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Luigi Dallapiccola (February 3, 1904 – February 19, 1975) was an Italian composer known for his lyrical twelve-tone compositions.
Contents
1 Biography
2 Music
3 List of works
3.1 Writings by Dallapiccola
3.2 Writings in English on Dallapiccola
4 References
5 External links
Biography
Plaque on Via Romana, Florence, at Dallapiccola's former home
Dallapiccola was born in Pisino d'Istria (at the time part of Austria-Hungary, current Pazin, Croatia), to Italian parents.
Unlike many composers born into highly musical environments, his early musical career was irregular at best. Political disputes over his birthplace of Istria, then part of the Austro-Hungarian empire, led to instability and frequent moves. His father was headmaster of an Italian-language school – the only one in the city – which was shut down at the start of World War I. The family, considered politically subversive, was placed in internment at Graz, Austria, where the budding composer did not even have access to a piano, though he did attend performances at the local opera house, which cemented his desire to pursue composition as a career. Once back in his hometown Pisino after the war, he travelled frequently.
Dallapiccola took his piano degree at the Florence Conservatory (now known as the Luigi Cherubini Conservatory) in the 1920s. He also studied composition with Vito Frazzi. He became a professor at the conservatory in 1931;[1] until his 1967 retirement, he spent his career there teaching lessons in piano as a secondary instrument, replacing his teacher Ernesto Consolo as the older man's illness prevented him from continuing. Dallapiccola's students include Abraham Zalman Walker, Luciano Berio, Bernard Rands, Donald Martino, Halim El-Dabh, Julia Perry, Ernesto Rubin de Cervin, Arlene Zallman, Roland Trogan, Noel Da Costa, and Raymond Wilding-White. See: List of music students by teacher: C to F#Luigi Dallapiccola.
Dallapiccola's early experiences under the fascist regime of Benito Mussolini, who governed Italy from October 1922 to July 1943, colored his outlook and output for the rest of his life. He once supported Mussolini, believing the propaganda, and it was not until the 1930s that he became passionate about his political views, in protest to the Abyssinian campaign and Italy's involvement in the Spanish Civil War. Mussolini's sympathy with Adolf Hitler's views on race, which threatened Dallapiccola's Jewish wife Laura Luzzatto, only hardened his stance. Canti di prigionia and Il prigioniero are reflections of this impassioned concern; the former was his first true protest work.[1]
During World War II he was in the dangerous position of opposing the Nazis; though he tried to go about his career as usual, and did, to a limited extent. On two occasions he was forced to go into hiding for several months. Dallapiccola continued his touring as a recitalist – but only in countries not occupied by the Nazis.[1]
Though it was only after the war that his compositions made it into the public eye (with his opera Il prigioniero sparking his fame), it was then that his life became relatively quiet. He made frequent travels to the United States, including appearances at Tanglewood in the summers of 1951 and 1952 and several semesters of teaching courses in composition at Queens College, New York beginning in 1956. He was a sought-after lecturer throughout Western Europe and the Americas. Dallapiccola's 1968 opera Ulisse would be the peak of his career, after which his compositional output was sparse; his later years were largely spent writing essays rather than music.
He had no more finished compositions after 1972 due to his failing health, and he died in Florence in 1975 of edema of the lungs. There are, however, very few sketches and fragments of work from this period, including a vocal work left unfinished just hours before his death.
Music
It was Richard Wagner's music that inspired Dallapiccola to start composing in earnest, and Claude Debussy's that caused him to stop: hearing Der fliegende Holländer while exiled to Austria convinced the young man that composition was his calling, but after first hearing Debussy in 1921, at age 17, he stopped composing for three years in order to give this important influence time to sink in. The neoclassical works of Ferruccio Busoni would figure prominently in his later work, but his biggest influence would be the ideas of the Second Viennese School, which he encountered in the 1930s, particularly Alban Berg and Anton Webern. Dallapiccola's works of the 1920s (the period of his adherence to fascism) have been withdrawn, with the instruction that they never be performed, though they still exist under controlled access for study.
His works widely use the serialism developed and embraced by his idols; he was, in fact, the first Italian to write in the method, and the primary proponent of it in Italy, and he developed serialist techniques to allow for a more lyrical, tonal style. Throughout the 1930s his style developed from a diatonic style with bursts of chromaticism to a consciously serialist outlook. He went from using twelve-tone rows for melodic material to structuring his works entirely serially. With the adoption of serialism he never lost the feel for melodic line that many of the detractors of the Second Viennese School claimed to be absent in modern dodecaphonic music. His disillusionment with Mussolini's regime effected a change in his style: after the Abyssinian campaign, he claimed that his writing would no longer ever be light and carefree as it once was. While there are later exceptions, particularly the Piccolo concerto per Muriel Couvreux, this is largely the case.
