i o n (example 6.19).
p o i n t s out t h a t the use o f dissonance

Oyler

i n passages t h a t

otherwise would seem h a r m o n i c a l l y innocuous helps to p o i n t

out the humour c r e a t e d by the j u x t a p o s i t i o n , and
c o n t r i b u t i n g t o the e f f e c t of "gallows" humour.

68

True t o the p a t t e r n o f v a r y i n g the repeated

the q u o t a t i o n o f the f i r s t

section,

i n s t a n c e i s r e p l a c e d a t the end

of the movement by another.

T h i s q u o t a t i o n i s even more

e x t e n s i v e and r e c o g n i z a b l e , e s p e c i a l l y t o p i a n i s t s .
taken from the 17th Caprice,
the second o f h i s Paganini

It i s

which was t r e a t e d by L i s z t i n
Etudes.

The e f f e c t o f parody i s

even more prominent, owing t o the f a c t t h a t the added

m a t e r i a l bears no rhythmic or m o t i v i c resemblance t o the
main m a t e r i a l a t a l l .

I t serves t o b r i n g the sonata t o a

l i g h t h e a r t e d c l o s e (examples 6.20 and 6.21).

Example 6.20, P a g a n i n i , Caprice
measures 5-7.

No. 17 in E - f l a t

Major,

Considered i n i t s e n t i r e t y , the f o u r t h movement of the

Sonatina

Canonica

r e v e a l s i t s dark humour through more than

a simple mis-harmonized

bass l i n e .

From the h i s t o r i c a l

p e r s p e c t i v e , p o l i t i c a l and s o c i a l events o c c u r r i n g d u r i n g
the time of the composition i n 1942

a l l o w an i n t e r p r e t a t i o n

t h a t might not otherwise s u r f a c e , seen apart from these

external factors.

The c h o i c e o f the 14th Caprice

of

Paganini gave D a l l a p i c c o l a a s t r o n g march rhythm t o work

with, undoubtedly a r e f e r e n c e marching t r o o p s .

The wrong-

note

harmonization

as an

ironic
In

process

o f m e a s u r e s 9-17

commentary on t h i s

a d d i t i o n to t h i s

has

a l r e a d y been

figure.

s h o r t passage though, the

whole

of m a n i p u l a t i n g b l a t a n t l y t o n a l music i n t o

dissonant combinations

through

noted

harshly

f o r m u l a i c means manages t o

p o k e f u n a t t h e m a r c h f i g u r e w h i c h p e r v a d e s t h e movement.
The

gradual increase i n dissonance

is

a c a r e f u l l y c a l c u l a t e d dramatic

throughout

formula designed

on more humour as t h e p i e c e p r o g r e s s e s .
(measures 54-57 and

t h e movement

The

88-92) a r e y e t a n o t h e r

two

to

pile

quotations

l a y e r of i r o n y ,

j o k i n g around w i t h t h e march w i t h d e l i b e r a t e l y l i g h t - h e a r t e d
and

identifiable

two

q u o t a t i o n s were made p o p u l a r by

Paganini
first

Etudes,
and

references.

the f i f t h

second quotes

Even w i t h o u t
loyalties

For p i a n i s t s

and

Franz

Liszt

respectively.

the

in his

second corresponding

to

the

6 9

k n o w i n g where D a l l a p i c c o l a ' s p o l i t i c a l

l i e , h i s opinions r i n g through

work, p a r t i c u l a r l y
D a l l a p i c c o l a had

especially,

clearly

i n t h e f o u r t h movement.

been a f a s c i s t

supporter

In

in this

fact,

earlier

in his

c a r e e r , but w i t h a J e w i s h w i f e , t h e r a c i a l bans c o n t r i b u t e d
to

h i s change o f h e a r t .

sensitivity,

on t h e one

T h i s work c a r r i e s a

double

hand o f l i g h t h e a r t e d t r e a t m e n t

t h e w o r k s o f a famed I t a l i a n c o m p o s e r and m u s i c i a n ,
the other, the s u b t l e l a y e r of p o l i t i c a l
i n t o account

commentary.

o t h e r more s e r i o u s p r o t e s t w o r k s a r o u n d

of

and

on
Taking

this

period,

s u c h as t h e C a n t i

Prigioniero

(1944-48),

di

Prigionia

(1928-41) and

i t i s c l e a r he was

not a f r a i d

e x p r e s s i n g h i s v i e w s t h r o u g h m u s i c a l means.

II
of

" L e s s t h a n a n y w h e r e i n E u r o p e was
f e e l i n g t o be f o u n d i n I t a l y ;
was

no p r o b l e m a t a l l . "

anti-Semitic

i t i s t r u e t o say t h a t

and t h e r e w e r e a number

s u p p o r t e d t h e f a s c i s t movement f r o m i t s e a r l y

beginnings.

When H i t l e r

came i n t o power and b r o u g h t

h i m h i s i d e a s f o r t h e J e w i s h r a c e i n Germany,
r e c o g n i z e d t h e s i t u a t i o n as a b a d i d e a ,

t h e F u h r e r , however,
Mussolini,

"and he

instructed
Hitler;

i n s p i t e of h i s apparent reverence f o r

d e c l a r e d i n so many w o r d s t h a t t h e Duce d i d n o t

know what he was

t a l k i n g about."

making

t o a n t i - S e m i t i s m a r o u n d 1936,

the s h i f t

When M u s s o l i n i d i d s t a r t

i n d e p e n d e n t l y o f t h o s e high-up i n the Grand

he d i d so

Council,

i n c l u d i n g t h e K i n g , and a g a i n s t t h e w i s h e s o f h i s

own

For m u s i c i a n s of a l l
administrators,
banned

with

Mussolini

h i s Ambassador i n B e r l i n t o convey h i s o p i n i o n t o

government.

there

M u s s o l i n i e v e n c o u n t e d many Jews

among i m p o r t a n t p e o p l e i n h i s l i f e ,
o f Jews who

any

k i n d s , whether p e r f o r m e r s ,

o r composers,

musical a c t i v i t y

t h e p o l i c y o f 1938

o f any k i n d by Jews.

- ' - E l i z a b e t h W i s k e m a n n , Fascism
in I t a l y :
Influence
(London:
M a c m i l l a n , 1 9 6 9 ) , 69.

effectively

Mussolini's

I t s Development

E r n s t N o l t e , Three Faces
of Fascism,
trans. Leila
V e n n e w i t z (New Y o r k a n d T o r o n t o : New A m e r i c a n L i b r a r y , 1 9 6 9 ) ,

and

W i s k e m a n n , Fascism

"Nolte,

Three

Faces

in

Italy,

of Fascism,

57.
295.

