The Music of Luigi Dallapiccola (Eastman Studies in Music) by Raymond Fearn

By Raymond Fearn

Luigi Dallapiccola (1904-1975) used to be the most very important Italian composers of the 20th century. in addition to writing a number of operas, he composed plenty of works during which the human voice, even if in solo or in refrain, performs an incredible function. Dallapiccola additionally set texts through writers as varied as James Joyce, Salvatore Quasimodo, Antonio Machado, Goethe and Heine. This ebook is the 1st in English to accommodate Dallapiccola as a complete, from the 1st, hesitant vocal compositions of his pupil years as much as the works of his final decade, during which Italian lyricism is mixed with nice formal rigor. the writer means that Dallapiccola will be understood not just as an influential determine within the post-war advancements of Italian song, but additionally as one that renewed and revitalized the older traditions of Italian track.

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By Raymond Fearn

Luigi Dallapiccola (1904-1975) used to be the most very important Italian composers of the 20th century. in addition to writing a number of operas, he composed plenty of works during which the human voice, even if in solo or in refrain, performs an incredible function. Dallapiccola additionally set texts through writers as varied as James Joyce, Salvatore Quasimodo, Antonio Machado, Goethe and Heine. This ebook is the 1st in English to accommodate Dallapiccola as a complete, from the 1st, hesitant vocal compositions of his pupil years as much as the works of his final decade, during which Italian lyricism is mixed with nice formal rigor. the writer means that Dallapiccola will be understood not just as an influential determine within the post-war advancements of Italian song, but additionally as one that renewed and revitalized the older traditions of Italian track.

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However, despite the impact of the performance of Schoenberg’s Pierrot Lunaire he had heard a few years earlier, this does not appear to have influenced the writing for chamber ensemble in the Divertimento. The ensemble itself is very differently constituted from that of Pierrot Lunaire—no piano is used, nor does the clarinet double with bass clarinet—so the possibilities for creating the searing instrumental lines characteristic of Pierrot Lunaire are limited, and in any case the work lacks the chromaticisms of Schoenberg’s polyphony.

Furthermore, the choral writing incorporates a highly varied use of vocal gestures in a Bergian manner: canto parlato, murmured sounds (mormorato), slightly intoned (poco intonato), singing a boccha chiusa, and completely timbre-less whispering (sussurrato e assolutamente senza timbro), which carries only rhythmic indications for the choral voices. In the case of the canto parlato (Sprechgesang), this was not influenced by Schoenberg’s use of the technique, since he used it in a choral rather than a solo context only in Moses und Aron.

Furthermore, the choral writing incorporates a highly varied use of vocal gestures in a Bergian manner: canto parlato, murmured sounds (mormorato), slightly intoned (poco intonato), singing a boccha chiusa, and completely timbre-less whispering (sussurrato e assolutamente senza timbro), which carries only rhythmic indications for the choral voices. In the case of the canto parlato (Sprechgesang), this was not influenced by Schoenberg’s use of the technique, since he used it in a choral rather than a solo context only in Moses und Aron.

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