The Art-Music Forum

Little-known music of all eras => Downloads discussion => Topic started by: jowcol on August 16, 2012, 05:23:55 pm



Title: Italian Music
Post by: jowcol on August 16, 2012, 05:23:55 pm
Concerto for Piano, Strings, Timpani, and Percussion, Op. 69 by Alfredo Casella (1943)
(http://upload.wikimedia.org/wikipedia/commons/thumb/8/81/Alfredo_Casella.jpg/230px-Alfredo_Casella.jpg)
Gary Graffman, Soloist
ORTF, Conducted by  F Mannino
Radio broadcast, April 29, 1966

From the collection of Karl Miller


This is a very lively work, some great rhythms.  My only regret is that Gary Graffman does not stand out very well in the mix, and given his talent, that is a shame.  Nonetheless, the music is very engaging.

Wikipedia Bio for Alfredo Casella

Alfredo Casella (25 July 1883 – 5 March 1947) was an Italian composer, pianist and conductor.

Life and career
Casella was born in Turin; his family included many musicians; his grandfather, a friend of Paganini's, was first cello in the San Carlo Theatre in Lisbon and eventually was soloist in the Royal Chapel in Turin. Alfredo's father Carlo Casella was also a professional cellist, as were Carlo's brothers Cesare and Gioacchino; his mother was a pianist, and gave the boy his first music lessons.

Alfredo entered the Conservatoire de Paris in 1896 to study piano under Louis Diémer and composition under Gabriel Fauré; in these classes, George Enescu and Maurice Ravel were among his fellow students. During his Parisian period, Claude Debussy, Igor Stravinsky, and Manuel de Falla were acquaintances, and he was in contact with Ferruccio Busoni, Gustav Mahler, and Richard Strauss as well.

Casella developed a deep admiration for Debussy's output after hearing Prélude à l'après-midi d'un faune in 1898, but pursued a more romantic vein (stemming from Strauss and Mahler) in his own writing of this period, rather than turning to impressionism. His first symphony of 1905 is from this time, and it is with this work that Casella made his debut as a conductor when he led the symphony's premiere in Monte Carlo in 1908.

Back in Italy during World War I, he began teaching piano at the Accademia Nazionale di Santa Cecilia in Rome. From 1927 to 1929, Casella was the principal conductor of the Boston Pops, where he was succeeded by Arthur Fiedler.[1] He was one of the best-known Italian piano virtuosos of his generation, and together with Arturo Bonucci (cello) and Alberto Poltronieri (violin), he formed the Trio Italiano in 1930. This group played to great acclaim in Europe and America. His stature as a pianist and his work with the Trio gave rise to some of his best known compositions, including A Notte Alta, the Sonatina, Nove Pezzi, and the Six Studies, Op. 70, for piano. For the Trio to play on tour, he wrote the Sonata a Tre and the Triple Concerto.

Casella had his biggest success with the ballet La Giara, set to a scenario by Pirandello; other notable works include Italia, the Concerto Romano, Partita and Scarlattiana for Piano and Orchestra, the Violin and Cello Concerti, Paganiniana, and the Concerto for Piano, Strings, Timpani and Percussion. Amongst his chamber works, both Cello Sonatas are played with some frequency, as is the very beautiful late Harp Sonata, and the music for Flute and Piano. Casella also made live-recording player piano music rolls for the Aeolian Duo-Art system, all of which survive today and can be heard. In 1923, together with Gabriele D'Annunzio and Gian Francesco Malipiero from Venice, he founded an association to promote the spread of modern Italian music, the "Corporation of the New Music".

The resurrection of Vivaldi's works in the 20th century is mostly thanks to the efforts of Casella, who in 1939, organised the now historic Vivaldi Week, in which the poet Ezra Pound was also involved. Since then, Vivaldi's compositions have enjoyed almost universal success, and the advent of historically informed performance has catapulted him to stardom once again. In 1947, the Venetian businessman Antonio Fanna founded the Istituto Italiano Antonio Vivaldi, with the composer Malipiero as its artistic director, with the purpose of promoting Vivaldi's music and putting out new editions of his works. Casella's work on behalf of his Italian Baroque musical ancestors put him at the centre of the early 20th Century Neoclassical revival in music, and influenced his own compositions profoundly. His editions of Johann Sebastian Bach and Ludwig van Beethoven's piano works, alongside with many others, proved extremely influential on the musical taste and performance style of Italian players in the following generations[2].

Usually the generazione dell'ottanta ("generation of '80"), including Casella himself, Malipiero, Respighi, Pizzetti, and Alfano — all composers born around 1880, the post-Puccini generation — concentrated on writing instrumental works, rather than the operas in which Puccini and his musical forebears had specialised. Members of this generation were the dominant figures in Italian music after Puccini's death in 1924; they had their counterparts in Italian literature and painting. Casella, who was especially passionate about painting, accumulated an important collection of art and sculptures. He was perhaps the most "international" in outlook and stylistic influences of the generazione dell'ottanta, owing at least in part to his early musical training in Paris and the circle in which he lived and worked while there. He died in Rome.

Casella's students included Clotilde Coulombe, Maria Curcio, Francesco Mander, Maurice Ohana, Robin Orr, Primož Ramovš, Nino Rota, Maria Tipo, and Camillo Togni.
Casella was married to Yvonne Müller. Their granddaughter is actress Daria Nicolodi and their great-granddaughter is actress Asia Argento.[3][4]



Title: Re: Italian Music
Post by: jowcol on August 17, 2012, 01:45:24 pm
Music of Goffredo Petrassi

1. Quartet

Parrenin String Quartet
Radio broadcast, date unknown.

2-4:  Petrassi  Concerto pour Orchestre I'm not sure which of the 8 concerti for orchestra this is...
Orch Philh;  Cond. R. Benzi
Radio broadcast, April 18, 1972.

From the collection of Karl Miller

Of the two works-- I'd say the quartet is much more cerebral, while the Concerto for Orchestra is much more lyrical.  Your mileage may vary.


Wikipedia Bio: 

Goffredo Petrassi (16 July 1904 – 3 March 2003) was an Italian composer of modern classical music, conductor, and teacher. He is considered one of the most influential Italian composers of the twentieth century.[1]

Life
Petrassi was born at Zagarolo, near Rome. At the age of 15 he began to work at a music shop to supply his family's financial needs, and became fascinated by music. In 1928, he entered the Santa Cecilia Conservatory in Rome to study organ and composition. In 1934, composer Alfredo Casella conducted Petrassi's Partita for orchestra at the ISCM festival in Amsterdam.

Later, Petrassi became musical director of the opera house La Fenice, and from 1959 taught composition at the Santa Cecilia Conservatory and at the Salzburg Mozarteum. Petrassi had many famous students, including Franco Donatoni, Aldo Clementi, Cornelius Cardew, Ennio Morricone, Karl Korte, Norma Beecroft, Mario Bertoncini, Ernesto Rubin de Cervin, Eric Salzman, Kenneth Leighton, Peter Maxwell Davies, Michael Dellaira, Armando Santiago, and Richard Teitelbaum. Petrassi died in Rome at the age of 98.

Music
Petrassi's early work was part of an attempt by several Italian composers to create a national "Italian" revival in classical music, corresponding to the romantic work of Germans such as Richard Wagner. During this time, his work was characteristically neoclassical in style, influenced by Bartók, Hindemith and Stravinsky.

In later years, Petrassi's open musical mind and acute personality led him to experiment with different post-Webernian influences and a wide range of poetic materials, from Latin hymns to Ariosto's La follia d'Orlando and Cervantes' Ritratto di Don Chisciotte. All these influences are present in a remarkable series of eight Concerti for Orchestra which he composed between the late 1930s and the late 1970s.















Title: Re: Italian Music
Post by: jowcol on January 16, 2013, 10:23:40 am
MUSIC OF GIAN FRANCESCO MALIPIERO
(http://www.rodoni.ch/malipiero/immagini/204_malipiero.jpg)

From the collection of Karl Miller
Radio Broadcasts, dates unknown unless state otherwise.

In the downloads section, I have links to both a "master" Malipiero folder, and individual links.




 
***************************************************************************
SYMPHONIES 1-3


Symphony 1:  “Four Seasons”
1. Quasi Andante, sereno
2. Allegro
3.  Lento
4.  Allegro quasi allegretto
Rome Radio Orchestra, Goffredo Petrassi

Symphony 2: “Sinfonia Elegiaca”
5. Allegro Non Troppo
6. Lento Non Troppo
7. Mosso
8. Lento
Maggio Musicale Symphony Orchestra Florentino/ Manno Wolf-Ferrari(?)

Symphony 3:  “The Bells”

9. Allegro Moderato
10.  Andante molto moderato
11. Vivace
12. Lento, andante sostenuto

RAI Rome Symphony Orchestra
Ettore Gracis

*********************************************************************************

SYMPHONIES 3,4 and 6:



1-5 Symphony 3  “the Bells ) with Radio intro/Outro
CBS Symphony Orchestra, Bernard Herrman, Conductor
(US premiere)

6-11  Symphony 4 “In Memoriam”

6. Radio Into
7.  Allegro Moderato
8. Lento funebre
9.  Allegro
10.  Lento
11. Radio Outro
Boston Symphony Orchestra
Serge Koussevitzky
March 2, 1948

12-17:  Symphony 6 “For Strings”

12. Radio Intro
13-16: Symphony 6 (no movement info)
17. Radio Outro
Scarlatti Orchestra Naples/ Franco Caracciolo

***********************************************************************

SYMPHONIES 7,8,10


Symphony 7
Allegro
Allegro quasi Andante
Allegro Ipmetuoso
Lento
Rome Radio Orchestra
Dmitri Mitropoulos

Symphony 8:  SInfonia Brevis
Piu tosto lento
Allegro
Non troppo lento
RAI Milan/Mario Rossi

Symphony 10 “Sinfonia Antropo”
Lento-andante
Tranquillo
Mosso;
Mosso, molto vivace-un poco
South West German Radio Orchestra
Zdenek Macal

************************************************************************************


OTHER SYMPHONIES OF MALIPIERO:



1-6:  Symphony 11
Hilversum Radio Symphony Orchestra
Jean Fournet

7-17:  Sinfonia dell Zodiac
RAI Symphony Orchestra Turin/Bruno Maderna

18-19 Sinfonia inUn Tempo
RAI Symphony Orchestra Rome/ Armando la Rosa Parodi


************************************************************************


CONCERTI:


1-3: Dialog No. 6 for Harpsichord and Orchestra[/u]
Isabelle Nef, Harpsichord
RAI Milan Symphony Orchestra/Fulvio Vernizzi

4-6: Concerto for Two Pianos and Orchestra

Resing and Mette, pianos
Strasbourg Symphony Orchestra/Martin?

7-11: Concerto for Cello and Orchestra
Masimo Pradella (sp?) Cello
RAI Scarlatti Orchestra Naples/Decinto Cremian (sp?)
12+: Violin Concerto
Allegro con spriito, Lento ma non troppo, Allegro
Andre Gertler, violin
RAI Symphony Orchestra Turin/Fernando Previtali


*********************************************************

LA PASSIONE AND MORE:


1 Intro
2-8: La Passione
9: Outro
Tenors, Carlo Franzini and Gianfranco Manganotti Baritone, Claudio Strudthoff Orchestra Sinfonica di Milano della RAI Coro di Milano della RAI Conductor, Nino Sanzogno Chorus Master, Giulio Bertola Thanks to dafrieze
RIA Milan Symphony Orchestra and Chorus
Conducted by Nino Sanzono
Radio Broadcast, Date Unknown.

10-12: Pause Del Silenzio
Turin Radio Orchestra/ Bruno Maderna
Radio Broadcast, date unknown

13.  Serenata Mattutia
Scarlatti Orchestra of Naples
Franco Coracciolo

************************************************************************************
ORCHESTRAL WORKS:



1-4: Canataiallla Madrigalesca for String Orchestra
RAI Rome Orchestra
Nino Sanzono
Radio Broadcast, Date Unknown.

5+  Fantasia Concertante for Violin, Cello, Piano and Orchestra

(soloists announced—you need to figure them out)
1st movement for string, 2nd for violin, 3rd for cello, 4th for Piano.
Bavarian Radio Symphony Orchestra
David Zinman
Radio Broadcast, Date Unknown.


***************************************************************


THE GOLDEN ASS AND SONGS



1-8. L’Asino d’Oro (de Apuleio)
Sesto  Bruscantini, baritone
RAI Symphone Orchestra Rome / Sergui Celibidache

9+: Sette Canzoni
Ester Ovelli, soprano; Florindo Andreolli, tenor;
Sesto Bruscantini, baritone
RAI Rome Chorus and Orchestra/ Mario Rossi


****************************************************************************





Title: Re: Italian Music
Post by: jowcol on January 16, 2013, 10:24:46 am

Wiki Bio for Malipiero (Excerpts)

Life
Early years


Born in Venice into an aristocratic family, the grandson of the opera composer Francesco Malipiero, Gian Francesco Malipiero was prevented by family troubles from pursuing his musical education in a consistent manner. His father separated from his mother in 1893 and took Gian Francesco to Trieste, Berlin and eventually to Vienna. The young Malipiero and his father broke up their relationship bitterly, and in 1899 Malipiero returned to his mother's home in Venice, where he entered the Liceo Musicale.