296.

p o l i c y n e v e r went as f a r as H i t l e r ' s ,

with o f f i c i a l

physical

p e r s e c u t i o n i n I t a l y o c c u r r i n g o n l y by N a z i s d u r i n g

the

German o c c u p a t i o n o f I t a l y a f t e r M u s s o l i n i ' s a r r e s t

and

Italy's
1943.

official

b u t n o t r e a l w i t h d r a w a l f r o m t h e war i n

J e w i s h - I t a l i a n composers'

performed i n I t a l y

(regardless of c o m p o s i t i o n a l s t y l e ) ,

J e w i s h c h i l d r e n were w i t h d r a w n
been a t t e n d i n g ,
segregated

schools.

composer.

examples

from the s c h o o l s they

l e a v i n g them f r e e t o s e t up t h e i r

own

Renzo M a s s a r a n i and V i t t o r i o R i e t i were

had e a c h

for Brazil,

for

i n 1939,

1938.

and R i e t i moved t o t h e U n i t e d

Mario Castelnuovo-Tedesco

A m e r i c a as w e l l ,

two

attained

a c e r t a i n degree of r e c o g n i t i o n i n I t a l y p r i o r t o

States.

had

l e d t o t h e e m i g r a t i o n o f more t h a n

o f J e w i s h c o m p o s e r s i n I t a l y who

Massarani l e f t

and

This set of a f f a i r s
one

w o r k s c o u l d n o t l o n g e r be

(1895-1968) e m i g r a t e d t o

f o r t h e s a k e o f h i s own

c a r e e r and

the w e l f a r e of h i s f a m i l y .
H a v i n g shown e a r l y p r o m i s e as a c o m p o s e r i n h i s e a r l y

t e e n s , M a r i o C a s t e l n u o v o - T e d e s c o had a c h i e v e d f o r h i m s e l f a
c o m f o r t a b l e s t a t u s as a r e c o g n i z e d c o m p o s e r d u r i n g t h e t i m e
b e t w e e n t h e two W o r l d Wars.
in

1935,

he was

H i s p o p u l a r i t y was

S a c h s , Music
89, 129.

Ibid.,

1987),

185.

that,

c h o s e n p e r s o n a l l y by M u s s o l i n i t o w r i t e

i n c i d e n t a l m u s i c t o a p l a y w h i c h was

such

in Fascist

Italy

(London:

p e r f o r m e d a t a huge

W e i d e n f e l d and

Nicolson,

outdoor

s p e c t a c l e i n F l o r e n c e t h a t summer.

t a k e n any

interest

in politics

Having

never

and h i s J e w i s h o r i g i n

no s e c r e t ,

the commission

composer.

Castelnuovo t h e o r i z e d t h a t h i s appointment

came as a s u r p r i s e t o t h e

have b e e n p a r t l y b e c a u s e o f h i s p o s i t i o n as " t h e
m u s i c i a n par

excellence"

acceptance

In a d d i t i o n ,

h a v e b e e n a way

Florentine

choosing a Jewish

t o ensure

Mussolini's

i n the face of H i t l e r ' s goings-on to the north,

and o f p a s s i n g m u s t e r
authorities."

w i t h "the

Ecclesiastical

Despite Castelnuovo's p o p u l a r i t y w i t h i n
c i r c u m s t a n c e s beyond h i s c o n t r o l
i n another country.

He

U n i t e d S t a t e s i n 1939,
He

may

a t t h e t i m e , t h u s m a k i n g h i m a good

candidate f o r the job.

m u s i c i a n may

being

settled

Italy,

f o r c e d him t o seek

refuge

emigrated w i t h h i s f a m i l y to the
t a k i n g American

in California,

citizenship

in

c o n t i n u e d t o compose, and was

a c t i v e composer o f f i l m s c o r e s f o r H o l l y w o o d

1946.
an

projects.

Style
The

e a r l y promise

shown by C a s t e l n u o v o n e v e r

i n t o the s t y l e the c r i t i c s

were h o p i n g t h a t i t w o u l d .

i s no n e e d f o r d i v i s i o n o f C a s t e l n u o v o ' s o u t p u t
stylistic

p e r i o d s , as t h e r e i s no

whatsoever

throughout

United States.

fundamental

Ibid.,

183.

Ibid.,

183-4.

There

into

change

h i s c a r e e r , e v e n a f t e r t h e move t o t h e

As an e x a m p l e , t h e Sonatina

developed

zoologica

from

1960
one

i n c o r p o r a t e s a p i e c e w r i t t e n i n 1916 [Lucertolina)
o f i t s movements, " w i t h o u t t h e s l i g h t e s t

inconsistency."

sense o f

This i s not t o say that h i s compositions

are without m e r i t .

He was an a c c o m p l i s h e d

r e c e i v i n g h i s diploma

pianist,

i n t h a t instrument from t h e F l o r e n c e

C o n s e r v a t o r y i n 1914; he s t u d i e d c o m p o s i t i o n u n d e r
there,

as

Pizzetti

g r a d u a t i n g i n 1918; C a s e l l a p r o m o t e d many o f

C a s t e l n u o v o ' s w o r k s t h r o u g h t h e Socit di Musica

Moderna;

T o s c a n i n i p r e m i e r e d many o f C a s t e l n u o v o ' s w o r k s i n t h e
United States; h i s f i r s t
award which
in

1925.

o p e r a La Mandragola

o f 1923 won an

a l l o w e d i t t o be p r e m i e r e d a t V e n i c e ' s La

Fenice

The young c o m p o s e r was n o t w i t h o u t s u p p o r t e r s o f

the h i g h e s t rank.
A true I t a l i a n

i n t r a d i t i o n and p r a c t i c e ,

Castelnuovo's

m e l o d i c l y r i c i s m i s t h e most i m p o r t a n t p a r t o f a n y o f h i s
compositions.

Although p r i m a r i l y

compositions f o r guitar
p e r f o r m e r s and c r i t i c s

known t o d a y f o r h i s many

(many o f t h e s e w r i t t e n
alike hail

h i s many s o n g s ,

the s e t t i n g s o f E n g l i s h t e x t s o f Shakespeare,
s t r o n g e s t works.