Liriche Greche (1942–45), for solo voice with instruments, would be his first work composed entirely in this twelve-tone style, composed concurrently with his last original purely diatonic work, the ballet Marsia (1943). The following decade showed a refinement in his technique and the increasing influence of Webern's work. After this, from the 1950s on, the refined, contemplative style he developed would characterize his output, in contrast to the more raw and passionate works of his youth. Most of his works would be songs for solo voice and instrumental accompaniment. His touch with instrumentation is noted for its impressionistic sensuality and soft textures, heavy on sustained notes by woodwinds and strings (particularly middle-range instruments, such as the clarinet and viola).
The politically charged Canti di prigionia for chorus and ensemble was the beginning of a loose triptych on the highly personal themes of imprisonment and injustice; the one-act opera Il prigioniero and the cantata Canti di liberazione completed the trilogy. Of these, Il prigioniero (1944–48) has become Dallapiccola's best-known work. It tells the chilling story of a political prisoner whose jailor, in an apparent gesture of fraternity, allows him to escape from his cell. At the moment of his freedom, however, he finds he has been the victim of a cruel practical joke as he runs straight into the arms of the Grand Inquisitor, who smilingly leads him off to the stake at which he is to be burned alive. The opera's pessimistic outlook reflects Dallapiccola's complete disillusionment with fascism (which he had naïvely supported when Mussolini first came to power) and the music contained therein is both beautifully realized and supremely disquieting.
His final opera Ulisse, with his own libretto after The Odyssey, was the culmination of his life's work. It was composed over eight years, including and developing themes from his earlier works, and was his last large-scale composition.
List of works
Partita (1930–32), orchestra
Estate (1932), male chorus
Divertimento in quattro esercizi (1934), soprano, flute, oboe, clarinet, viola, cello
Musica per tre pianoforti (Inni) (1935), three pianos
Sei cori di Michelangelo Buonarroti il Giovane (1932–36), 1st series: unaccompanied mixed voices; 2nd series: two sopranos and two altos and 17 instruments; 3rd series: mixed voices and orchestra
Tre laudi (1936–37), voice and 13 instruments
Volo di Notte (1938), one-act opera
Canti di prigionia (1938–41), for chorus, two pianos, 2 harps and percussion (a: Preghiera di Maria Stuarda; b: Invocazione di Boezio; c: Congedo di Girolamo Savonarola)
Piccolo concerto per Muriel Couvreux (1939–41), piano and chamber orchestra
Studio sul Capriccio n. 14 di Niccolò Paganini (1942), piano
Marsia (1942–43), ballet
Frammenti sinfonici dal balletto Marsia (1942–43), orchestra
Liriche greche (1942–45), a: Cinque frammenti di Saffo, for voice and chamber orchestra; b: Due liriche di Anacreonte, for singer, piccolo clarinet, A clarinet, viola, piano; c: Sex Carmina Alcaei, for canenda voice, nonnullis comitantibus musicis
Il prigioniero (1944–48), opera.
Ciaccona, Intermezzo e Adagio (1945), for solo cello
Sonatina canonica, in mi bemolle maggiore, su Capricci di Niccolò Paganini, per pianoforte (1946), for piano
Rencesvals (1946), baritone and piano
Due studi (1946–47), violin and piano
Due pezzi (1947), orchestra (version of Due studi)
Quattro liriche di Antonio Machado (1948), soprano and piano
Tre episodi dal balletto Marsia (1949), piano
Tre poemi (1949), voice and chamber orchestra
Job (1950), sacra rappresentazione (mystery play)
Tartiniana (1951), violin and orchestra
Quaderno musicale di Annalibera (1952), solo piano, featuring the BACH motif
Goethe-Lieder (1953), for mezzo-soprano, piccolo clarinet, clarinet, and bass clarinet
Variazioni (1954), orchestra (version of Quaderno musicale di Annalibera)
Piccola musica notturna (1954), orchestra
Canti di liberazione (1951–55), for mixed chorus and orchestra
An Mathilde (1955), cantata for soprano and orchestra
Tartiniana seconda (1955–56), violin and piano, or violin and chamber orchestra
Cinque canti (1956), baritone and 8 instruments
Concerto per la notte di Natale dell'anno 1956 (1957), chamber orchestra and soprano
Requiescant (1957–58), chorus and orchestra
Dialoghi (1960), cello and orchestra
Piccola musica notturna (1960–61), chamber ensemble
Three Questions With Two Answers (1962), orchestra
Preghiere (1962), baritone and chamber orchestra
Parole di San Paolo (1964), voice and instruments
Quattro liriche di Antonio Machado (1964), version for soprano and chamber orchestra
Ulisse (1960–68), opera in a prologue and two acts
Sicut umbra... (1970), mezzo-soprano and 12 instruments
Tempus destruendi / Tempus aedificandi (1971), chorus
Ulisse. Suite dall'opera/A (1971), soprano, bass-baritone, orchestra
Ulisse. Suite dall'opera/B (1971), 3 sopranos, mezzo-soprano/alto, tenor, bass-baritone, chorus and orchestra
Commiato (1972), soprano and ensemble ***** Luigi Dallapiccola, (born Feb. 3, 1904, Pisino, Istria, Austrian Empire [now Pazin, Croatia]—died Feb. 19, 1975, Florence), Italian composer, noteworthy for putting the disciplined 12-tone serial technique at the service of warm, emotional expression.