After stopping counterpoint lessons with the composer, organist and pedagogue Marco Enrico Bossi, Malipiero continued studying on his own by copying out music by such composers as Claudio Monteverdi and Girolamo Frescobaldi from the Biblioteca Marciana, in Venice, thereby beginning a lifelong commitment to Italian music of that period.[1] In 1904 he went to Bologna and sought out Bossi to continue his studies, at the Bologna Liceo Musicale ("Music High School"). After graduating, Malipiero became an assistant to the blind composer Antonio Smareglia.
Musical career

In 1905 Malipiero returned to Venice, but from 1906 and 1909 was often in Berlin,  following Max Bruch classes. Later, in 1913, Malipiero moved to Paris, where he became acquainted with compositions by Ravel, Debussy, De Falla, Schoenberg, Berg. Most importantly, he attended the première of Stravinsky's Le Sacre du Printemps, soon after meeting Alfredo Casella and Gabriele d'Annunzio. He described the experience as an awakening "from a long and dangerous lethargy".After that, he repudiated almost all the compositions he had written up to that time, with the exception of Impressioni dal vero  At that time he won four composition prizes at the Accademia Nazionale di Santa Cecilia in Rome, by entering five compositions under five different pseudonyms[citation needed].

In 1917, due to the Italian defeat at Caporetto, he was forced to flee from Venice and settled in Rome.

In 1923, he joined with Alfredo Casella and Gabriele D'Annunzio in creating the Corporazione delle Nuove Musiche. Malipiero was on good terms with Benito Mussolini until he set Pirandello's libretto La favola del figlio cambiato, earning the condemnation of the fascists. Malipiero dedicated his next opera, Giulio Cesare, to Mussolini, but this did not help him.

He was a professor of composition at the Parma Conservatory from 1921 to 1924. In 1932 he became professor of composition at the then Venice Liceo Musicale, which he directed from 1939 to 1952. Among others, he taught Luigi Nono and his own nephew Riccardo Malipiero.

After permanently settling in the little town of Asolo in 1923, Malipiero began the editorial work for which he would become best known, a complete edition of all of Claudio Monteverdi's oeuvre, from 1926 to 1942, and after 1952, editing much of Vivaldi's concerti at the Istituto Italiano Antonio Vivaldi.
Compositions

Malipiero had an ambivalent attitude towards the musical tradition dominated by Austro-German composers, and instead insisted on the rediscovery of pre-19th century Italian music.

His orchestral works include seventeen compositions he called symphonies, of which however only eleven are numbered. The first was composed in 1933, when Malipiero was already over fifty years old. Prior to that, Malipiero had written several important orchestral pieces but avoided the word "sinfonia" (symphony) almost completely. This was due to his rejection of the Austro-German symphonic tradition. The only exceptions to that are the three compositions Sinfonia degli eroi (1905), Sinfonia del mare (1906) and Sinfonie del silenzio e della morte (1909–1910). In such early works, the label "symphony" should not, however, be interpreted as indicating works in the Beethovenian or Brahmsian symphonic style, but more as symphonic poems.

When asked in the mid-1950s by the British encyclopedia The World of Music, Malipiero listed as his most important compositions the following pieces[citation needed]:

    Pause del Silenzio for the orchestra, composed in 1917
    Rispetti e Strambotti for the chamber music, composed in 1920
    L'Orfeide for the stage, composed between 1918 and 1922, and first performed in 1924
    La Passione, a mystery play composed in 1935
    his nine symphonies, composed between 1933 and 1955 (he would compose additional symphonies in the years after this list was made)

He regarded Impressioni dal vero, for orchestra, as his earliest work of lasting importance.
Musical theory and style

Even if Malipiero rarely, if ever, dealt with dodecaphony, he was strongly critical of sonata form and, in general, of standard thematic development in composition. He declared:
“    

Quote
As a matter of fact I rejected the easy game of thematic development because I was fed up with it and it bored me to death. Once one finds a theme, turns it around, dismembers it and blows it up, it is not very difficult to assemble the first movement of a symphony (or a sonata) that will be amusing for amateurs and also satisfy the lack of sensitivity of the knowledgeable.
   

Malipiero's musical language is characterized by an extreme formal freedom; he always renounced the academic discipline of variation, preferring the more anarchic expression of song, and he avoided falling into program music descriptivism. Until the first half of the 1950s, Malipiero remained tied to diatonism, maintaining a connection with the pre-19th century Italian instrumental music and Gregorian chant, moving then slowly to increasingly eerie and tense territories that put him closer to total chromaticism. He did not abandon his previous style but he reinvented it. In his latest pages, it is possible to recognize suggestions from his pupils Luigi Nono and Bruno Maderna.[citation needed]

His compositions are based on free, non-thematic passages as much as in thematic composition, and seldom do movements end in the keys in which they started.

When Malipiero approached the symphony, he did not do so in the so-called post-Beethovenian sense, and for this reason authors rather described his works as "sinfonias" (the Italian term), to emphasize Malipiero's fundamentally Italian, anti-Germanic approach. He remarked:
“    

Quote
The Italian symphony is a free kind of poem in several parts which follow one another capriciously, obeying only those mysterious laws that instinct recognizes.
   ”

As Ernest Ansermet once declared,
Quote
"these symphonies are not thematic but 'motivic': that is to say Malipiero uses melodic motifs like everyone else [...] they generate other motifs, they reappear, but they do not carry the musical discourse -they are, rather, carried by it".




Title: Re: Italian Music
Post by: A.S on January 16, 2013, 01:38:47 pm

  jowcol, Many many thanks for your huge uploads. Really wonderful to me :)   Atsushi


Title: Re: Italian Music
Post by: cjvinthechair on January 16, 2013, 02:51:24 pm

  jowcol, Many many thanks for your huge uploads. Really wonderful to me :)   Atsushi
Yes indeed - quite superb, thanks !


Title: Re: Italian Music
Post by: Dundonnell on January 16, 2013, 03:45:31 pm
Amazing collection of Malipiero works :o :) :)

It includes two works not in my catalogue of Malipiero's compositions: the "Sette Canzoni" and the "Canatarialla Madrigaliesca". I shall need to look for dates for these.



Title: Re: Italian Music
Post by: Dundonnell on January 16, 2013, 04:17:40 pm
Right....the "Cantari alla madrigalesca" appears to be an arrangement for string orchestra of the String Quartet No.3 of 1931.


Title: Re: Italian Music
Post by: Latvian on January 16, 2013, 07:14:20 pm
Quote
It includes two works not in my catalogue of Malipiero's compositions: the "Sette Canzoni" and the "Canatarialla Madrigaliesca". I shall need to look for dates for these.

"Sette Canzoni" is Part Two (of three) of "L'Orfeida."


Title: Re: Italian Music
Post by: kyjo on January 16, 2013, 07:46:45 pm
Thanks from me as well for the Malipiero pieces, Jowcol :) They are especially welcome since the Naxos/Marco Polo recordings of the symphonies are unfortunately rather inadequate.


Title: Re: Italian Music
Post by: Dundonnell on January 16, 2013, 09:49:17 pm
Thanks for the information about "Sette Canzoni", Maris :)

I agree about the inadequacy of the performances of the Naxos/Marco Polo recordings. No doubt the performances provided today are more idiomatic. Sadly, the sound quality of a few of the earlier symphonies(No.4 in particular) is as one might expect, given their age. I do hasten to add that most of the recordings are however perfectly acceptable.


Title: Re: Italian Music
Post by: kyjo on January 17, 2013, 12:04:15 am
The Moscow SO (which is really not that great of an orchestra, considering it is based in such a major city) in Italian music.....not a very potent combination, I am afraid :(

Colin, your post made me realize that I had misspelled "inadequate" in my previous post ::)


Title: Re: Italian Music
Post by: jowcol on January 17, 2013, 01:14:57 am
if you thought that collection  was impressive, I'm sitting on a much larger collection of a much more overlooked American composer that I hope to get to in the next couple of weeks, courtesy of Karl. 

Thanks for the additional details.. it looks like we now have most of of the works he considered important either in part or in whole.


Title: Re: Italian Music
Post by: kyjo on January 17, 2013, 01:28:28 am
if you thought that collection  was impressive, I'm sitting on a much larger collection of a much more overlooked American composer that I hope to get to in the next couple of weeks, courtesy of Karl. 

Ooooh.....the suspense ;D


Title: Re: Italian Music
Post by: Dundonnell on January 17, 2013, 01:32:32 am
Malipiero wrote an immense amount of music and much of it is still unrecorded. One piece to which I have referred before are the "Concerti" for orchestra of 1931.


Title: Re: Italian Music
Post by: Latvian on January 18, 2013, 05:57:18 pm
Quote
if you thought that collection  was impressive, I'm sitting on a much larger collection of a much more overlooked American composer that I hope to get to in the next couple of weeks, courtesy of Karl.

Ooooh.....the suspense Grin

Likewise! Any obscure Americana is well worth waiting for!  :)


Title: Re: Italian Music
Post by: albert on January 19, 2013, 09:31:05 am
One tiny correction to a material fault in reply 8: "L'Orfeide" (not "Orfeida").


Title: Re: Italian Music
Post by: jowcol on May 10, 2013, 04:02:11 pm
Music of Alfred Casella
(http://www.rodoni.ch/malipiero/immagini/casella21.jpg)

From the collection of Karl Miller

Note-- this is the last in my recent installment from Karl, but it should keep you busy for a while.   


******************* VOLUME 1 *******************


1.  Cello Concerto, Op. 58
Gerda Angermann, Cello
North German Radio Symphony Orchestra
Gerhard Sameul, cond.

2-4:  Concerto for Orchestra, Op. 61
Munich Philharmonic
Alfredo Antonini, Cond.

5-7: Concerto for Orchestra, Op 61.  (Another performance)
Teatro la Fenice Orch- Venice
Ettore Gracis, conductor.

8,  A Notte Alta Op. 30
E. Maganetti, Piano
RAI Turin
Mario Rossi, conductor

9.  Nocturne and Tarantella for Orchestra Op. 54

Leo Loscielng, Cello
Southwest German Radio Symphony Orchestra
Ernst Bour, Cond.
 
10-12:  Concerto for Piano, Strings, Timpani and Percussion, Op. 69
Trio Kogan
RAI Turino
Franco Mannino, Conductor

13-15:  Concerto for Piano Trio and Orchestra, Op . 56
Marta de Conciliis, piano
Giuseppe Prencipe, violin
Willy La Volpe, cello
Scarlatti Orchestra, Naples
Massimo Pradella, conductor.



16: Intro
17: L’adieu a la vie Op.26 bis

RAI Turino
Mina Minetta, Mezzo
Fulvio Vernizzi,  conductor




******************* VOLUME 2 *******************



18: Intro
19:  Sacred Songs for Baritone and Small Orchestra  Op. 67

Ferdinando Lidonni, baritone
RAI Turino
Massimo Pradella, Cond

20-25:  Camera dei Disegni, A ballet for Fulvia, Op 65
RAI Turino
Ettore Gracis, conductor


26-28:  La Donna Serpente, suites Op 50bis, ter
Berlin Radio Orchestra
Harold Byrus, Cond.


29 Intro
30 : Siciliano and Burlesca for Flute and Orch. Op 23 bis

Machiko Takahashi, flute
Orchestra Unknown
Pierre Stoll, conductor

31 Introduction, Chorale, and March for Winds, Op. 57
32: Outro

RAI Rome
Charles Dutoit, conductor

33: Intro
34: introduction, Aria and Toccatta Op. 55

RAI Milano
Nino Sanzogno,  cond.

35:  Intro
36-38: Suite in C Major, Op. 13

RAI Turin
Fulvio Vernizzi

39. Intro
40: War Pages, Op 25bis

RAI Rome
Gianpiero Tavesna, Cond.






******************* VOLUME 3 *******************


41-48:  La giara’, Op. 41b, Suite
Tommaso Frascati, tenor
Orchestra Sinfonica di Roma della RAI
Armando La Rosa Parodi, conductor
April 21, 1964

49-51:  Partita for Piano and Orchestra

Pietro Scarpini, piano
Orchestra Alessandro Scarlatti di Napoli RAI
Massimo Pradella, conductor
Feb. 25, 1967





******************* VOLUME 4 *******************


Note:  The works in this volume are arrangements and treatments of works by other composers.

52-55:  Paganiniana, Divertimento for Orchestra, after music by Niccolo Paganini, Op. 65

Orchestra Sinfonica di Torino della RAI
Bruno Maderna, cond.
Nov. 4, 1961

56.  Franz Schubert: Marcia Militaire D.819(Op 40) No. 3
RAI Milano
Bruno Maderna, cond.
May 11, 1963

57: Irving Berlin: A Russian Lullaby
58: Outro

RAI Rome
Bruno Maderna, cond.
Dec 2, 1957

59: Domenico Scarlatti: Tocatta, bouree and gig
60. Outro

Scarlatti Orchestra of Naples
Gabriele Ferro, conductor

61: Intro
62: Johann Sebastian Bach: Chaconnne S. 1004
San Francisco Orchestra

George Cleve, conductor.