Castelnuovo wrote

remain

t o be h i s

Consequently,

n o t a b l y s e t t i n g s o f 27 S h a k e s p e a r e

unknown t o t h e m u s i c a l p u b l i c

especially

c o p i o u s amounts o f

m u s i c , much o f i t r e m a i n i n g u n p u b l i s h e d .
s t r o n g works,

f o r Segovia),

today.

many

sonnets,

1 0

The New Grove Dictionary

of Music and Musicians,
Stanley Sadie,
ed., (London:
M a c m i l l a n ; W a s h i n g t o n , D.C.:
Grove's D i c t i o n a r i e s o f
Music, 1980), s.v. "Castelnuovo-Tedesco, M a r i o . "
9

The

critics'

expressions

o f d i s a p p o i n t m e n t have l e s s t o

do w i t h C a s t e l n u o v o ' s s t y l e as w i t h
i n t o t h e 1930s.
the

i t s l a c k o f development

H i s s t y l e has been d e s c r i b e d

influences of P i z z e t t i

and R a v e l ,

yet h y p e r s e n s i t i v e p e r s o n a l
b e e n much a d m i r e d . "

1 1

as a mix o f

"absorbed i n t o a f r e s h

brand of impressionism

S p e a k i n g o f h i s own g o a l s

t h a t has

as a

c o m p o s e r , he r e p o r t s t h a t h i s one i d e a was " t o w r i t e m u s i c

without
his

prejudices

life

along

o f any k i n d . "

t h e s e i d e a l s as w e l l ,

famous m a n i f e s t o o f 1 9 3 2 ,
"conservative"

Perhaps t r y i n g t o l i v e

1 2

13

which placed

composers a g a i n s t

I t a l y a t the time,

he r e f u s e d

to sign the

the so-called

t h e more " a v a n t - g a r d e " i n

namely C a s e l l a and M a l i p i e r o .

Quite

p o s s i b l y he was t o r n b y h i s a l l e g i a n c e t o h i s t e a c h e r ,
Pizzetti
and

-- who was one o f t h e c o n s e r v a t i v e s

who d i d s i g n --

the support of the ever-generous C a s e l l a .

Piano

Works
Castelnuovo-Tedesco's l i s t

o f works i s l o n g and v a r i e d .

He w r o t e i n many g e n r e s , f o c u s i n g on s o n g s , m u s i c f o r
guitar,
The

and c o m p o s i t i o n s

f o r h i s own i n s t r u m e n t ,

the piano.

s t y l e of h i s piano music i s i n s t a r k c o n t r a s t t o the

n e o c l a s s i c a l vogue o f t h e t i m e ,
v i s u a l evocation

preferring instead the

o f such r o m a n t i c images as c y p r e s s

trees i n

Ibid.

N i c k R o s s i , "Mario Castelnuovo-Tedesco:
M e l o d y , " American
Music
Teacher
25 no.4 ( 1 9 7 6 ) ,
1 2

1 3

S a c h s , Music

in Fascist

I t a l y , 24.

Modern M a s t e r o f
13.

his

p o p u l a r Cipressi

least

22 w o r k s f o r s o l o p i a n o e x i s t

spanning
his

(1920), and o t h e r s i m i l a r

years.

t h e r e a r e works a l o n g m a r i t i m e

(Sea P i e c e s ) o f 1919, I naviganti

o f t h e same y e a r , a n d t h e " m a r i n e

sirenetta

e il pesce

turchino

(The L i t t l e

Dark B l u e F i s h ) o f t h e f o l l o w i n g y e a r .

re David

corali

(The Dances o f K i n g D a v i d )

su mlodie

Melodies)

ebraiche

fable"

second

La

Mermaid and t h e

Castelnuovo's
Le

Jewish
danze

o f 1925, a n d T r e

( T h r e e C h o r a l e s on J e w i s h

of the next year.

s o n a t a o f 1928 w h i c h

themes,

(The

h e r i t a g e i s e v i d e n t i n such works as t h e rhapsody

del

from

In a d d i t i o n t o the v i s u a l aspect of

some o f h i s t o p i c s ,
s u c h a s Alghe

At

from h i s days i n I t a l y ,

t h e y e a r s 1909 t o 1939, a n d s e v e n more d a t e

American

Sailors)

ideas.

There i s a three-movement

contains a "blues" section i n the

movement, a n d t h e s u i t e Alt Wien

(1923) c o n t a i n s a

f o x t r o t a s a c l o s i n g movement.
T h r e e l a r g e r r h a p s o d i e s a r e c o n s i d e r e d t o be among h i s
best piano music.
Alt

Wien, t h e " R a p s o d i a

Piedigrotta

based

napoletana"

piano w r i t i n g .

on t r a d i t i o n a l m e l o d i e s

t o p i c and t r e a t m e n t

of

Two movements w i l l

the piece:

the f o u r t h

and

( N e a p o l i t a n Rhapsody)

The work i s i n f i v e movements,

from t h e r e g i o n o f Naples.

t i e i n d i r e c t l y with the concurrent

surge o f n a t i o n a l i s m happening
time.

del re David

1924 i s d e m o n s t r a t i v e o f t h e f i n e r o f

Castelnuovo's

The

I n a d d i t i o n t o L e danze

throughout

I t a l y around

this

be t r e a t e d h e r e a s r e p r e s e n t a t i v e

t h e f i r s t movement " T a r a n t e l l a s c u r a , " a n d

"Voce l u n t a n a . "

Piedigrotta

1924,

F i r s t Movement
The

Rapsodia

Napoletana

-- Tarantella

scura

choice of t a r a n t e l l a

as an o p e n i n g movement

i n d i c a t e s the i n s p i r a t i o n b e h i n d the c o m p o s i t i o n from i t s

b e g i n n i n g measures.
Allegro

furioso

T h i s "gloomy"

i n the t y p i c a l

("scura") dance i s marked

6/8

metre,

f o r m o f t h e movement shows s i m i l a r i t i e s

i n C minor.

t o sonata form,

an o u t l i n e w h i c h p r e s e n t s two c l e a r i d e a s , d e v e l o p s
combines

m o t i v e s f r o m t h e s e two

ideas,

The
with

and

and t h e n c l o s e s

with

a c l e a r r e t u r n o f t h e two themes f o l l o w e d b y a c o d a .
Four measures i n t r o d u c e the l i l t i n g t a r a n t e l l a
w h i c h d r i v e s t h e movement.
in

inflections

so p r e v a l e n t

i n s t r u m e n t a l music of t h i s p e r i o d are e v i d e n t from these

f i r s t measures,
the

Modal

rhythm

which o s c i l l a t e between the t o n i c ,

lowered seventh degree, B - f l a t

(example

C,

7.1).

theme i s c a r r i e d b y t h e r i g h t h a n d , t h e f i r s t

and

The

main

phrase

betraying the i n f l u e n c e of impressionism i n i t s c o n s t r u c t i o n

of

p a r a l l e l major t r i a d s

c l a s h i n g with the bass.

are

also t r i a d i c

parallel

i n second i n v e r s i o n ,
Subsequent

i n basis,

construction,

occasionally

phrases of t h i s

theme

less systematically t i e d to

and o f t e n i n t e r c h a n g i n g m a j o r

this

and

m i n o r modes.
The

s e c o n d theme b e g i n s i n m e a s u r e 37.

I n s t e a d of a

new

t o n a l a r e a p r e s c r i b e d by s o n a t a form, i n t h i s

the

p e d a l changes

f r o m t h e C c e n t r e o f theme one

instance
t o an

f l a t p e d a l w h i c h l a s t s a good p o r t i o n o f t h e s e c t i o n ,
m e a s u r e 53, and t h e t i m e s i g n a t u r e c h a n g e s

t o 2/4

from

Ato
6/8.