Dallapiccola spent much of his childhood in Trieste and was interned with his family in Graz, Austria, during World War I; there he became acquainted with the music of Giuseppe Verdi and Richard Wagner. In 1921 Dallapiccola entered the Conservatorio Luigi Cherubini in Florence and was named to its faculty in 1934. Known before World War II as a teacher and pianist, Dallapiccola had an early interest in the music of Ferruccio Busoni, Arnold Schoenberg, and Anton von Webern. He began experiments in the 12-tone idiom around 1939. His triptych Canti di prigionia (1938–41; Songs of Prison) marked him as a mature composer; this work, for chorus with an orchestra of percussion, harps, and pianos, was a protest against Fascist doctrine and was based in part on the chant “Dies Irae” (“Day of Wrath”) from the mass for the dead. In it he used an original version of 12-tone technique.
Dallapiccola’s vocal music is considered among his most effective. Using impassioned texts and a variety of imaginative effects of articulation, his choral writing is Latin in its warmth and at the same time technically complex. The rhythmic intricacies of the Quaderno musicale di Annalibera (1952; Musical Notebook of Annalibera), a piano book written for his daughter, serve as the basis for much of his Canti di liberazione (1955; Songs of Liberation), a triptych for chorus and orchestra, celebrating the liberation of Italy from Fascist control. An opera, Volo di notte (Night Flight), was first performed in Florence in 1940.
Dallapiccola taught composition in the United States in the 1950s and ’60s at the Berkshire Music Center at Tanglewood, in Massachusetts, and at other centres and was a great influence, particularly on the younger Italian composers. Among his students was Luciano Berio, one of the leading composers of electronic music. **** Luigi Dallapiccola
Luigi Dallapiccola was an Italian composer known for his lyrical twelve-tone compositions.
Dallapiccola took his piano degree at the Florence Conservatory in the 1920s and became professor there in 1931; until his 1967 retirement he spent his career there teaching lessons in piano as a secondary instrument. He also studied composition with Vito Frazzi at the Conservatorio Luigi Cherubini. Dallapiccola's students include Abraham Zalman Walker, Luciano Berio, Bernard Rands, Donald Martino, Halim El-Dabh, Ernesto Rubin de Cervin, Arlene Zallman, Roland Trogan, Noel Da Costa, and Raymond Wilding-White.
It was Richard Wagner's music that inspired Dallapiccola to start composing in earnest, and Claude Debussy's that caused him to stop: hearing Der fliegende Holländer while exiled to Austria convinced the young man that composition was his calling, but after first hearing Debussy in 1921, at age 17, he stopped composing for three years in order to give this important influence time to sink in. The neoclassical works of Ferruccio Busoni would figure prominently in his later work, but his biggest influence would be the ideas of the Second Viennese School, which he encountered in the 1930s, particularly Alban Berg and Anton Webern. Dallapiccola's works of the 1920s (the period of his adherence to fascism) have been withdrawn, with the instruction that they never be performed, though they still exist under controlled access for study.
His works widely use the serialism developed and embraced by his idols; he was, in fact, the first Italian to write in the method, and the primary proponent of it in Italy, and he developed serialist techniques to allow for a more lyrical, tonal style. Throughout the 1930s his style developed from a diatonic style with bursts of chromaticism to a consciously serialist outlook. He went from using twelve-tone rows for melodic material to structuring his works entirely serially. With the adoption of serialism he never lost the feel for melodic line that many of the detractors of the Second Viennese Schoolclaimed to be absent in modern dodecaphonic music. His disillusionment with Mussolini's regime effected a change in his style: after the Abyssinian campaign he claimed that his writing would no longer ever be light and carefree as it once was. While there are later exceptions, particularly the Piccolo concerto per Muriel Couvreux, this is largely the case.