***********************************************************

Tracks are mp3s, 128 or more kps.

Sources are from radio broadcasts or personal recordings.  I am not aware that any of these have been released in digital form.

Background Info:


BBC Profile :
http://www.bbc.co.uk/music/artists/59cf3a7f-0eef-4e11-ae69-a2b75feab47f (http://www.bbc.co.uk/music/artists/59cf3a7f-0eef-4e11-ae69-a2b75feab47f)

Some of his scores are available here:
http://imslp.org/wiki/Category:Casella,_Alfredo
 (http://imslp.org/wiki/Category:Casella,_Alfredo)

Wikipedia bio

Alfredo Casella (25 July 1883 – 5 March 1947) was an Italian composer, pianist and conductor.
 
Casella was born in Turin; his family included many musicians; his grandfather, a friend of Paganini's, was first cello in the San Carlo Theatre in Lisbon and eventually was soloist in the Royal Chapel in Turin. Alfredo's father Carlo Casella was also a professional cellist, as were Carlo's brothers Cesare and Gioacchino; his mother was a pianist, and gave the boy his first music lessons.

Alfredo entered the Conservatoire de Paris in 1896 to study piano under Louis Diémer and composition under Gabriel Fauré; in these classes, George Enescu and Maurice Ravel were among his fellow students. During his Parisian period, Claude Debussy, Igor Stravinsky, and Manuel de Falla were acquaintances, and he was in contact with Ferruccio Busoni, Gustav Mahler, and Richard Strauss as well.

Casella developed a deep admiration for Debussy's output after hearing Prélude à l'après-midi d'un faune in 1898, but pursued a more romantic vein (stemming from Strauss and Mahler) in his own writing of this period, rather than turning to impressionism. His first symphony of 1905 is from this time, and it is with this work that Casella made his debut as a conductor when he led the symphony's premiere in Monte Carlo in 1908.

Back in Italy during World War I, he began teaching piano at the Accademia Nazionale di Santa Cecilia in Rome. From 1927 to 1929, Casella was the principal conductor of the Boston Pops, where he was succeeded by Arthur Fiedler.[1] He was one of the best-known Italian piano virtuosos of his generation, and together with Arturo Bonucci (cello) and Alberto Poltronieri (violin), he formed the Trio Italiano in 1930. This group played to great acclaim in Europe and America. His stature as a pianist and his work with the Trio gave rise to some of his best known compositions, including A Notte Alta, the Sonatina, Nove Pezzi, and the Six Studies, Op. 70, for piano. For the Trio to play on tour, he wrote the Sonata a Tre and the Triple Concerto.

Casella had his biggest success with the ballet La Giara, set to a scenario by Pirandello; other notable works include Italia, the Concerto Romano, Partita and Scarlattiana for Piano and Orchestra, the Violin and Cello Concerti, Paganiniana, and the Concerto for Piano, Strings, Timpani and Percussion. Amongst his chamber works, both Cello Sonatas are played with some frequency, as is the very beautiful late Harp Sonata, and the music for Flute and Piano. Casella also made live-recording player piano music rolls for the Aeolian Duo-Art system, all of which survive today and can be heard. In 1923, together with Gabriele D'Annunzio and Gian Francesco Malipiero from Venice, he founded an association to promote the spread of modern Italian music, the "Corporation of the New Music".

The resurrection of Vivaldi's works in the 20th century is mostly thanks to the efforts of Casella, who in 1939, organised the now historic Vivaldi Week, in which the poet Ezra Pound was also involved. Since then, Vivaldi's compositions have enjoyed almost universal success, and the advent of historically informed performance has catapulted him to stardom once again. In 1947, the Venetian businessman Antonio Fanna founded the Istituto Italiano Antonio Vivaldi, with the composer Malipiero as its artistic director, with the purpose of promoting Vivaldi's music and putting out new editions of his works. Casella's work on behalf of his Italian Baroque musical ancestors put him at the centre of the early 20th Century Neoclassical revival in music, and influenced his own compositions profoundly. His editions of Johann Sebastian Bach and Ludwig van Beethoven's piano works, alongside with many others, proved extremely influential on the musical taste and performance style of Italian players in the following generations.[2]
Usually the generazione dell'ottanta ("generation of '80"), including Casella himself, Malipiero, Respighi, Pizzetti, and Alfano — all composers born around 1880, the post-Puccini generation — concentrated on writing instrumental works, rather than the operas in which Puccini and his musical forebears had specialised. Members of this generation were the dominant figures in Italian music after Puccini's death in 1924; they had their counterparts in Italian literature and painting. Casella, who was especially passionate about painting, accumulated an important collection of art and sculptures. He was perhaps the most "international" in outlook and stylistic influences of the generazione dell'ottanta, owing at least in part to his early musical training in Paris and the circle in which he lived and worked while there. He died in Rome.

Casella's students included Clotilde Coulombe, Maria Curcio, Francesco Mander, Maurice Ohana, Robin Orr, Primož Ramovš, Nino Rota, Maria Tipo, and Camillo Togni.
Casella was married to Yvonne Müller. Their granddaughter is actress Daria Nicolodi and their great-granddaughter is actress Asia Argento.[3][4]





Title: Re: Italian Music
Post by: Dundonnell on May 10, 2013, 11:21:34 pm
I am speechless ;D ;D

Although I have been vocal on here in criticising Chandos and Naxos for duplicating their recordings of Casella's music I cannot but welcome this absolute treasure-chest of Casella recordings :) :)


Title: Re: Italian Music
Post by: jowcol on January 13, 2014, 11:37:31 am
Music of Victor de Sabata
(http://upload.wikimedia.org/wikipedia/en/6/6d/Victor-de-sabata-1950.png)

From the collection of Karl Miller

Tra Fronda e Fronda: from Suite #2
Milan RAI Orchestra
Fulvio Vernizzia


"La Notte di Platon"
Turin RAI Orchestra
Lorin Maazel


Wikipedio Bio:

Victor de Sabata (April 10, 1892 – December 11, 1967) was an Italian conductor and composer. He is widely recognized as one of the most distinguished operatic conductors of the twentieth century,[1] especially for his Verdi, Puccini and Wagner.[2][3] He is also acclaimed for his interpretations of orchestral music. Like his near contemporary Wilhelm Furtwängler, de Sabata regarded composition as more important than conducting but achieved more lasting recognition for his conducting than his compositions. De Sabata has been praised by various authors and critics as a rival to Toscanini for the title of greatest Italian conductor of the twentieth century,[4] and even as "perhaps the greatest conductor in the world".[5]


Early life

De Sabata was born in the city of Trieste, at the time part of Austria-Hungary, but now in Italy. His Roman Catholic father, Amedeo de Sabata, was a professional singing teacher and chorus master, and his mother, Rosita Tedeschi, a talented amateur musician, was Jewish.[6][7] De Sabata began playing the piano at the age of four, and composed a gavotte for that instrument at the age of six.[8] He composed his first work for orchestra at the age of twelve.[9] His formal musical studies began after his family moved to Milan around 1900. In Milan, de Sabata studied at the Giuseppe Verdi Conservatory, excelling at piano, violin, theory, composition and conducting, and graduating cum laude in composition, piano and violin. He would remain a virtuoso pianist and violinist up until the end of his life.[10] In 1911 he performed in an orchestra under the baton of Arturo Toscanini who influenced him to become a conductor.[11] De Sabata's first opera, Il macigno, was produced at the opera house of La Scala on March 31, 1917 to a mixed reception.[9][12] It was frequently performed during the next few years.[11]

Conducting career
1918–1929


In 1918 de Sabata was appointed conductor of the Monte Carlo Opera, performing a wide variety of late-19th century and contemporary works. In 1925, he conducted the world premiere of L'enfant et les sortilèges by Ravel. Ravel said that de Sabata was a conductor "the like of which I have never before encountered"[13][14] and wrote him a note the next day saying that "You have given me one of the most complete joys of my career".[15] Ravel also claimed that, within twelve hours of receiving the score to L'enfant, the conductor had memorized it.[16] In 1921, while still conducting opera at Monte Carlo, de Sabata began his career as a symphonic conductor with the Orchestra of the Accademia di Santa Cecilia in Rome. In 1927 he made his U.S. debut with the Cincinnati Symphony Orchestra, substituting for Fritz Reiner in the first eight concerts of the year.[17] He did the same in 1928.[18]

1929–1945
De Sabata conducted the orchestra of La Scala in concert starting in the 1921–1922 season,[19] and conducted opera there from 1929. He became the principal conductor in 1930 in succession to Toscanini.[20] Soon after taking up the post, he resigned because of a disagreement with the orchestra over the poor reception of his composition A Thousand and One Nights.[21][22] Toscanini wrote him a letter in order to persuade him to return, saying that his absence was "damaging to you and the theater".[21] De Sabata did return to La Scala, and continued in the post for over 20 years. However, he did not reply to Toscanini, and the two conductors remained estranged until the 1950s.[22]

During the 1930s, de Sabata conducted widely in Italy and Central Europe. In 1933 he made his first commercial recordings with the Orchestra of the Italian Broadcasting Authority in Turin, including his own composition Juventus.[citation needed] According to Benito Mussolini's son Romano, de Sabata was "a personal friend" of the Italian dictator, and gave "several concerts" at the leader's Villa Torlonia home.[23] De Sabata's friendship with Mussolini became another factor distancing him from his former mentor Toscanini.[24]

In 1936, he appeared with the Vienna State Opera.[11] In 1939, he became only the second conductor from outside the German-speaking world to conduct at the Bayreuth Festspielhaus when he led Wagner's opera Tristan und Isolde (Toscanini had been the first, in 1930 and 1931).[25] Among the audience at Bayreuth was the young Sergiu Celibidache who hid in the lavatory overnight in order to surreptitiously attend rehearsals.[15] That same year he made celebrated recordings of Brahms, Wagner and Richard Strauss with the Berlin Philharmonic. He also forged a friendship with the young Herbert von Karajan.[26] It is unclear why de Sabata was allowed to work in Germany by the Nazi regime despite his part-Jewish background.

In the closing stages of the war, de Sabata helped Karajan relocate his family to Italy.[27]

1945–1953

After World War II, de Sabata's career expanded internationally. He was a frequent guest conductor in London, New York and other American cities. In 1946 he recorded with the London Philharmonic Orchestra for the Decca recording company. In 1947 he switched labels to HMV, recording with the Santa Cecilia Orchestra in Rome. These sessions included the premiere recording of Debussy's Jeux. He would go on to make more recordings with the same orchestra in 1948.[citation needed] In 1950 he was temporarily detained at Ellis Island along with several other Europeans under the newly passed McCarran Act (the reason was his work in Italy during Benito Mussolini's Fascist regime).[28] In March 1950 and March 1951 de Sabata conducted the New York Philharmonic in a series of concerts in Carnegie Hall, many of which were preserved from radio transcriptions to form some of the most valuable items in his recorded legacy.[citation needed]

De Sabata's base remained La Scala, Milan, and he had the opportunity to work with two upwardly-mobile sopranos: Renata Tebaldi and Maria Callas. In August 1953 he collaborated with Callas in his only commercial opera recording: Puccini's Tosca for HMV (also featuring Giuseppe Di Stefano and Tito Gobbi along with the La Scala orchestra and chorus). This production is widely regarded as one of the greatest opera recordings of all time.[29][30] One critic has written that de Sabata's success in this Tosca "remains so decisive that had he never recorded another note, his fame would still be assured".[31]

Heart attack and retirement

The Tosca recording was planned to be only the first of a series of recordings in which HMV would set down much of de Sabata's operatic repertoire. However, soon after the sessions he suffered a heart attack so severe that it prompted him to stop performing regularly in public. His decision to stop conducting has also been attributed to "disillusionment".[32] His scheduled December 1953 La Scala performance of Alessandro Scarlatti's Mitridate Eupatore with Callas was replaced at short notice by an acclaimed Cherubini Medea with Leonard Bernstein.[33] He resigned his conducting post at La Scala and was succeeded by his assistant Carlo Maria Giulini. Between 1953 and 1957 he held the administrative position of "Artistic Director" at La Scala. This period was notable for a reconciliation with Toscanini (with whom he had had a cool relationship for twenty years) during a La Scala production of Spontini's La vestale in 1954.[34]

De Sabata conducted only twice more, once in a studio recording of Verdi's Requiem from June 1954 for HMV, and for the last time at Arturo Toscanini's memorial service (conducting the funeral march from Beethoven's Eroica Symphony at La Scala opera house followed by Verdi's Requiem in Milan Cathedral [35]) in 1957. The last decade of his life was devoted to composition, but with few results. Although Walter Legge offered him an opportunity to conduct the Philharmonia Orchestra in 1964 and suggested that he write a completion to Puccini's opera Turandot, neither of these things occurred.[32] He enjoyed solving mathematical problems in his retirement.[36] De Sabata died of heart disease in Santa Margherita Ligure, Liguria, in 1967. At his memorial service, the Orchestra of La Scala performed without a conductor as a mark of respect.[citation needed]