T h i s A - f l a t does not t r u l y f u n c t i o n as a new

t o n a l area, but

r a t h e r the e n t i r e movement remains f i r m l y w i t h i n the realm

of C minor, t h i s p e d a l a c t i n g as a submediant.
t o the metre s h i f t ,

In a d d i t i o n

the rhythm becomes syncopated and the

dynamic l e v e l drops.

As w e l l , the f i r s t

theme's t r i a d i c

formations are abandoned i n favour o f a s t a t i c harmony of

two superimposed major t h i r d s separated by a major second

( A - f l a t , C, D, F-sharp), w i t h b i t o n a l i m p l i c a t i o n s , above
which a chromatic melody descends and ascends
(example 7.2) .

irregularly

1 4

Example 7.2, Castelnuovo-Tedesco, P i e d i g r o t t a 1924,

I. Tarantella
Scura, measures 36-40.

At measure 45 begins an a l t e r n a t i o n between the two

themes which s i g n a l s the b e g i n n i n g of the development.

s e c t i o n of the f i r s t theme t r a n s p o s e d down a minor t h i r d (on

E n a t u r a l ) appears f o r e i g h t measures over a v a r i a t i o n o f
the second theme's A - f l a t p e d a l

(example 7.3).

This i s

f o l l o w e d a t measure 53 by a r e t u r n t o C as a bass note

s u p p o r t i n g the second theme f o r e i g h t measures (example
7.4).

The a l t e r n a t i o n then moves t o four measures, and a

f i n a l c r a s h i n g C s o n o r i t y on the downbeat of measure 67

marks the end o f the e x p o s i t i o n .

T h i s theme i s r e m i n i s c e n t o f S t r a v i n s k y ' s L'histoire

du

soldat.

Example 7.4, Castelnuovo-Tedesco, P i e d i g r o t t a 1924,

I. Tarantella
Scura,. measures 53-56.

CM) *?
ffviolento

LT Jlf g Ij.'LJ

5-

F u r t h e r , a t measure 67, the development

proceeds much

l i k e t h e e x p o s i t i o n , with a four-measure

i n t r o d u c t o r y vamp

(example

runs through t h e

7.5).

This t r i p l e t o s c i l l a t i o n

l e n g t h o f the development
measure 119.

s e c t i o n , u n t i l the r e t r a n s i t i o n at

M e l o d i c a l l y , phrases o r motives from t h e

e x p o s i t i o n ' s two themes appear i n v a r i o u s g u i s e s :

a k i n t o the f i r s t
71-72

(example

passages

theme's second phrase appear a t measures

7.5.

Compare t o example 7.1, m.9); a

chromatic v a r i a t i o n o f the second theme then appears i n

measure 83 (example
theme t o f o l l o w .
transformation

7.6), w i t h two more treatments o f t h i s

One more example w i l l be shown, as the

o f the second theme at measure 95 w i l l

i n a s i m i l a r guise

i n a subsequent movement

(example 7.7).

Example 7.5, Castelnuovo-Tedesco, P i e d i g r o t t a

I. Tarantella
Scura, measures 68-72.

tlx tLr
secco

us us tiss

return

1924,

p argentino

,r

'r

Example 7.6, Castelnuovo-Tedesco, P i e d i g r o t t a

I. Tarantella
Scura, measures 83-86.

' r
1924,

A nine-measure r e t r a n s i t i o n ,
b e g i n s i n m e a s u r e 119.
and

on t h e f i r s t

recapitulation

recapitulation
exposition.
first

Except

at the

f o r some i n i t i a l

a n d a d d e d n o t e s , t h e m a i n theme i n t h e

i s identical

The s e c o n d

incarnation,

hails the f f f

theme, i n a t r u n c a t e d v e r s i o n ,

i n m e a s u r e 128.

octave displacement

theme,

I t increases gradually i n intensity

dynamic t o a t h r e e - o c t a v e a r p e g g i o which

return of the f i r s t

is

based

t o i t s appearance i n t h e

theme i s a l s o q u i t e s i m i l a r t o i t s

even r e m a i n i n g over i t s A - f l a t p e d a l .

It

v a r i e d a l s o by o c t a v e d i s p l a c e m e n t , and i n a d d i t i o n ,

retains the t r i p l e t

oscillation

of A - f l a t

to B-double-flat

p r e s e n t e d d u r i n g t h e development.
A coda o f f o u r t e e n measures, based
second

phrase,

with a grand

b e g i n s a t m e a s u r e 158.

C marked s f f f ,

arpeggio

i s t h e same s o n o r i t y a s t h e

theme u s e d b e g i n n i n g i n m e a s u r e 37.

by a b a r e m i d d l e

theme's

The movement ends

a r p e g g i o f l o u r i s h on a D-major

s u p p o r t e d by a C below i t , which
second

on t h e f i r s t

punctuated

This i s followed
one m e a s u r e

later

by o c t a v e Cs two o c t a v e s b e l o w i t .

Second

Movement

-- Voce luntana

J u s t as t h e f i r s t
of

(Fenesta

che l u c i v e

movement e v o k e d I t a l y t h r o u g h

the c l a s s i c t a r a n t e l l a ,

voices

"Voce l u n t a n a

i s the Neapolitan d i a l e c t

(Glowing windows).

where t h e s o u n d s o f N a p l e s

i t s use

the Neapolitan i n s p i r a t i o n of the

f o u r t h movement i s i n d i c a t e d i n i t s t i t l e .
(Fenesta che l u c i v e ) "

. . .)

f o r"Distant

T h i s i s a d e s c r i p t i v e movement,
a t n i g h t a r e evoked through a

sad,

f o l k l i k e melody, as w e l l as t h r o u g h p i a n i s t i c e f f e c t s

which s t r i v e t o r e c r e a t e t h e t w i n k l i n g o f s t a r s and o t h e r
i m a g e s , many o f w h i c h a r e i n d i c a t e d i n t h e s c o r e .
The

f o r m o f t h i s movement d o e s n o t a d h e r e t o a p r e s e t

p a t t e r n , b u t one c o u l d i m p o s e a r o u g h ABA f o r m a t ,

with the

m i d d l e s e c t i o n a s o r t o f f a n t a s y o f many d i f f e r e n t

motives

e m a n a t i n g f r o m t h e A s e c t i o n o f t h i s movement, a l s o f r o m t h e
f i r s t movement, a s w e l l a s t h e i n c l u s i o n o f new t h e m e s .
A o n e - b a r i n t r o d u c t i o n , m a r k e d Lento
begins

nostalgico

t h e movement w i t h t h e s o u n d o f a s t r u m m i n g g u i t a r on

a n i n t h chord,
melody.
are

This

intended

which w i l l

serve

short introduction contains

melody i t s e l f

song, a i d e d
stepwise

long notes which

t o evoke t h e sound o f a t o l l i n g b e l l

d i s t a n c e , m a r k e d "come un lontano
The

t o accompany t h e m a i n

rintocco"

o f f i nthe

(example 7 . 8 ) .

e v o k e s t h e i d e a o f an I t a l i a n

folk

i n p a r t b y t h e 12/8 t i m e s i g n a t u r e , a n d i n i t s

m o t i o n and i n n a t e l y I t a l i a n v o c a l q u a l i t y .

marked " e x p r e s s i v e l y and s a d l y "

(measure 2 ) .