Liriche Greche (1942—45), for solo voice with instruments, would be his first work composed entirely in this twelve-tone style, composed concurrently with his last original purely diatonic work, the ballet Marsia (1943). The following decade showed a refinement in his technique and the increasing influence of Webern's work. After this, from the 1950s on, the refined, contemplative style he developed would characterize his output, in contrast to the more raw and passionate works of his youth. Most of his works would be songs for solo voice and instrumental accompaniment. His touch with instrumentation is noted for its impressionistic sensuality and soft textures, heavy on sustained notes by woodwinds and strings (particularly middle-range instruments, such as the clarinet and viola).
The politically charged Canti di prigionia for chorus and ensemble was the beginning of a loose triptych on the highly personal themes of imprisonment and injustice; the one-act opera Il prigioniero and the cantata Canti di liberazione completed the trilogy. Of these, Il prigioniero (1944—48) has become Dallapiccola's best-known work. It tells the chilling story of a political prisoner whose jailor, in an apparent gesture of fraternity, allows him to escape from his cell. At the moment of his freedom, however, he finds he has been the victim of a cruel practical joke as he runs straight into the arms of the Grand Inquisitor, who smilingly leads him off to the stake at which he is to be burned alive. The opera's pessimistic outlook reflects Dallapiccola's complete disillusionment with fascism (which he had naïvely supported when Mussolini first came to power) and the music contained therein is both beautifully realized and supremely disquieting. **** Luigi Dallapiccola
Gavin Thomas introduces the work of Luigi Dallapiccola (1904--1975).
Overview
Overview
The theme of human liberty and subjection is a recurrent feature of both Dallapiccola’s life and music.
Born in 1904 in Pisino, Istria, an ethnically Italian region of the Austro-Hungarian Empire, Dallapiccola was just ten years old when he and his family were interned in Graz after the Austrian authorities began to suspect his father of Italian nationalist leanings -- an early and formative experience of the fate of political and racial minoritities living under an authoritarian regime.
Nevertheless, although the forced removal disrupted the young Dallapiccola’s musical education, it was in Graz that he heard the performance of Wagner’s Flying Dutchman which made him determined to become a composer, and in 1923 he entered the Florence Conservatory, an institute with would he would maintain a lifelong connection.
Dallapiccola’s early works show him grappling with a range of disparate influences -- Debussy especially, along with earlier Italian composers such as Monteverdi and Gesualdo -- while a performance of Schoenberg’s Pierrot Lunaire in Florence in 1924 kindled his interest in the music of the Second Viennese School.
A decade of study and musical consolidation followed. In 1934, he was appointed a professor of piano at the Florence Conservatory, a post he held until his retirement in 1967, while his own compositions continued to develop under the influences of Busoni, Schoenberg and, especially, Berg, as Dallapiccola studied the 12-note system and began to incorporate it into his own music.
Meanwhile, the growing shadow of Fascism reawakened his concern with the plight of ordinary human beings living under despotism.
In 1938, Mussolini’s adoption of Hitler’s racial policies (with the consequent threat to Dallapiccola’s own wife, who was Jewish) provided the impetus for the first of his tryptych of works concerned with imprisonment and freedom, the Canti di prigionia (“Songs of Imprisonment”) -- as Dallapiccola noted in his diary: “in a totalitarian regime the individual is powerless.
Only by means of music would I be able to express my anger.”
Dallapiccola’s public opposition to Mussolini made his position increasingly untenable until, during 1942--44, he was forced first out of Florence and eventually into hiding in the countryside.
For all his personal difficulties, however, the years immediately before and during World War II were musically fecund ones, as Dallapiccola established the lyrical version of 12-note music -- with a distinctly Italian turn of phrase -- that was to serve him for the remainder of his career, and which he first expounded in the sequence of small-scale vocal works, most notably the Liriche greche, written during the 1940s.
As a well-known opponent of Fascism, Dallapiccola emerged from the aftermath of war with his personal reputation enhanced, while the premiere in 1950 of his most famous work, the opera Il prigioniero, established his international reputation as the leading Italian composer of his generation.
Despite this, as his public fame increased, so his musical style became increasingly abstract and personal, eschewing big public statements in favour of a lyrical understatement, as exemplified by the third of his “prisoner” pieces, the Canti di liberazione (“Songs of Freedom”) of 1955. EBAY ./ folder208