The "Award Victor de Sabata" is named after de Sabata. A prize for young musicians sponsored by the province of Genoa and the region of Liguria, the competition takes place in Santa Margherita.[37]



Title: Re: Italian Music
Post by: jowcol on January 13, 2014, 11:38:28 am
Music of Victor de Sabata-- Continued

Conducting style
De Sabata's conducting style combined the fiery temperament, iron control and technical precision of Toscanini with greater spontaneity and attention to orchestral color.[38] He was exceptionally demanding of his players: according to one musician: "Those eyes and ears missed nothing ... the players had been made to work harder than ever before and they knew that, without having been asked to play alone, they had been individually assessed".[39] On the podium he "seemed to be dancing everything from a tarantella to a sabre dance".[40] Norman Lebrecht describes him as "a musician whose mild manners turned to raging fury whenever he took stick in hand".[41] One critic used the phrase "lull and stun" to summarize his technique.[42]

A violinist in the London Philharmonic Orchestra compared de Sabata with Sir Thomas Beecham, saying that while Beecham made the orchestra "red hot", de Sabata made it white hot.[15] Another player described de Sabata's appearance when conducting as "a cross between Julius Caesar and Satan".[39] Double-bass player Robert Meyer, who has played under many leading conductors including Furtwängler, Karajan, Klemperer, Giulini, Walter, Koussevitzky and Stokowski,[43] describes de Sabata as "undoubtedly the finest conductor I have ever encountered".[36] He conducted rehearsals, as well as concerts, from memory.[44]

A musician who played under both Toscanini and de Sabata at La Scala compared them, saying,

    [Toscanini] wasn't like "Dede" – De Sabata: he, too, was a great conductor, but he was changeable. One day he would be fine and would conduct a certain way; the next day he would be full of aches and pains and would conduct a different way. He was always somewhat ill. He, too, would be transformed, once he picked up the baton... and I must admit that Tristan und Isolde made an even bigger impression when De Sabata conducted it than with Toscanini. Toscanini was perfection: upright, even. De Sabata, on the other hand, pushed and pulled the music. Afterwards, when Toscanini had left, De Sabata was the only one who could take his place. Despite his faults, he, too, was a great conductor and a musician of the highest order. Once, in Turandot, he heard a mistake made by the third trombone, and it was discovered to be a printer's error that not even Toscanini had caught.[45]

Conductor Riccardo Chailly reports that de Sabata would have the strings sing along with the trombone glissandi at the climax of Ravel's Boléro, and that Chailly himself asks orchestras to do the same thing.[46]

Criticism
Toscanini did not approve of de Sabata's conducting style or of many of his interpretations: he considered the younger man's gestures to be too flamboyant.[21] Puccini wrote in a letter dating from 1920 that "although [De Sabata] is an excellent musician of the other school – that is, the modern school – he can't, and does not know how to, conduct my music."[47]

Anecdotes of musical abilities
There are several extraordinary anecdotes of Victor de Sabata's musical abilities.

After de Sabata was shown the score for the first time of Elgar's Enigma Variations, the next day he conducted a rehearsal of the work from memory and pointed out several errors in the orchestral parts which no-one, including Elgar himself, had noticed previously.[48]

During a rehearsal of Respighi's Pines of Rome in London, de Sabata "demonstrated the bowing and fingering of the high cello part in the first movement by playing it—without even a glance at the part. The pianist asked for advice about the solo cadenza, which de Sabata also played by heart. In the rehearsal interval, he asked the flicorni for the final movement to play their brass fanfares. They did. 'What are you playing?' he asked. 'It is an octave higher.' 'Can't be done, Maestro.' ... The Maestro borrowed one of their instruments and blew the correct notes in the right octave."[49] (this anecdote is all the more impressive when one knows that the flicorno (saxhorn) is an instrument usually associated with brass bands and very rarely used in a symphony orchestra).

"A visitor [to La Scala] rehearsing Tristan asked Victor de Sabata to take the baton while he tested the sound from the centre of the auditorium. Needless to say, the sound he heard was totally different from the one he produced. De Sabata, without uttering a word, asserted his dominance of the orchestra just by standing there".[50] When Herbert von Karajan was making his own recording of Tosca in 1962, he would often ask his producer John Culshaw to play selections from the de Sabata/Callas recording to him. Culshaw reports that "One exceptionally tricky passage for the conductor is the entry of Tosca in act 3, where Puccini's tempo directions can best be described as elastic. Karajan listened to de Sabata several times over during that passage and then said, 'No, he's right but I can't do that. That's his secret.'"[51]



Title: Re: Italian Music
Post by: Dundonnell on January 13, 2014, 06:33:08 pm
Is there a problem in posting the actual upload links ??? ???

I only ask because your usual practice is to post the links first then the information follows :)


Title: Re: Italian Music
Post by: Neil McGowan on January 13, 2014, 07:38:11 pm
Norman Lebrecht describes him

Author of "The Maestro Myth"  ;D


Title: Re: Italian Music
Post by: ahinton on January 13, 2014, 08:54:53 pm
There are several extraordinary anecdotes of Victor de Sabata's musical abilities.

After de Sabata was shown the score for the first time of Elgar's Enigma Variations, the next day he conducted a rehearsal of the work from memory and pointed out several errors in the orchestral parts which no-one, including Elgar himself, had noticed previously.
Busoni was also one of the early conductors of this work.


Title: Re: Italian Music
Post by: Jolly Roger on January 17, 2014, 03:29:59 am
this might be useful to devotees of Italian music:
http://classical-music-online.net/stat/?person_type=composer&type=country_persons&country=ITA


Title: Re: Italian Music
Post by: jowcol on January 26, 2014, 05:20:11 pm
Sorry not to post the Sabata link-- things got frantic the last week.  I'll have it today.


Title: Re: Italian Music
Post by: jowcol on January 26, 2014, 05:21:01 pm
Music of Ennio Porrino
(http://upload.wikimedia.org/wikipedia/en/1/1f/Ennio_Porrino.jpg)

From the collection of Karl Miller

If you are a fan of Ottorino Respighi, Howard Hanson, or Samuel Barber, this collection is a must!



These recordings are from personal collections and radio broadcasts.  To the best of my knowledge, none of these have been commercially released in digital form.



**********Volume 1***********

Intro
Notturno e Danza (for small Orchestra, 1936)
Outro

Naples RAI Orchestra/Massimo Pradella

Intro
Preludio in Modo Religioso e Ostinato
Outro

Naples RAI Orchestra/Pietro Argento
Andante calmo
Allegro Agitato

Prosperpina Suite (1937)
Rome Philharmonic/Nino Bonavolonta
Source LP: Phillips S 04571 L

Intro
Sardegna(1933)
Outro

Atlantic Symphony (Halifax)/Nello Segerini

Sinfonietta in D Major(1949)
Rome Philharmonic/Nino Bonavolonta
Source LP: Phillips S 04571 L

La Bambola Malata "The Sick Doll" (1959)
Rome Philharmonic/Nino Bonavolonta
Source LP: Phillips S 04571 L

Intro
Canti di Stagione (1934)

Nicoletta Panni, soprano
Naples RAI/Nino Bonavolonta
Canti di stagione: 4 liriche per soprano e piccola orchestra (20") (Notte d’inverno, versi di G. Carducci; Mattino d’aprile nel bosco, vocalizzo; Afa, versi di Giuseppe Valentini; Autunnale-Ditirambo, dal Bacco in Toscana di Francesco Redi). Roma, 1933-34. Edizioni Carisch, Milano 1936.


**********Volume 2***********

Intro
Nuraghi, 3 (?) Primitive Sardinian Dances
Outro

Naples RAI/Composer

Concerto dell'Argentarola for Guitar and Orchestra (1953)
Mario Gangi, guitar
Saint Cecillia Orchestra/Composer
[17 January 1954]

Intro
Sonar per Musici, Concerto for Strings and Harpsichord

Naples RAI Orchestra/Franco Caracciolo

Intro
Sonata Drammatica

Lea Caraino Silvestri, Piano
Turin RAI Orchestra/ Dante Ullu
Moderato notturno
Allegro violento
Adagio in modo funebre


Concertino for Trumpet and Orchestra
R. Marini, trumpet

Naples RAI/Nino Bonavolonta


**********Volume 3***********

"E un uomo vinse lo spazio" Orotorio Radiofonico (1938)
Turin RAI Orchestra and Chorus
Massimo Pradella
Title has been machine tranaslated as "And a Man Won the Space", and is
dedicated to the memory of Marconi. It was premiered as a part of series of radio broadcasts that run from 1938 to 1942 to promote "new" classical music.
Text by E. Gianinni

(http://www.attracco.it/images/eiar_tv.jpg)



Title: Re: Italian Music
Post by: jowcol on January 26, 2014, 05:23:36 pm
Music of Ennio Porrino-- Continued

Bio from composer website (Machine Translation, I've bolded works in this collection for emphasis):
(Cagliari, Roma, 1/20/1910/9/25/1959)

Followed classical studies until the age of seventeen, he devoted himself exclusively to composition later under the guidance of the masters Mulé and Dawson, graduating in 1932 in Rome, at the Conservatory of Santa Cecilia. He attended for three years also the advanced course taught by Ottorino Respighi, which soon becomes the favourite pupil. "His master treats your best: the great skill of the colorist, the technique of orchestration, the capacity of adhesion to the substrate harmonic chant. Everything a plan preserving intact the lyrical quality that comes from pure emotions "(Nicola Valley).

Porrino do you know Roman musical environment in 1931, winning a contest for a Newspaper banned from the lyric of Italy with Traccas and in 1933 another difficult contest, that banned from the Accademia di Santa Cecilia for the 25th anniversary of concerts at the Augustan with the Overture for orchestra Tartarin de Tarascon which Bernardino Molinari heads the 30 April of the same year at the Augustan.

In January, ' 34, the same Augusteo and with the same Director, will take place on a more complete statement with the symphonic poem Sardinia, followed by numerous performances in Italy and abroad under the guidance of the most prestigious conductors, such as Patel, Gui, Stokowski. Sardinia is also included, representing the Italian music programmes of the International Festival of Hamburg ' 35. The work represents, as several following compositions, a tribute to the homeland that has left child Porrino and that will directly only later, but continually felt revived in nostalgic memories of his mother.

After composing the songs of slavery for violin, cello and piano (' 33), seasonal carols for soprano and small orchestra (' 34), the vision of Ezekiel, prelude, choral and orchestral adagio (' 35), cantata for reciter, Proserpine female chorus and small orchestra (' 37) and Three Italian songs for small orchestra (' 39), Porrino, commissioned by the Casa Musicale Sonzogno, he for the first time-with the opera Gli Orazi (libretto by Claudio Guastalla)-with what he believed to be the highest art form and complete: the theatre. So Porrino himself expressed about his work: "this job is not melodrama, in the traditional sense and the 19th century Word, but a modern play between the profane oratorio and sporting spectacle: the approximation to the profane oratory is to define the dryness of the musical language, while the parallel with the sporting spectacle stands for dynamism and passion of the story and the music that arise from the contrast of two warring parties". The Obi should be staged at La Scala in Milan in February of ' 41 with a warm success.

Meanwhile Porrino, became Professor of composition at the Conservatory in Rome, he was appointed a member of the Accademia di Santa Cecilia in Rome and the Accademia Luigi Cherubini of Florence.

From The Orazi Porrino, passes to the nostalgic tones and painful atmosphere of songs of exile, a collection of fifteen poems fruit of painful experience of war and of ' exile ' in the city of Venice, where he was transferred, in ' 43, at the Conservatorio Benedetto Marcello.

After the war, and after a period spent in Naples, first as Director of the library of music s. Pietro a Majella, then as Professor of composition at the same Conservatory and as music critic of the Corriere di Napoli, Porrino returned to Rome in ' 47, taking possession of his professor of composition at the Conservatorio di Santa Cecilia in Rome.

     
Meanwhile, his art is enriched with new works: in ' 47 dramatic Sonata, composed a one-act play based on a text by The Banerjee, for reciter and piano; in ' 48, he met the Abbot Ricciotti-author of the life of Jesus-which proposes the idea of creating a musical work of the Gospel which will be accomplished subject the following year under the title Christ and process will run for the first time in April of ' 52 at the Teatro Argentina in Rome. It is a "symphonic-choral fresco which can be regarded as perhaps the most challenging of his substantial symphonic production" (Tito Aprea), a work characterized by the sharpness of the music, drawing from an airy melodic line and a strong rhythmic pulse. "The composer has managed once again to synthesize his thoughts into a work of considerable assumed, well balanced and firmly built" (Renzo Rossellini). "Next to the traditional ecclesiastical style, we have a modern tonal concept involving sometimes strong dissonance" (Felix Karlinger). "The speech flows wide melodic, sometimes invokes the Gregorian chant and it is flourishing richness of melismas. The instrumentation is rich, varied, colorful "(Ceccherini). "Porrino felt highly the drama of Christ and in his every sound element, in addition to being in the service of a faithful musical interpretation of the text, is blended into a unitary conception in which the artist's spirit lifted from technical engagements, sings, from his mystical religious emotion" (Tito Aprea).