It is

A f t e r each

m e a s u r e o f t h i s m e l o d y i s a commentary i n an u p p e r v o i c e ,
m a r k e d " c l e a r a n d s t a r r y , " w h i c h may i n d i c a t e t h e t w i n k l i n g
of s t a r s

(measure 3 ) .

When t h i s m e l o d y r u n s i t s c o u r s e
s t a r r y commentary t a k e s
be

considered

t h e work
begins,

over a l i f e

the beginning

a t m e a s u r e 19, t h e

o f i t s own, w h i c h

could

of the long middle s e c t i o n of

( e x a m p l e 7 . 9 ) . A t m e a s u r e 25 a n o t h e r m e l o d y
m a r k e d quasi

(example 7 . 1 0 ) .

f l a u t o and " f l o w i n g and n o t t o o s l o w l y "

T h i s melody i s p r e s e n t e d

three times,

while

the t a i l

o f the melody becomes i t s own motive i n measure 33

and i t s e l f

subject

to f u r t h e r development

Example 7.8, Castelnuovo-Tedesco,

I I . Voce luntana,
measures 1-4.

p doles (conte un lontano rintocco)

8pp

chiaro e stellato

Piedigrotta

7.11)

1924,

p espress. e dolente il canto

Lento e nostalgico

[con Sordina

(example

WW*

Example 7.10, Castelnuovo-Tedesco,

I I . Voce luntana,
measures 25-28.

Piedigrotta

1924,

At measure

41 the s t a r r y i n t e r j e c t i o n s o f the main

theme r e t u r n , now
treatment

f u l l y developed i n t o t h e i r own

(example 7.12).

thematic

Only f o u r measures l a t e r , y e t

another theme i s i n t r o d u c e d , a c y c l i c a l r e f e r e n c e taken

the development s e c t i o n o f the f i r s t movement
Compare t o example 7.7).

(example

from
7.13.

T h i s melody i s s u b j e c t t o t y p i c a l

romantic treatment, b e i n g taken over by the f i g h t hand i n

chords supported by r i p p l i n g ascending arpeggios, moving
i n t o markings o f agitato

and appassionato,

another statement o f the s t a r theme.

and b u i l d i n g t o

T h i s statement

i n c r e a s e s t o a huge climax b e f o r e pausing on a s i n g l e

D-sharp, and then s o f t l y , the main theme r e t u r n s at measure
61 (example 7.14).

Example 7.13, Castelnuovo-Tedesco,

I I . Voce luntana,
measures 45-4 6.

Piedigrotta

1924,

Pi mosso - VM $enza rigvr di tempo

-.J del mov. prcdente

'f

~&L

11

n mfianguieo o appassionato

> f\ A0f

- j

San

In the f i n a l s e c t i o n both the main theme and the

t w i n k l i n g a r e made more i n t e n s e

through t h i c k e n i n g of

t e x t u r e by the a d d i t i o n o f chords and strummed grace notes.

A short coda of seven measures combines f i r s t

the main

theme, and then the second theme from measure 27 (see

example 7.10),

a l l over a dominant pedal on G.

As a

final

e v o c a t i v e g e s t u r e , the l a s t measure i s a l o n g descending

g l i s s a n d o on the b l a c k keys, marked " l i k e
(example

a shooting star"

7.15).

Example 7.14, Castelnuovo-Tedesco,

I I . Voce luntana,
measures 59-62.

Piedigrotta

1924,

Of the composers d i s c u s s e d d u r i n g the course of t h i s

study, Castelnuovo-Tedesco

s music,

along with R e s p i g h i ' s ,

i s among the most h a r m o n i c a l l y c o n s e r v a t i v e .

of h i s b e i n g Jewish, a f t e r 1938

On the b a s i s

h i s were the works t h a t were

banned, not those of the p r o g r e s s i v e s , C a s e l l a and M a l i p i e r o

who

were b l a c k l i s t e d by t h e i r peers, and not those o f

D a l l a p i c c o l a , who

f l i r t e d w i t h the twelve-tone method under

the v e r y noses of f a s c i s t a u t h o r i t i e s .
a g a i n s t Castelnuovo-Tedesco
compositional s t y l e .

C l e a r l y , the b i a s

had n o t h i n g t o do w i t h

Taking t h i s work as r e p r e s e n t a t i v e of

h i s output, h i s music i s p l e a s i n g , easy t o

understand,

h a r m o n i c a l l y c o n s e r v a t i v e , and o f t e n o v e r t l y
He had no i n t e r e s t i n the f a s c i s t regime,
purposes

of h i s own

nationalistic.

e i t h e r f o r the

advancement or f o r any o t h e r reason,

he simply wrote music i n a s t y l e which s u i t e d him.

s t y l e was

not adopted

i n an attempt

t o garner

and

This

governmental

support,

and

i n any

c a s e , t h e r e were n o t any

g u i d e l i n e s s e t f o r him

to

follow.

stylistic

CONCLUSION

Italian

f a s c i s m a n d i t s c u l t u r e h a v e become a

subject of research

only r e l a t i v e l y

u n d e r t h e more o b v i o u s b l a n k e t
Germany.

general

r e c e n t l y , perhaps

hidden

of the e f f e c t s o f Nazism i n

The t e r m " f a s c i s m " c a r r i e s w i t h i t an enormous s e t

of assumptions, p o s s i b l y out o f comparison w i t h the wealth

of i n f o r m a t i o n surrounding
Germany.
before

one

came t o power, a n d t h e two movements,

With respect

to policies

f a s c i s m and Nazism l a y a t o p p o s i t e
Musically,

the period of I t a l i a n

of m u s i c a l

trends

country,

concerning

from

music,

ends o f t h e s p e c t r u m .

f a s c i s m saw t h e d e v e l o p m e n t

i n the musical

progress

own

of the

and n o t as a r e s u l t o f b u r e a u c r a t i c p o l i c i e s o r
censorship.

fascist period i n Italy

m a j o r e f f e c t on many a s p e c t s
existence.

s p a n n e d 21 y e a r s ,

of I t a l i a n

nationalism.