After returning for the first time as an adult in Cagliari in ' 37, on the occasion of the III Congress of SNFM Porrino in 1949, looking for a direct contact with the cultural and musical heritage of his island, he for the first time a real journey in Sardinia. The drama of the landscape and its people, the legendary beauty of the coastline and especially the Interior, with its legacy of ancient cultures and beliefs, the inspiration for the three dances of the Earth, water and fire, collected in the composition for orchestra Nuraghi (' 52). Many will be the performances of this work: among the most important are those of Leopold Stokowski and Claudio Abbado.

Inspired by the sea and a rocky islet at the coast of Monte Argentario, Porrino writes, on Commission of the Accademia di Santa Cecilia, the Argentarola concert for guitar and orchestra, which premiered at the Teatro Argentina, Rome, in January ' 54. In the work there is a clear finding "current use" of the instrument, in addition to a sophisticated, fingering the tambora, blocked any measures, stopped, vibrato, the metal, the harmonic, rasqueado and sounds on ' bridge ' and ' hole ', going by the typical Cadence to the twelve-tone series "(Mario Rinaldi), which the composer enters for the first time in his work without sacrificing his own melodic vein.

     


Title: Re: Italian Music
Post by: jowcol on January 26, 2014, 05:24:24 pm


The meeting with Giovanni Artieri and his experience as a traveller and journalist in the Philippines bring him back to the Theatre: the sound pathetic, ' swiped ' by a bamboo organ, the theme of an old aragonese jota, a local history of tainted love and political hatred become the matter of inspiration for the single act The bamboo organ, which premiered in Venice in ' 55 in the XVIII International Festival of contemporary music. Among other revivals of the opera include the Teatro dell'Opera di Roma (' 56) and the Gran Teatro del Liceo in Barcelona (' 58).

In November ' Porrino 56 back in Sardinia, Cagliari, as Director of the Conservatory g. Pierluigi da Palestrina and artistic director of the Ente Lirico and the establishment of the concerts and prestigious but daunting task enthusiastically devotes the last three years of his life, giving a strong impetus to the activities and development of the Conservatory (establishes a Chair of Sardinian etnofonia, open a local branch of the AGIMUS) and laying the groundwork for future major projects, such as creating a stable orchestra and a new venue for the Conservatory of music with its Auditorium, other companies will end after his death.

This is also a period of great creative activity: in ' 58 completes the concerto for strings and harpsichord Sonar for musicians and the one-act opera neon Aesculapius; in ' 59, after a long gestation period and subsequent processing, the final draft of the opera in three acts the Sherden.

Sonar to Musicians written for the popular string complex I Musici will come from this run in long tours in Italy and abroad. For the second time, after the Argentarola concert, the composer addresses the twelve-tone technique but "despite the enigmatismo serial music which allows him to flourishes into the realm of melody, Porrino treats his dodecafonici with themes that art and with that hand that have always distinguished" (Nino Bonavolontà).

With neon and Asclepius with his encounter with the poet Luciano Folgore, author of the libretto, Porrino experimenting for the first time the grotesque: "music easy, we would say ' easygoing ' that suits very well to the subject, with predictable rhythms scanned and refrains, with simple accompaniments and proclaimed" (Mario Rinaldi). "It took Ennio Porrino", says Luciano Folgore, "with his talent, his versatility and his desire to score something unusual and irrational, to make up my mind to write an opera libretto on advertising, especially that related to medicinal products. I didn't imagine that medicinal herbs, vitamins, hormones, carotene, cortisone and other drugs like that would have been able to inspire a musician who had always dealt with serious topics and drama ".

And again by serious and tragic argument is the musical drama in three acts the Sherden (men of nuraghi), composed on a libretto of the same Porrino, which is broadcast in 1958, in a radio adaptation, from the Italian Radio under the title Hutalabì, the war cry of the ancient Sardinian peoples. "In the final stage the Shardana were represented for the first time at the Teatro San Carlo in Naples on March 21, 1959, under the direction of the author himself and had a very great success. In addition to spontaneous applause it counted no fewer than twenty of which several calls directed to the only author. The source of inspiration is largely in the Sardinian folksong. But it serves free Porrino, leading to his personal ways of expression. The harmonic structure is generally clear and tone the author reaches complications only exceptionally when the required complexity of dramatic situation. In addition to the frankness of the Sherden inspiration there is the complete domination of the media "(Nino Fara). "The score reveals a strong and skillful hand of strumentatore and orchestral technique reminiscent of hand respighiana and, in some moments, straussian and which delivers effectively especially the choral part. Without doubt the best is the final page: discounted now action, condemned to immobility, the opera stage still manages to keep alive the listener's attention to that page where there is a touched breath and that sums up, in a sense, and more and better than any other, the ancestral soul of Sardinian people "(Fernando l. Long).

The September 15 ' 59 Porrino is in Venice for the premiere of his latest work The sick doll (La Bambola Malata), a pantomime based on a text by Luciano Folgore, inserted in the show plays and Fables for children, designed by Mario Labby for the XXII International Festival of contemporary music. Ten days later, a meteoric stroncava disease just 49 years the life of the composer.

In addition to the works already mentioned, producing Porrino is comprised of various other compositions that touch many different kinds of music: Symphonic, Chamber music (instrumental and vocal), choral and oratoriale. And again: music for dance, film and the soundtrack to the popular television drama Canne al vento (' 58).

     
Parallel to the activity of composer, Porrino played very early to music critic, publicist and lecturer and, after the years ' 50, he began experimenting, in Italy and abroad, including in conducting, first of his own works, then classical symphonic music by various authors.

Often, moreover, he devoted himself to writing poetry and short stories that became texts or librettos for his music.

His publishers include among others: Remember, Sonzogno, Curci, Carisch and Suvini Zerboni, Universal Edition.

By 1980 was entitled to Ennio Porrino, by the Association Amici della Musica di Cagliari, the "Concorso internazionale Ennio Porrino piano".



Wikipedia Bio:

Ennio Porrino (20 January 1910 – 25 September 1959) was an Italian composer and teacher. Amongst his compositions were orchestral works, an oratorio and several operas and ballets. His best known work is the symphonic poem Sardegna, a tribute to his native Sardinia, which premiered in Florence in 1933.
Life and career

Porrino was born in Cagliari and studied at the Accademia di Santa Cecilia in Rome. He later studied with Ottorino Respighi from 1932 to 1935. According to Alfredo Casella, he became one of Respighi's disciples, championing an Italian national music movement and openly opposing composers such as Casella, Dallapiccola, and Malipiero for their Modernist music.[1][2] After Respighi's death in 1936, Porrino and Respighi's widow Elsa completed his unfinished opera Lucrezia for its posthumous premiere at La Scala in 1937.[3]

In the course of his career, Porrino taught at the conservatories of Rome, Venice, and Naples, and in 1956 became the director of the Cagliari Conservatory. That same year he married Malgari Onnis (born 1935), a painter and theatrical designer. She designed the production of Porrino's last work, the opera I Shardana, which premiered on 21 March 1959, six months before his death. The couple had one daughter, Stefania (born 1957), who became a playwright and stage director.[4][3]

Porrino died in Rome in 1959 at the age of 49. The Concorso Internazionale di Pianoforte Ennio Porrino was established in his memory in 1980.[5]





Title: Re: Italian Music
Post by: Toby Esterhase on January 26, 2014, 11:05:51 pm
Porrino is largely forgotten here however on him:
http://www.studiodelpoggio.it/lostudio/le-opere/l%E2%80%99eclettismo-musicale-di-ennio-porrino-1910-%E2%80%93-1959


Title: Re: Italian Music
Post by: cjvinthechair on January 28, 2014, 09:47:17 am
A magnificent array of works, Mr. Jowcol. Thank you so much !


Title: Re: Italian Music
Post by: jowcol on January 29, 2014, 03:31:55 am
Music of Franco Alfano
(http://upload.wikimedia.org/wikipedia/commons/8/87/Franco_Alfano_circa_1919_Emporium.jpg)

From the collection of Karl Miller

See the downloads section for the link.

Intro
Divertimento for Small Orchestra and Piano Obligato

Naples RAI Orch/O. Zilno

Romantic Suite (Natale Campano Only)
Rome RAI Orch/Massimo Pradella

Symphony #2
Milan RAI Orch/Fulvio Vernizzi




Wikipedia Bio:

Franco Alfano (8 March 1875 – 27 October 1954) was an Italian composer and pianist. Best known today for his opera Risurrezione (1904) and above all for having completed Puccini's opera Turandot in 1926. He had considerable success with several of his own works during his lifetime.


Career

Alfano was born in Posillipo, Naples. He attended piano lessons given privately by Alessandro Longo, and harmony and composition respectively under Camillo de Nardis (1857–1951) and Paolo Serrao at the conservatory San Pietro a Majella in Naples. Later, after graduating, he pursued further composition studies with Hans Sitt and Salomon Jadassohn in Leipzig. While working there he met his idol, Edvard Grieg, and wrote numerous piano and orchestral pieces.

From 1918 he was Director of the Conservatory of Bologna, from 1923 Director of the Turin Conservatory, and from 1947 to 1950 Director of the Rossini Conservatory in Pesaro. Alfano died in San Remo.[1]

Operas

He completed his first opera, Miranda, still unpublished, for which he also wrote the libretto based on a novel by Antonio Fogazzaro in 1896. His work La Fonte Di Enschir (libretto by Luigi Illica) was refused by Ricordi but was presented in Wrocław (then Breslau) as Die Quelle von Enschir on 8 November 1898. It enjoyed some success.

His three most important operas begin with Risurrezione in 1904. It was based on Tolstoy, and was later sung by Magda Olivero.

Cyrano de Bergerac followed. This based on the famous play by Edmond Rostand and composed to the French libretto by Henri Cain. It had its Italian version premiere in Rome in January 1936, and its French version premiere in Paris four months later. It was recently revived by the Kiel Opera (Germany), the Montpellier Radio Festival (France) and the Metropolitan Opera, New York, starring Plácido Domingo in the title role.

In 1921, La Leggenda di Sakùntala appeared, and while it was successful enough to have Arturo Toscanini recommend Alfano to complete Puccini's posthumous Turandot, the performance materials were thought destroyed in an air raid during the Second World War. Alfano reconstructed it in 1952 as Sakùntala, after Abhijñānaśākuntalam (The Recognition of Sakuntala), the Sanskrit play by Kalidasa. Subsequently, the original version was recovered in 2005, with the two versions available for performance today. The second version of Sakùntala will be performed in New York City by Teatro Grattacielo in the fall of 2013.

Historical perspectives

In Fanfare 's issue of September/October 1998-99, it was asserted that Alfano's reputation suffers because of several things. Firstly, that he should not be judged as a composer on the basis of the task he was given in completing Turandot (La Scala, 25 April 1926). Secondly, that we almost never hear everything he wrote for Turandot since the standard ending heavily edits Alfano's work.[2] Thirdly, [...]it is not his conclusion that is performed in productions of Turandot but only what the premiere conductor Arturo Toscanini included from it... Puccini had worked for nine months on the following concluding duet and at his death had left behind a whole ream of sketches... Alfano had to reconstruct...according to his best assessment...and with his imagination and magnifying glass" since Puccini's material "had not really been legible."[3][clarification needed]

"Alfano's reputation has also suffered [IC:along with Mascagni], understandably, because of his willingness to associate himself closely with Mussolini's Fascist government."[citation needed]

Alex Ross, in The New Yorker,[4] notes that a new ending of Turandot composed by Luciano Berio premiered in 2002[5] is preferred by some critics for making a more satisfactory resolution of Turandot's change of heart, and of being more in keeping with Puccini's evolving technique.



Title: Re: Italian Music
Post by: jowcol on January 29, 2014, 04:40:39 pm
Theme and Variations by Mario Bossi
(http://upload.wikimedia.org/wikipedia/commons/8/81/Marco_Bossi.jpg)

From the collection of Karl Miller


See the downloads section for the link!

Milan RAI Orchestra/Claudio Abbado

Radio broadcast

 Italian organist and composer Mario Enrico Bossi (1861-1925) was considered one of the finest organists of his day and gave organ recitals throughout Europe and in the U.S., including an appearance at the Grand Court Organ during a Wanamaker Musicians' Assembly at John Wanamaker & Co. in Philadelphia. Also a composer known for his dramatic flair, Bossi wrote works for the organ as well as operas and oratorios. His son, Renzo Bossi (1883-1965), was a gifted composer and teacher of composition.





Title: Re: Italian Music
Post by: ahinton on January 29, 2014, 04:43:29 pm
Marco Enrico Bossi, surely?


Title: Re: Italian Music
Post by: jowcol on January 29, 2014, 04:51:54 pm
Adelchi, an Overture by Nestore Gaggiano
(http://www.prolococaggiano.it/public/img/54.jpg)

From the collection of Karl Miller


Adlechi, Overture
Rome RAI Orchestra/Massimo Pradella

See downloads for the link!
    
Machine Translation:

Until the late 80 ' the name of Nestor Caggiano was known to scholars of the twentieth century Italian instrumental and almost unknown to the large public. A albeit wispy memory of his legacy was preserved, though undoubtedly in 1969 the Commission for symphonic music, Opera and chamber music of RAI had recommended broadcasting L'Ouverture "Adelchi" of n. Caggiano.

The same year the Orchestra Sinfonica di Roma della RAI conducted for recordings by master Francesco Molinari-Pradelli, transmitted by radio.

The real discovery of this author was credited with Carlo Vitali with the book "a promise forgotten symphonic Italian: Nestor Caggiano and editor Bongiovanni, who published a cd containing" Alla città di Ferrara "," the tomb of the Busento, Adelchi ", directed by Silvano Frontalini podium Master of Polish orchestras willing.

The work of musicologists would be infinitely more arduous, and the perpetrators almost impossible "without the valuable work of Census and review done by Adam Cardenas, doc, Thomas DiNapoli on Nestor's handwritten Caggiano, kept with loving care by the heirs of the master.

Cardoso, along with John Chan, has produced an impressive catalog that includes 75 opera numbers, as well as a great and touching epistolary material of the ill-fated and short-lived Master Caggiano.

In the Biblioteca comunale di Caggiano has formed a complete archive of the "corpus" symphonic and chamber music musician, with the letters and documents that are left to the family, as well as numerous recorded performances of music by Nestor. The Gandhi and Vizioli ne performed almost all the Repertoire, even in manifestations of mid-1990s Thomas DiNapoli.

Nestor Caggiano was born in Caggiano on November 18, 1888. His mother, Anna Luisi, was a homemaker, his father Giuseppe was a craftsman owner of numerous olive groves in the estates of Caggiano and Pertosa. In his workshop had constituted a kind Joseph of cultural coterie which performed musical works.

Cultural spirit is breathed in casa Caggiano is somehow testified by Nestor's brothers names: Vittorugo, Armida, Riccardo (clear tribute to Wagner).

This environment had a lasting influence on the formation of the composer, whose intellectual horizon will remain, variously interwoven, national pride, curiosity about French culture, especially Germanic, and some individualistic streak-anarcoide.

Caggiano carried out most likely from an early study of the oboe, surely encouraged by listening to the bands accompanying processions to numerous festivities that lined the country life, and somehow broke the monotony of an obvious cultural isolation.

This influence would be resurfaced in its most significant scores, in which the orchestral colour is mainly of a perfect knowledge of band instrumentation, rara frequentation discipline and stylistic rendering uncertain, who never learned not Caggiano form, absolutely self-taught official.

In 1904 the sixteen year old adolescent passions embellished with a healthy pragmatism: oboe student in the class of De Rosa at the Conservatory of San Pietro a Majella, along with complementary harmony in that of Daniel Napoletano, showed an early talent for composition, and his piece for violin and piano, poems, Reminiscences escaped with Giuseppe Martucci, at that time Director of the Conservatory.

Martucci, Paladin of instrumental music and great popularizer in the peninsula Symphony production of Germanic area and Wagnerian dramas, had decisive influence in the formation of Caggiano, who was positively stimulating interest in the instrumental repertoire Central.

Encouraging your promising student to write again, and especially the incited to commence regular studies.

Eventually the younger became one of his favorite disciples.

In 1906 he graduated in oboe Caggiano, and is reported as the first part in civic Concert in Rome and later in the orchestra of the Teatro Quirino. As oboist also participated in a tour of Egypt, however it was in free composition that came the first rewards.

         
Among the most significant compositions of his early lyrical Duet account for soprano and tenor, completed October 23, 1907, on verses by Vittorugo Caggiano. Very carnal composition, even if strongly moulded on the rhythms of the poem. The following year he was admitted to the composition. Zampillava, unstoppable, the creative flow: go back to those years cited biblical poem for voices and orchestra entitled "Perimus", an eighteenth-century suite in four movements, the "Adagio religioso", but especially the "heroic Procession" and "symphonic Prelude". This decade was to "work day and night; It is one thing to crazy! ... I'm so glad though, although exact a ghastly toil ... they're dazed for the great job "he wrote to his family. In his works and in his letters captures the great effort of the cultural momentum of the era and the emerging, unfortunately, the humanity of the unfortunate sore.

The March 3, 1918 died in Caggiano, he took refuge in the arms of the homeland and of dear family.

Text taken from the book published by the city of the Sun, "Nestor Caggiano and his time" by Maurizio Giani and suggested by Adam Cardenas. Naples, 2002.




Title: Re: Italian Music
Post by: jowcol on January 29, 2014, 07:46:14 pm
Lorenzo Perosi: Tema Variato
(http://upload.wikimedia.org/wikipedia/commons/2/24/Perosi.jpg)

From the collection of Karl Miller.


Tema Variato
Milan RAI Orchestra/Otmar Nussio

Find the link in the downloads section!

Wikipedia Bio:
Monsignor Lorenzo Perosi (21 December 1872 – 12 October 1956) was an Italian composer of sacred music and the only member of the Giovane Scuola who did not write opera. In the late 1890s, while he was still only in his 20s, Perosi was an internationally celebrated composer of sacred music, especially large-scale oratorios. Nobel Prize winner Romain Rolland wrote: "It's not easy to give you an exact idea of how popular Lorenzo Perosi is in his native country." [1] Perosi's fame was not restricted to Europe. A 19 March 1899 New York Times article entitled "The Genius of Don Perosi" began: "The great and ever-increasing success which has greeted the four new oratorios of Don Lorenzo Perosi has placed this young priest-composer on a pedestal of fame which can only be compared with that which has been accorded of late years to the idolized Pietro Mascagni by his fellow-countrymen." Gianandrea Gavazzeni made the same comparison: "The sudden clamors of applause, at the end of the [19th] century, were just like those a decade earlier for Mascagni."[2] Perosi worked for five Popes, including Pope St. Pius X who greatly fostered his rise.

Early years and education
Lorenzo Perosi was born at Tortona, Piedmont, in Italy. Many sources[3] give December 20 as Perosi's birthdate but recent scholarship suggests December 21 to be correct.[4] Perosi was one of twelve[5] children, one of six to survive infancy. Perosi hailed from an extremely musical and religious family. For nearly 200 years before him, all of Lorenzo's ancestors were church musicians. His father was Giuseppe Perosi (1849–1908), Maestro di Cappella (Choir Director) of Tortona Cathedral and one of Italy's most prominent church musicians. Giuseppe was the first teacher of Lorenzo as well as his other two sons, Carlo (who became a priest and then a cardinal) and Marziano (who was Maestro di Cappella at the Duomo of Milan from 1930 to 1949). In Milan Lorenzo studied with respected professor Michele Saladino of the Milan Conservatory. Even when he was not enrolled at the Conservatory, Perosi kept up a correspondence course with Saladino.

In 1890, 18 years old and still a student, Perosi obtained his first professional post: organist and "teacher of the piano novices" at the Abbey of Montecassino. He received his diploma from the Milan Conservatory in 1892, following which he spent an influential year of study with Franz Xaver Haberl in Regensburg, at the Kirchenmusikschule that Haberl had founded in 1874. A noted musician and musicologist, Haberl was the pioneering editor of the complete works of Palestrina and Lassus. Perosi's development was such that Haberl offered him a cattedra ("chair," or permanent teaching position) in the Kirchenmusikschule. The homesick Perosi politely declined, in favour of a post as teacher and director of sacred music at Imola. As Perosi himself explained, he "desired and prayed at length to the Lord to be able to do something for the music of God in Italy."[6] Perosi served in Imola from November 1892, to August 1894.

In 1894 Perosi went to Solesmes Abbey to study with the Gregorianists Dom André Mocquereau and Dom Joseph Pothier. The Renaissance polyphony he learned from Haberl, and the Gregorian chant he studied in Solesmes were the two pillars upon which the entire oeuvre of Perosi rested.

Years in Venice
From Imola, Perosi obtained a more important post, that of Maestro of the Cappella Marciana at San Marco's Basilica in Venice. This Venetian appointment resulted from the deep friendship between Perosi and Cardinal Giuseppe Sarto, then Patriarca di Venezia (Patriarch of Venice) but soon to be Pope Pius X (and still later Pope Saint Pius X). Sarto was a profound music-lover who was disturbed by the roughly hundred years (c.1800-1900) that Gregorian Chant was absent from the Church. A more operatic, entertaining style of music prevailed. Thus, Perosi found in Sarto not only a friend and kindred spirit, but also a staunch sponsor.

Perosi's Venetian appointment (1894) unleashed a torrent of music that lasted at least until 1907. He continued to compose prolifically until his death, but this 13-year period produced some of his most substantial work.

In 1895, Perosi became a priest, having been ordained by his good friend Cardinal Patriarch Sarto (the later Saint Pius X) himself. It should also be mentioned that St. Luigi Orione was, like Perosi, born in Tortona in 1872. The three men — Orione, Perosi, and Sarto — were all dear friends and mutual inspirers.

Don Perosi was inspired by the later Pope Pius X also to infuse priestly sanctity into the music, and Perosi daily offered Mass and spent many hours in prayer.

Vatican appointment
In 1898, Cardinal Sarto used his influence with Pope Leo XIII to get Perosi the post of Maestro Perpetuo della Cappella Sistina, or Perpetual Director of the Sistine Choir, in Rome. Five years later, Sarto was elected Pope Pius X. Just months after his coronation, he released a Motu Proprio "Tra le sollecitudini" on sacred music (of which Perosi was a co-writer). The 1903 Motu Proprio was a papal declaration that Gregorian Chant must be immediately reinstated in all Catholic churches around the world.
Don Perosi with his scuola di canto (singschool, c. 1905).

Perosi remained Maestro Perpetuo until his death over 50 years later, in spite of interruptions in his directorship. After 1907, Perosi began to suffer more intensely from psychological and neurological problems, caused by his problematic (probably breach) birth.[7] These afflictions reached their apex in 1922; many declared him "incurable." The composer did spend many months in comparative seclusion; some sources suggest he was briefly institutionalized,[3] although recent scholarship suggests that this was not the case, and that he did not change residence in 1922.[8] In fact, the very next year, 1923, Perosi had fully resumed his administrative and compositional activity; in the last decade of his life, he also maintained a busy conducting schedule.[9]
Compositions

According to biographer Graziella Merlatti, Perosi was the most prolific composer of sacred music of the 20th century.[10] According to musicologist Arturo Sacchetti's estimate, Perosi composed 3,000-4,000 works.[11] A great many still await publication; some have not yet been located. All of the sources mentioned in the bibliography agree that Perosi was the most influential composer of the Cecilian Movement.

Despite the relative obscurity of his name today, Perosi was a prominent member of the Giovane Scuola, of which the most important Verismo composers or Veristi (Puccini, Mascagni, Leoncavallo, Giordano, and Cilea) were all considered members. An entire chapter is dedicated to Perosi in Romain Rolland's Musiciens d’Aujourd’hui (1899). Perosi was deeply admired not only by Rolland and by the above-named Veristi, but also by Boito, Toscanini, and many others. Caruso sang his music, as did Sammarco, Tagliabue, Gigli, and other great singers from that era, and also quite a few in modern times, such as Fiorenza Cossotto, Mirella Freni, Renato Capecchi, and fellow Tortonese Giuseppe Campora. His French admirers included Debussy, Massenet, Guilmant and d'Indy, all of whom were impressed by the 1899 French Première of La Risurrezione di Cristo.[12] Unlike the other members of the Giovane Scuola, Perosi was significantly influenced by pre-Classical repertoire. Romain Rolland reports that Perosi said: "Great artists formerly were more eclectic than ourselves, and less fettered by their nationalities.... We must do as they did. We must try to recreate an art in which the arts of all countries and all times are blended." [13]

In his day, Perosi was best known for his oratorios, large-scale works for chorus, soloists, and orchestra based on Latin texts. While the works can seem slow-paced today, at the time they were quite novel not only for their fusion of Renaissance polyphony, Gregorian chant, and lush, Verismo melodies and orchestrations, but also for Perosi's deep-seated faith in the words that he had set. The oratorio as a genre had been in decline in the preceding centuries, and Perosi's contributions to the canon brought him brief but significant international acclaim.[3]

In addition to the oratorios and masses for which he is best known, Perosi also wrote secular music — symphonic poems, chamber music, concertos, etc. In his youth, he also wrote pieces for organ.