life

and had a

during i t s

T h r o u g h o u t t h e p e r i o d t h e common g o a l i n a l l

a r e a s was t h e f o s t e r i n g o f a s t r o n g

feeling of I t a l i a n

The d e v a s t a t i o n a f t e r t h e F i r s t W o r l d War

may E u r o p e a n c o u n t r i e s , I t a l y i n c l u d e d , i n s e a r c h
distinct

although

w h i c h came i n t o e x i s t e n c e o f t h e i r

as a n a t u r a l s t e p

systematic
The

well

i n some r e s p e c t s , were i n f a c t v a s t l y d i f f e r e n t

another.

accord,

and a t t i t u d e s i n

M u s s o l i n i ' s f a s c i s m was f i r m l y i n e x i s t e n c e

Hitler

similar

Nazi censorship

o f t r a c e s o f t h e o l d enemy, Germany.

left

of a voice

This

post-war

n a t i o n a l p r i d e was r e s p o n s i b l e f o r t h e a t t e m p t s b y many

artists

a t an u p - t o - d a t e I t a l i a n - n e s s , a n d t h i s was t h e same

c u r r e n t w h i c h was c r u c i a l
h i s new f a s c i s t

t o t h e p o p u l a r i t y o f M u s s o l i n i and

government.

M u s s o l i n i harbored t h i s promotion of n a t i o n a l i s m i nthe

field

o f music by p r o v i d i n g government a s s i s t a n c e f o r

v a r i o u s p r o j e c t s , such as e d i t i o n s and c o m p i l a t i o n s
of t h e p a s t ,

i n c l u d i n g the f i r s t

Monteverdi's works.
during t h i s time.

Musical

o f music

complete e d i t i o n o f

f e s t i v a l s were a l s o

installed

T h e s e w o r k s a n d e v e n t s were a l l f o r t h e

p u r p o s e o f p r o m o t i n g I t a l i a n m u s i c a n d f o r i n s p i r i n g a young
generation

o f composers,

of f a s c i s t

ideology,

in a systematic

not n e c e s s a r i l y f o r the promotion

w h i c h a t any r a t e , n e v e r r e a l l y

way i n t h e f i r s t

existed

place.

O n l y a few months a f t e r M u s s o l i n i ' s a p p o i n t m e n t t o

P r i m e M i n i s t e r , he p u t f o r t h h i s i d e a s t o t h e n a t i o n
concerning

a r t and i t s r e l a t i o n s h i p t o t h e s t a t e :

I d e c l a r e t h a t i t i s f a r f r o m my i d e a t o e n c o u r a g e
a n y t h i n g l i k e an a r t o f t h e S t a t e .
A r t belongs t o the
domain o f t h e i n d i v i d u a l .
The S t a t e h a s o n l y one d u t y :
n o t t o u n d e r m i n e a r t , t o p r o v i d e humane c o n d i t i o n s f o r
a r t i s t s , a n d t o e n c o u r a g e them f r o m t h e a r t i s t i c a n d
n a t i o n a l point of view.
1

C l e a r l y an a t t r a c t i v e
this

credo helped

cultural elite,

forartists

and i n t e l l e c t u a l s ,

both t o b r i n g i n supporters

a n d a t t h e same t i m e ,

from the

t o p r o m o t e an

B e n i t o M u s s o l i n i , " A l i a m o s t r a d e l ' N o v e c e n t o , " s p e e c h o f 26

1 9 2 3 , p u b l i s h e d i n II popolo
d ' I t a l i a 27 M a r c h 1 9 2 3 . Q u o t e d b y
B r a u n i n Mario
Sironi
and I t a l i a n Modernism:
Art and P o l i t i c s
Fascism
(Cambridge:
C a m b r i d g e U n i v e r s i t y P r e s s , 2 0 0 0 ) , 1.
i

March
Emily
under

stand

aesthetic p l u r a l i s m that Mussolini refused to interfere

d u r i n g the

course

of h i s

regime.

Rather than d i s c o v e r i n g a base of c e n s o r s h i p

c o m p a r a b l e t o t h a t o f N a z i Germany, m u s i c a l
was

left

r a t h e r u n t o u c h e d by

of I t a l i a n M u s i c i a n s "

the height

o f f a s c i s t p o p u l a r i t y , and

i n 1932

d e l i n e a t i o n of a e s t h e t i c musical
" p r o g r e s s i v e s , " but

from the musicians

The

d u r i n g the p e r i o d of the
even here,
being
The

the

Jewish,

not

the

of the

racial

f o r any

F u t u r i s t s i n the

o p e r a and

unavailability
'30s

and

'40s

romantic

diligent
The
being

not

of the unrest
through

occurred

laws b e g i n n i n g

i n 1938,

Jewish

but

artists

avant-garde a f t e r the
1910s

had

still

everything
attached

traditions.

but

enough t o s e e k them
music of the

very popular

for

short

t o do

with

to i t s

C e r t a i n l y the

the example of

the
a

Luigi

shows t h a t o p p o r t u n i t i e s e x i s t e d f o r

those

out.

fascist period i n Italy,

subject to p o l i t i c a l

and

came

any

censorship

ideology,

rather

progressed

o f r e a c t i o n a g a i n s t b o t h German r o m a n t i c i s m ,
old

"conservatives"

have been a f a c t o r i n t h e absence of

s i m i l a r movement i n I t a l y ,
Dallapiccola

during

of works of the Viennese s c h o o l d u r i n g

may

The

kind of a e s t h e t i c l e a n i n g .

c u l t u r a l a t t i t u d e s i n a country
beloved

source

only real

absence of a r e a l m u s i c a l

life

time

d i d prompt a

r e s t r i c t i o n s were a g a i n s t
and

Italy

of the

d i d occur

camps i n t o

t h e m s e l v e s , and

governmental decree.

life

in

governmental i n t e r f e r e n c e .

"Manifesto

against

with

I t a l i a n opera t r a d i t i o n .

than

instead

and

the

The

out

very

period

was c h a r a c t e r i z e d b y a p l u r a l i t y
runs counter

to expectations

of musical

styles,

i f one i s s e a r c h i n g

which

for a

c u r r e n t b o r n o f e x t e r n a l f a c t o r s , such as g o v e r n m e n t a l
statutes.

This

stylistic

m u l t i - f a c e t e d nature

p l u r a l i s m i s a r e f l e c t i o n of the

of fascism, not j u s t

i n i t s lack of

c l e a r i d e o l o g y , b u t p e r h a p s more p o s i t i v e l y
i n v a r i e t y , a l l i n t h e name o f a n a t i o n a l
p a r t i c u l a r l y during the years

i n i t s interest
consciousness,

p r i o r to the r a c i a l

laws o f

1938.
In g e n e r a l ,

composers o f t h e f a s c i s t p e r i o d d i d n o t

emphasize music f o r s o l o piano.

in

The s e a r c h

f o r a new

voice

I t a l i a n m u s i c was i m p l e m e n t e d w i t h t h e e f f o r t s o f t h e

generazione

d e l l ' o t t a n t a composers.