Giacomo Puccini is quoted as saying that "There's more music in Perosi's head than in mine and Mascagni's put together." [14]



Title: Re: Italian Music
Post by: jowcol on January 29, 2014, 07:50:10 pm
Arrigo Pedrollo: I Castelli di Remeo e Giuletta
Symphonic Legend for Piano and Orchestra (1959)

(http://www.editriceveneta.com/vedi_millennium/resize.php?pic=pedrollo-arrigo.jpg)

From the collection of Karl Miller


I Castelli di Remeo e Giuletta: Symphonic Legend for Piano and Orchestra (1959)
V. Pertile, piano
Trieste Philharmonic Orchestra/Bruno Bobo

Find the link in the downloads section.

Wikipedia Bio:

Arrigo Pedrollo (born Montebello Vicentino, 5 December 1878 - died Vicenza, 23 December 1964) was an Italian composer. His father was his first teacher; at thirteen he went to study at the Milan Conservatory. Among his teachers there was Gaetano Coronaro. At his graduation in 1900, Pedrollo's only symphony was performed, under the direction of Arturo Toscanini. He chose instead to compose operas in a Wagnerian cast; in 1908 his first, Terra promessa, was premiered in Cremona. His second, Juana, won the 1949 Sonzogno Prize. Between 1920 and 1936 six more of his operas saw their premieres. In 1922 he became the head of the Conservatory in Vincenza. In 1930 he returned to Milan to teach composition at the Conservatory there; he held that post until 1941. Pedrollo retired at eighty-five, five years before his death.




Title: Re: Italian Music
Post by: jowcol on January 29, 2014, 07:55:36 pm
Nino Rota: Concerto Soiree for Piano and Orchestra
(http://www.ninorota.com/images/nino_rota.gif)

From the collection of Karl Miller



Concerto Soiree for Piano and Orchestra
Composer, Piano
Milan RAI/Bruno Maderna


Details from Nino Rota Catalog:

Prima Esecuzione / First Performed:Vicenza, Teatro Olimpico, 23 Settembre / 23 September 1962

Direttore / Conductor:Bruno Maderna

Contenuto / Content:

    Valzer Fantasia - tempo di valzer tranquillo, Poco piu brillante ma tranquillo
    Molto piu calmo, Tempo 1
    Ballo Figurato - Allegretto calmo con spirito
    Romanza - Andante malinconico, Poco piu mosso, Veloce, Calmo
    Quadriglia - Allegro con spirito, Poco meno con spirito, Tempo 1, Un poco trattenuto
    Can Can - Animatissimo, Meno mosso, Piu mosso quasi presto

Strumentazione / Instrumentation:

    1e2 flauto (ottavino), 1e2 oboe (corno inglese), 1e2 clarineti in si bem, 1e2 fagotto, 1e2 corno in fa, 1e2 tromba in do, trombone, timpani, pianoforte, 1e2 violini, viole, violoncelli, contrabassi

Durata / Duration:00:22:00

See also:



Bio from www.ninorota.com (http://www.ninorota.com)

Composer Nino Rota (1911 – 1979) was born into a family of musicians in Milan. He was initially a student of Giacomo Orefice and Ildebrando Pizzetti until he moved to Rome while still a child and completed his studies under Alfredo Casella at the Conservatory of Santa Cecilia in 1929. In the meantime, he became an enfant prodige, famous as both a composer and a conductor. His first oratorio, L'infanzia di San Giovanni Battista, was performed in Milan and Paris as early as 1923, and his lyrical comedy, Il Principe Porcaro, was composed in 1926.

Education
From 1930 to 1932, Rota lived in the U.S.A. He won a scholarship to the Curtis Institute of Philadelphia and studied composition under Rosario Scalero and orchestra under Fritz Reiner.

Rota returned to Italy and earned a degree in literature from the University of Milan. In 1937, he began a teaching career that led to the directorship of the Bari Conservatory, a title he held from 1950 until his death in 1979.
Operas, Ballets and Orchestral Compositions

After his ‘childhood’ compositions, Rota wrote the following operas: Ariodante (Parma 1942), Torquemada (1943), Il cappello di paglia di Firenze (Palermo 1955), I due timidi (RAI 1950, London 1953), La notte di un neurastenico (Premio Italia 1959, La Scala 1960), Lo scoiattolo in gamba (Venezia 1959), Aladino e la lampada magica (Naples 1968), La visita meravigliosa (Palermo 1970), and Napoli milionaria (Spoleto Festival 1977).

He also wrote the following ballets: La rappresentazione di Adamo ed Eva (Perugia 1957), La Strada (La Scala 1965), Aci e Galatea (Rome 1971), Le Molière Imaginaire (Paris and Brussels 1976) and Amor di poeta (Brussels 1978) for Maurice Bejart.

In addition, countless of Rota works are performed worldwide.

Film Scores
Rota's work in film dates back to the early forties and his filmography includes virtually all of the noted directors of his time. The first of these is Federico Fellini. Rota wrote the scores for all of Fellini's films from The White Sheik in 1952 to The Orchestra Rehearsal in 1979.

Rota also collaborated with other directors, including Renato Castellani, Luchino Visconti, Franco Zeffirelli, Mario Monicelli, Francis Ford Coppola (he received the Oscar for Best Original Score for The Godfather II), King Vidor, René Clément, Edward Dmytrik and Eduardo de Filippo. Additionally, he composed the music for many theatre productions by Visconti, Zefirelli and de Filippo.


Title: Re: Italian Music - Nino Rota
Post by: mjkFendrich on February 04, 2014, 10:19:29 am
Hello jowcol,

strangely nobody has yet complained about your erroneous Mediafire link, which 
points to Cooke instead of Rota. I would appreciate if you could correct that link.

Best regards, mjkF


Title: Re: Italian Music
Post by: jowcol on February 23, 2014, 08:23:57 pm
I just noticed your post and have corrected the link.

I don't have time to follow all discussions on this site, - please use an instant message if you need to bring something to my attention, since that will trigger an email to me.   I'm sorry you needed to wait this long.


Title: Re: Italian Music
Post by: jowcol on February 25, 2014, 03:34:01 pm
X Legio (10th Legion) by Barbara Giuranna
(http://upload.wikimedia.org/wikipedia/it/thumb/4/4f/Barbara_Giuranna.jpg/374px-Barbara_Giuranna.jpg)

From the collection of Karl Miller




E.I.A.R. Orchestra/Fernano Previtalll
LP Source: Cetra GC 2208


Snippet from Wikipedia:
Elena Barbara Giuranna (b. 18 Nov 1898, d. 31 July 1998) was an Italian pianist and composer.
Life

Barbara Giuranna was born in Palermo, Italy, and studied piano at the Palermo Conservatory with Guido Alberto Fano. He also studied composition at the Naples Conservatory with Camillo De Nardis and Antonio Savasta. She continued her education in composition at the Milan Conservatory with Giorgio Federico Ghedini.

After completing her studies, Giuranna taught at the Rome Conservatory from 1937 to 1970 and worked as an editor of 18th-century music. She was a music consultant to RAI in Rome from 1948 to 1956, and was elected a member of the Accademia di St. Cecilia in 1982. She died in Rome.[1][2]

Snippet from http://archive.is/www.intreccifemminili.com (http://archive.is/www.intreccifemminili.com)

Palermo, 18 Nov 1898 - Rome, 31 July 1998
Italian composer and pianist.
She studied the piano with Guido Alberto Fano at the Palermo Conservatory and composition with Camillo De Nardis and Antonio Savasta at the Naples Conservatory, before taking a course in advanced composition with Ghedini at the Milan Conservatory.
She taught at the Rome Conservatory from 1937, at first theory of music and solfeggio, then, from 1942 to 1970, harmony, counterpoint and fugue. Between 1948 and 1956 she was music consultant to RAI in Rome.

In 1982 she was elected a member of the Accademia di S Cecilia.
Her stage works, like the opera Jamanto, demonstrate her strong leaning towards traditional verismo.

In her earlier compositions she favoured a descriptive, programmatic mode of writing in the manner of Respighi; indeed, works such as the symphonic poems X legio and Patria are clearly conditioned by the political and cultural climate of the 1930s: in them, Zanetti, writing in 1985, identified ‘the entire baggage of fascist celebratory rhetoric and ingenuous striving after a pseudo- Roman epic style’.
Toccata and her Concerto for Orchestra bear witness to her interest in the possibilities of neo-classicism, and her later works exhibit a more eclectic modernism.
She also worked as an editor of 18th-century music.


Title: Re: Italian Music
Post by: jowcol on February 25, 2014, 03:39:49 pm
Music of Giovanni Salviucci
(http://i1.ytimg.com/vi/SSR8gw5Dk1U/hqdefault.jpg)
From the collection of Karl Miller

Alcesti
Turin RAI 0rchestra and Chorus/Mario Rossi

Chamber Symphony for 17 Instruments
Naples RAI Orchestra



Bio from Groves:
(b Rome, 26 Oct 1907; d Rome, 4 Sept 1937). Italian composer. A pupil of Respighi and Casella, he also read law at Rome University. Subsequently he taught counterpoint and fugue at the Istituto M. Clementi in Rome, and wrote music criticism for the Rassegna nazionale. His early death cut short a career so promising that some believe he would have ranked with Dallapiccola and Petrassi. The earliest important works bear the imprints of both Salviucci’s teachers; yet they already have a lyrical spontaneity which is his own. In the Sinfonia da camera, the most successful of these early works, he achieved a lithe, springy, neo-madrigalian exuberance, deploying his instrumental forces with a mastery not found in all his compositions.

The two orchestral pieces of 1934, though perhaps less perfectly realized, branch out in a new direction – they are fiercer, more chromatic, more rugged in rhythm. Salviucci now revealed a growing affinity with the more tense, involuted aspects of Casella’s art that also influenced the young Petrassi. Several passages (e.g. the extraordinary end to the ‘Introduzione’ of the Introduzione, passacaglia e finale, with jagged melodic fragments set against a hypnotically reiterated G on the strings) have the visionary uniqueness of genius. It is, however, in his last two works that Salviucci gave the fullest indication of his potential. Alcesti is a choral piece comparable in stature with Petrassi’s Salmo ix or Dallapiccola’s Cori di Michelangelo, without resembling either. The firmly linear, dissonant yet still basically diatonic fabric retains certain similarities to Casella, but the many incidental chromatic inflections, often producing poignant false relations, are unlike anything else, and ideally suited to the text. Even more original, though lighter, is the Serenata, whose debt to Casella is limited to a few component melodic and rhythmic details, and to the medium, clearly suggested by the older composer’s work of the same title. The result is wholly personal – not least in the first movement, abundant in its outpouring of unpredictable yet logical images and textures, and with a nervous energy which carries all before it.


Title: Re: Italian Music
Post by: jowcol on February 25, 2014, 03:41:52 pm
Descripton of Salviucci's Alcesti  by Benjamin Earle from www.musikmph.de

Giovanni Salviucci
(b. Rome, 26 October 1907 - d. Rome, 4 September 1937 )

Alcesti(1936/7)

How many well-known compositions are there for chorus and orchestra that do not also feature at least one vocal soloist? The list is shorter than might at first be imagined; such works that do exist tend to be on a small scale. The lack of any soloist in a full-length choral and orchestral piece is so unusual as to suggest that it ought to be read as significant in itself. In the best known twentieth-century example, Stravinsky’s Symphonie de Psaumes (1930), the absence of solo voices, like the more often noted lack of ›subjective‹ instrumental tone (two pianos replace upper strings and clarinets), would seem to be bound up with a characteristically Stravinskian socio-religious vision: of an archaic community in which individuality – if it ever existed in the first place – is replaced by collective obedience to a single all-encompassing principle. In the context of the 1920s and 30s, this is also political vision, its allegorical instantiation even. Consider the spectacle of the Symphonie de Psaumes in the concert hall. The principle that subordinates the great uniformed collectivities of chorus and orchestra is here embodied by the conductor: the only individual permitted to stand out from the mass, who by the same token controls it.

There was as little precedent for the composition of large-scale choral and orchestral works without soloists in the nineteenth- and early twentieth-century Italian tradition as anywhere else, perhaps less. But once the politicized image sketched above is taken into account, it may seem less surprising that this same rare sub-genre should have been one to which all three of the leading young composers of fascist Italy in the 1930s chose to contribute. To be sure, Luigi Dallapiccola’s Terza serie dei cori di Michelangelo Buonarroti il Giovane (1935/6), at a mere twenty minutes, is scarcely ›large-scale‹. It is, nevertheless, one of his grandest and at the same time most exuberant compositions, whose current neglect is to be regretted – from a purely musical point of view, at least. The only one of these Italian works to have been commercially recorded, Goffredo Petrassi’s Salmo IX (1934/6), takes around three-quarters of an hour in performance; our present topic, Giovanni Salviucci’s Alcesti (1936/7), about half an hour. Alcesti is at once this composer’s only published composition of such dimensions and his last of any kind, its completion in July 1937 coming two months before his death, three months before what would have been his thirtieth birthday. The first performance, in November 1938, took place at the Teatro Adriano in Rome; the work’s dedicatee Bernardino Molinari conducted the chorus and orchestra of the Accademia di Santa Cecilia.