W h i l e many c o m p o s e r s

during the f a s c i s t p e r i o d dabbled i n music f o r s o l o

o n l y two o f t h i s g e n e r a t i o n

-- C a s e l l a a n d M a l i p i e r o --

w r o t e a m o d e r a t e amount o f p i a n o

music.

Castelnuovo-Tedesco counts a l a r g e l i s t
instrument

piano,

among h i s o u t p u t a s w e l l .

The y o u n g e r
o f works f o r t h e

I t seems t h a t

those

c o m p o s e r s i n v o l v e d i n t h e " c o n s e r v a t i v e " camp o f t h e 1932

manifesto,

a l o n g w i t h t h e i r deep i n t e r e s t

more r o m a n t i c

musical

tradition

i n preserving a

i n the twentieth

century,

were i n t e n t on c l i n g i n g t o t h e t r i e d - a n d - t r u e l i n e a g e o f
I t a l i a n popular

opera and d e r i v a t i v e s t y l e s ,

music and p o p u l a r
interest

counting

o r c h e s t r a l f o r m s among them.

i n c h o r a l music and opera,

popularity of Respighi's

vocal

Pizzetti s
1

as w e l l as t h e

t o n e poems, r e f l e c t

this

tendency.

The

two " p r o g r e s s i v e s " a t t a c k e d b y t h e m a n i f e s t o

more i n t e r e s t e d i n p u r s u i n g

new a v e n u e s , a n d c o n s i d e r i n g t h e

position

I t a l i a n music found i t s e l f

century,

p i a n o m u s i c was an a v e n u e t h a t h a d b e e n

only very l i t t l e .

his

explored

later,

c h o s e t o do a s he

incorporating a romantic/impressionistic idiom

many p i a n o

works.

Itwill

refused to sign the notorious

The

i n at the turn of the

C a s t e l n u o v o - T e d e s c o , a r r i v i n g on t h e

scene about h a l f a g e n e r a t i o n
pleased,

were

purpose of t h i s

music o f f a s c i s t
historical

into

be r e c a l l e d a s w e l l t h a t he
manifesto.

s t u d y was t o e x a m i n e t h e p i a n o

I t a l y and p l a c e t h e works w i t h i n a g e n e r a l

context.

Although

seemingly

a simple

s i t u a t i n g of anything w i t h i n the context

task, the

of fascist

Italy

requires the s h a t t e r i n g of a c e r t a i n s e t of assumptions.

Preconceived

expectations

surrounding

comparisons with

Germany must be e x a m i n e d a n d r e - e v a l u a t e d ,
"progressive" compositional tendencies

Nazi

the concept of

i n the twentieth

c e n t u r y must be r e c o n s i d e r e d w i t h i n I t a l y ' s p e c u l i a r
context,
short.

and t h e s e a r c h

forstylistic

One common c o m p o s i t i o n a l

c o n s i s t e n t l y i n the solo piano

i n c l u s i o n of pre-romantic
contrapuntal procedures,
t e x t u r e s and m e l o d i e s ,
composers and t r e n d s
Collectively,
this

study

u n i t y must come up

f a c t o r does

arise

works, t h a t b e i n g t h e

compositional types,

such as

t h e use o f chant o r c h a n t - l i k e
and r e f e r e n c e s t o i m p o r t a n t

of years

past.

the solo piano

form a f a i r l y

Italian

works o f t h e composers i n

s i z e a b l e group o f c o m p o s i t i o n s ,

most o f w h i c h a r e n e g l e c t e d t o d a y
It

i s hoped t h a t t h e p r e c e d i n g

pianist's

search

f o r new

t h e s e unknown w o r k s t o

i n concerts or recordings.

study w i l l f a c i l i t a t e

repertoire,
light.

the

and h e l p b r i n g some o f

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The

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APPENDIX A
RECITAL PROGRAMS
1.

Solo R e c i t a l :

F r i d a y , M a r c h 27, 1998

2.

Chamber R e c i t a l :

Wednesday, J a n u a r y

3.

Lecture Recital :

T u e s d a y , November 2 1 , 2 000

4.

Solo R e c i t a l :

T u e s d a y , S e p t e m b e r 4, 2001

27, 1999

THE UNIVERSITY OF BRITISH C O L U M B I A

SCHOOL OF MUSIC
Recital Hall
Friday, March 27, 1998
8:00 p.m.
DOCTORAL RECITAL*
KARIN DI BELLA, PIANO
Stewart Grant
(b. 1948)

Dance Variations (1988)

Introduction
Habanera
Bulgarian Dance
Waltz
Ragtime
Sarabande
Gigue
Sechs Klavierstiicke, Op. 118 (1892)

Johannes Brahms
(1833-1897)

Intermezzo in A minor
Intermezzo in A major
Ballade in G minor
Intermezzo in F minor
Romanze in F major
Intermezzo in E-flat minor
- INTERMISSION Sonata in C Major, Op. 2, No. 3 (1795)

Ludwig van Beethoven

(1770-1827)

Allegro con brio

Adagio
Scherzo: Allegro
Allegro assai

The Feast of Life (1975)

JackBehrens
(b.1935)

* In partial fulfillment of the requirements for the Doctor of Musical Arts degree with a major in Piano
Performance.

THE UNIVERSITY OF BRITISH C O L U M B I A

SCHOOL OF MUSIC
Recital Hall
Wednesday, January 27, 1999
8:00 p.m.
DOCTORAL RECITAL*
KARIN DI BELLA, PIANO
Wolfgang Amadeus Mozart
(1756-1791)

Kegelstatt Trio, K. 498

Andante
Menuetto
Allegretto
Emily Greenlaw, viola
Heidi Remers, clarinet
Sonata in F Minor, Op. 120, No. 1

Johannes Brahms
(1833-1897)

Allegro appassionato
Andante un poco Adagio
Allegretto grazioso
Vivace
Sarah Mickeler, clarinet
- INTERMISSION Two Songs to Poems of Gwendolyn MacEwen (1986)

Jack Behrens
(b. 1935)

I Have Mislaid Something

The Death of the Loch Ness Monster
Liesa Norman, flute
Tyler Duncan, baritone
Sonata in A Major, Op. 69

Ludwig van Beethoven

(1770-1827)

Allegro ma non tanto

Scherzo: Allegro molto
Adagio cantabile - Allegro vivace
Natasha Boyko, violoncello
* In partial fulfillment of the requirements for the Doctor of Musical Arts degree with a major in Piano
Performance.

I Have Mislaid Something (1)

The Death of the Loch Ness Monster (2)

I have mislaid something very important

worse still

Consider that the thing has died

before we proved it ever lived,
and that it died of loneliness,

I can't remember what it is

I don't think it's
a thing or a wish or a taste or a poem
but it might be a dark street in London
where a cousin I never met
who spoke with the tongues of angels
died
he fell away from our blood like a word
and few understood the things he said
I have mislaid something very important
and possibly very large
like a castle in the Highlands
where the ghosts of my ancestors
wait with bagpipes and with horns
I have mislaid many places
in this house without history
there are so many places for places to hide

(1) from The Armies of the Moon

Earth Light
General Publishers, Toronto
copyright 1982, Gwendolyn MacEwen

Dark lord of the loch,

fathomless worm,
great Orm
This last of our mysteries and that it had no tales to tell us,
only that it lived there, lake-locked,
lost in its own cells, waiting to be found;
in the black light of midnight surfacing,
its whole elastic length unwound,
and the sound it made as it broke the water
was the single plucked string of a harp This newt or salamander,
graceful as a swan.
This water snake, this water horse,
this water dancer
consider him tired of pondering
the possible existence of man
who he thinks he has sighted sometimes
on the shore,
and rearing up
from the purple churning water,
Weird little worm-head
swaying from side to side,
he denies the vision before his eyes;
his long neck, swan of hell,
a silhouette against the moon,
his green heart beating its last,
his noble sordid soul in ruins:
Now the mist is a blanket of doom,
and we pluck from the depths a prize
of premordial slime The beast who was born
from some terrible ancient kiss,
love-child of unspeakable mysteries,
this ugly slug, half blind no doubt,
and very cold,
his head which is horror to behold
no bigger than our own;
whom we loath
for his kind ruled the earth before us,

who died of loneliness

in a small lake in Scotland,
and in his mind's dark land,
where he dreamed up his luminous myths,
the last of which
was man.

(2) poem commissioned by

Queen Anne Rare Scotch Whiskey (1983)
copyright Gwendolyn MacEwen

THE UNIVERSITY OF BRITISH C O L U M B I A

SCHOOL OF MUSIC
Recital Hall
Tuesday, November 21, 2000
8:00 p.m.

DOCTORAL LECTURE-RECITAL*
KARIN DI BELLA, PIANO

Lecture
"Piano Music in Italy during the Fascist Era"

- INTERMISSION -

Recital

Piedigrotta 1924 (1924)

Rapsodia Napoletana per Pianoforte

Mario Castelnuovo-Tedesco
(1895-1968)

I. Tarantella scura Gloomy tarantella

TV. Voce luntana (Fenesta che lucive...) Distant voice (Glowing window...)

Cavalcate (1921)

Gian Francesco Malipiero

(1882-1973)

I. Rcalcitrante (Somaro) Uncooperative (Donkey)

JJ. Dondolante (Camello) Swaying (Camel)
HI. Focoso (Destriero) Fiery (Steed)

Due Ricercari sul nome "B.A.C.H." (1932)

Alfredo Casella
(1883-1947)

I. Funbre
II. Ostinato

Sonatina Canonica (1942)

su "Capricci" di Niccolo Paganini

Luigi Dallapiccola
(1904-1975)

I. Allegretto comodo
IV. Alia marcia; moderato

Tre Preludi sopra mlodie gregoriane (1921)

Ottorino Respighi
(1879-1936)

I. Molto lento
II. Tempestoso

* In partial fulfillment of the requirements for the Doctor of Musical Arts degree with a major in Piano
Performance.
** Reception to follow.

THE UNIVERSITY OF BRITISH C O L U M B I A

SCHOOL OF MUSIC
Recital Hall
Tuesday, September 4, 2001
8:00 p.m.

DOCTORAL RECITAL*
KARIN DI B E L L A , PIANO and FORTEPIANO

Sonata in A Minor, K. 310

Wolfgang Amadeus Mozart

(1756-1791)

Allegro maestoso
Andante cantabile con espressione
Presto

Faschingsschwank aus Wien, Op. 26

Allegro
Romanze
Scherzino
Intermezzo
Finale

- INTERMISSION -

Robert Schumann
(1810-1856)

Sonatina [No. 4]
. . . on the day of Christ's birth, 1917

Sonatina Canonica
su "Capricci" di Niccolo Paganini

Ferruccio Busoni
(1866-1924)

Luigi Dallapiccola
(1904-1975)

I. Allegretto comodo
II. Largo
m. Andante sostenuto
IV. Alia marcia; moderato

Andalucia "Suite Espagnole it

Ernesto Lecuona
(1896-1963)

Cordoba
Andalucia
Alhambra
Gitanerias
Guadalquivir
Malaguena

* In partial fulfillment of the requirements for the Doctor of Musical Arts degree with a major in Piano
Performance.
** Reception to follow.

APPENDIX B
RECORDINGS
CD 1

Solo R e c i t a l

F r i d a y , M a r c h 27, 1998

Stewart Grant

Dance

Variations

Johannes

Sechs

Klavierstcke,

CD 2

Brahms
Solo R e c i t a l

Op.11!

F r i d a y , M a r c h 27, 1998

Ludwig van Beethoven

S o n a t a i n C M a j o r , Op.2,

Jack

The Feast

Behrens

CD 3

Chamber R e c i t a l

no.3

of L i f e

Wednesday, J a n u a r y 27, 1999

Wofgang Amadeus M o z a r t

Kegelstatt Trio,

J o h a n n e s Brahms

S o n a t a i n F m i n o r , Op.12 0, no. 1

CD 4

Wednesday, J a n u a r y 27, 1999

Jack

Chamber R e c i t a l
Behrens

K.498

Two Songs

to Poems of

Gwendolyn

MacEwen

Ludwig van Beethoven

S o n a t a i n A m a j o r , Op.69

CD 5

Tuesday,

Lecture R e c i t a l

November 2 1 , 2000

"Piano Music i n I t a l y d u r i n g the

Lecture

Fascist Era"
CD 6

Lecture R e c i t a l

M. C a s t e l n u o v o - T e d e s c o
Gian Francesco Malipiero
Alfredo

Casella

T u e s d a y , November 2 1 , 2000
Piedigrotta
Cavalcate
Due Ricercari

Luigi Dallapiccola

Sonatina

Ottorino

Tre Preludi

Respighi

1924

gregoriane

sul nome "B.A.C.H."

Canonica
sopra

mlodie

CD 7

Solo R e c i t a l

Tuesday,

September

W o l f g a n g Amadeus M o z a r t

Sonata i n A minor,

R o b e r t Schumann

Faschingsschwank

CD 8

Tuesday,

Solo R e c i t a l

Ferruccio

Busoni

Sonatina

Luigi Dallapiccola

Sonatina

E r n e s t o Lecuona

Andalucia

4, 2001
K.310

aus Wien,

September

4, 2001,

[No.4]
Canonica
"Suite

Espagnole"

Op.26