Salmo IX is pretty blatantly political. One can point here not just to the spectacle of the work in performance, but also to the noisily attention-grabbing character of much of the score, underpinned by its hard-edged, brass-heavy scoring (pianos here replace the entire woodwind section). Above all, though, there is the choice of text. In the Vulgate, the final verse of Psalm 9 reads (in translation), »Set up, O Lord, a law-maker, that the people may know what men are«, words that, as Petrassi later admitted in interview, he intended as a symbolic reference to Mussolini (see Harvey Sachs, Music in Fascist Italy, London, Weidenfeld & Nicolson, 1987, p. 146). Striking too is the vaunting aggression with which he sets those parts of the text dealing with the destruction of enemies, though Petrassi is rivalled in this respect by the music composed by Dallapiccola for the literally bloodthirsty text that rounds off his Michelangelo cycle. It seems no coincidence that these pieces’ composition coincided with the fascist invasion of Ethiopia: an exceptionally distasteful episode in twentieth-century Italian history that at the time nevertheless marked the high watermark of the Duce’s popularity. Nor is Salviucci’s choice of text immune to this sort of consideration. A choral hymn to the ›donna perfetta‹, the wife who gives up her life that her husband may live, seems all too consonant with the propaganda imperatives of a regime that, as the classic account has it, »sought to extirpate the very attitudes and behaviors of individual self-interest that underlay women’s demands for equality and autonomy« (see Victoria De Grazia, How Fascism Ruled Women: Italy, 1922-1945, Berkeley, Los Angeles and London, University of California Press, 1992, p. 2.) In December 1935 (eight months before Salviucci began work on Alcesti), fascist Italy witnessed extraordinary public scenes of the mass donation of wedding rings to the state to help pay for the Ethiopian campaign. Wifely self-sacrifice was the order of the day.

According to the score, Salviucci prepared his own translation and selection from Euripides. What he gives us with respect to the latter’s play is a rapid précis of its opening stages: from the first entry of the chorus (which in the original follows a grotesque dialogue between Apollo and Death) to the choral lament that precedes the entry of Heracles. To be strict, the term Salviucci uses to describe the work, »Episodio«, is not accurately employed. For this designates those passages in a Greek tragedy that fall between choral songs. And in this case there are two such passages: the first a dialogue between the chorus and a maid from the house of Admetus (Alcestis’s husband), the second a dialogue between husband and wife (or as Salviucci treats it, a monologue for Alcestis, with a single interjection by Admetus). The two episodes are not only preceded and followed but also separated by passages for the chorus alone, giving the whole a symmetrical form, ABABA. Traditionally, a composer would have set the episodes for solo voices. Salviucci instead writes solo passages for individual sections of the chorus (as indicated by the annotations in the left-hand margin of the text printed at the front of the score). After the opening full chorus, which sets the scene, tenors and basses enquire after Alcestis. Replying, sopranos and altos are the grief-stricken maid, who tells of Alcestis’s desire to see the daylight one last time. The central full chorus follows: from the marginal annotations it looks as if this continues up to the invocation to daylight: »O sole, o luce del giorno, nuvole erranti…«. But as Salviucci’s setting suggests – for sopranos alone after the first two words – this is spoken by Alcestis herself. Sopranos then continue to take her part, while the men are Admetus, until the entry of the final chorus.

From a formal perspective, Salviucci follows the model of Salmo IX (which is that traditionally adopted by composers faced with long liturgical texts): a continuous series of short, more or less self-contained movements. In Alcesti there are eight of these, starting (1) with a grandly neo-Baroque orchestral introduction in ›French Overture‹ style. The first chorus (2) gets properly underway with the Andante four bars before figure 7: a ternary form, whose outer sections place modal counterpoint against a chromatic one-bar ostinato. The enquiring men (3) follow at the Allegro moderato three bars before figure 13: a binary form with a short codetta, in the kind of ›back to Bach‹ idiom familiar from the post-1922 music of Salviucci’s teacher Alfredo Casella. The maid responds (4) from two bars before figure 18. There is an introductory Andante, after which a pedal C enters (five bars before figure 20), supporting a two-part form: a contrapuntal build-up followed by a hammering Allegro molto (figure 22). One bar after figure 23, the pedal C is finally jettisoned, but the music continues to build in intensity towards the arrival of the tremendous central chorus (5), at figure 24. Like the work as a whole, this has a symmetrical form, ABABA, alternating music marked ›Largo‹ with passages marked ›Mosso‹ or ›Movendo‹. The third Largo section assembles an ever more complex texture of dissonant contrapuntal lines in the direction of a huge double climax before figure 29, whereupon a diminuendo leads to the invocation to daylight (6) (figure 30). This is in fact an orchestral interlude with a middle section for chorus; it prepares the Allegro molto four bars after figure 34 that marks the start of Alcestis’s anguished final speech (7). As she vividly tells of Death’s approach, Salviucci responds with the most modernistic music of his score, a series of short, ostinato-based sections that reach a climax in the expressionistic outburst at figure 40. Once again the music dies down, before the final chorus (8) begins with the Andante at figure 42.



Title: Re: Italian Music
Post by: jowcol on February 25, 2014, 03:42:58 pm
Continued...
Again like Petrassi in Salmo IX, but to a greater extent, Salviucci tries to bind his multi-sectioned score into a unity. Different movements share the same motivic material; there is also a recurring theme. Confined to the orchestra, this highly expressive melody, made up almost entirely of sighing appoggiatura figures, first emerges on trumpets at the climax of the opening chorus (just after figure 11) and soon reappears, this time on the bass clarinet, after the end of the following section (figure 17). We have to wait for its third appearance until almost the end of the work, in the second bar of figure 52, where it is heard on cor anglais and clarinets. After such a long absence, this last statement confirms the recapitulatory function of the latter part of the final chorus. Salviucci emphasises the symmetrical design of his text by returning here to some of the material exposed in the orchestral introduction. But this is no simple restatement: the ideas return in a new order and are recomposed to fit the new context. The climactic descent over a dominant pedal E at figure 2 returns at figure 48; the passage that originally preceded it, from the fifth bar of figure 1, now returns at figure 54. In between, the music that opened the work also reappears, much disguised, at figure 51, to set the final line of text; the very last word itself, »Alcesti!«, is set to the cadential progression first heard at bars 8-9 and repeated at bars 6-7 after figure 3.

This repeated cadence gives the lie to an observation by the conductor, critic and composer Gianandrea Gavazzeni, in an article originally dating from April 1939 (see »Aggiunta sul l’Alcesti«, in Gavazzeni, Il suono è stanco, Bergamo, Conti, 1950, pp. 325–31). Alcesti, thinks Gavazzeni, marks the »crisis« of an element that had always seemed fundamental to Salviucci’s work: his contrapuntalism. This is »music without harmonic consciousness. With no need for harmony. Chords do not come into being because no one summons them, no voice arises to call them forth.« But the sonority first heard at bar 9 of Alcesti – which one might hear as a partial statement of the tonic triad in a modal E minor, overlaid with C sharp and F sharp appoggiaturas; or perhaps as a ›Viennese‹ triad, G, C sharp, F sharp, over E in the bass – is certainly a chord, and is treated as one. The notion that Salviucci did not pay much attention to the vertical dimension of his music cannot be allowed to stand. In his article on the composer for the New Grove, John C. G. Waterhouse points to the »poignant false relations« which ensure that the score of Alcesti sounds »unlike anything else«. A quick look at the orchestral transition after figure 5 will show what he means; this is music that, by the sheer number of such semitonal clashes, clearly demonstrates the care with which Salviucci attends to harmony even in passages of four- and five-part counterpoint.

Gavazzeni complains that an excessive use of counterpoint reduces the »inventive surprises« in Alcesti to mere »corners« or »folds« in the musical fabric, and serves to heighten the work’s blemishes, in particular, a certain rhetorical over-emphasis. In a section like the beginning of the central chorus, it is true, one is reminded that Salviucci was also a pupil of Respighi. But where is the harm in that? For another critic, Fedele d’Amico, such points, where dense contrapuntal build-ups explode into »elementary, peremptory statements«, express something like the essence of Salviucci’s compositional character (see Renato Badalì, »Profilo di Giovanni Salviucci«, in Agostino Ziino (ed.), Musica senza aggettivi. Studi per Fedele d’Amico, 2 vols., Florence, Olschki, 1991, ii, pp. 675–84). Gavazzeni prefers the invocation to daylight: the first timid appearance of lyricism in its composer‘s work, he suggests. Here, as the texture thins, this critic finds the best clue to Salviucci’s possible further development. Certainly they are a beautiful few bars. But their effectiveness surely depends on the complexity of the music that surrounds them. Against Gavazzeni‘s negative judgements, one wants to affirm the quality of Salviucci’s achievement in Alcesti: the virtuosity of contrapuntal technique, the range of expressive characters, the control of large-scale musical architecture. This is a score that really ought to be better known.


Title: Re: Italian Music
Post by: jowcol on March 02, 2015, 08:50:02 pm
Music of Vincenzo Tommasini

(https://classicasenzafrontiere.files.wordpress.com/2013/09/alfano.jpg)

From the collection of Karl Miller



Works:
Chiari di Luna
Milano RAI
Missamo Pradella


Paesaggi Toscani
Torino RAI Orchestra
Fernando Previtali



La Donne di Buon Umore, Suite after D. Scarlatti
Napoli RAI Orchestra
Mario Rossi




Wikipedia Bio:

1878 – 23 December 1950) was an Italian composer.

Born in Rome, Tommasini studied philology and the Greek language at the University of Rome, at the same time pursuing equally intensive studies in music at the Academy of St. Cecilia. In 1902 he traveled extensively throughout Europe; during this time he studied under Max Bruch in Berlin. He first achieved note with a one-act opera, Uguale fortuna, which won a national competition. His biggest success internationally was his 1916 arrangement of keyboard sonatas by Domenico Scarlatti for the Sergei Diaghilev ballet in The Good-Humoured Ladies (Le donne di buon umore). It was he and Arturo Toscanini who completed Arrigo Boito's unfinished opera Nerone.

Tommasini was a leading figure in the revival of orchestral music in twentieth-century Italy. Among his other works are Paesaggi toscani (Tuscan Landscapes) for orchestra and a set of variations, also for orchestra, on the Carnival of Venice.


Title: Re: Italian Music
Post by: jowcol on March 02, 2015, 09:01:30 pm
Music of Riccardo Zandonai
(http://www.centrostudizandonai.it/images/foto/zandonai/2-zandonai.jpg)
From the collection of Karl Miller




Works:

Colombina, Overture
Orchestra of the la Fenice Theatre Venice
Carlo Felice Cillario


La Farsa Amorosa Ouverture
Torino RAI Orchestra
N. Bonavolonta

Concerto Andaluso for Cello and Orchestra
Massimo Amphiteatrof, cello

Orchestra of the la Fenice Theatre Venice
Carlo Felice Cillario


La Via della Finestra, Symphonic Suite from the Opera
Rome RAI Orchestra
Armando Gatto


Wikipedia Bio
Biography

Zandonai was born in Borgo Sacco, Rovereto, then part of Austria–Hungary.

As a young man, he showed such an aptitude for music that he entered the Pesaro Conservatorio in 1899 and completed his studies in 1902;[1] he completed the nine-year curriculum in only three years. Among his teachers was Pietro Mascagni, who regarded him highly.

During this period he composed the Inno degli studenti trentini, that is, the anthem of the organised irredentist youth of his native province. His essay for graduation was an opera named Il ritorno di Odisseo (The Return of Ulysses), based on a poem by Giovanni Pascoli, for singers, choir and orchestra. The same year 1902 he put to music another Pascoli poem, Il sogno di Rosetta. In 1908, in Milan, he was heard by Arrigo Boito at a soirée, and Boito introduced him to Giulio Ricordi, one of the dominating figures in Italian musical publishing at the time.

Zandonai's fame rests largely on his opera Francesca da Rimini, a free adaptation of a tragedy which Gabriele d'Annunzio had written expanding a passage from Dante's Inferno; it has never fallen entirely from the repertoire, and has been recorded several times. A while after the première, he married soprano Tarquinia Tarquini, for whom he had created the role of Conchita in the eponymous opera (dealing with a topic that Puccini had first considered and then rejected).

Soon, however, war broke out; patriotic Zandonai in 1916 composed a song, Alla Patria ("For the Motherland"), dedicated to Italy, with the result that his home and belongings in Sacco (then still in Austro–Hungarian hands) were confiscated (he received them back after the war).

When Puccini died without completing the music for the last act of Turandot, Zandonai was among several composers the Ricordi publishing firm considered for the task of finishing it. Puccini himself, in his final illness, seems to have supported the choice of Zandonai —certainly Toscanini looked with approval on this choice— but his son Tonio Puccini, for reasons still obscure, vetoed it. One version is that Tonio Puccini thought that Zandonai was too well-lknown and for that reason would be associated with the opera and might even overshadow his father. Ultimately Franco Alfano was chosen to complete Turandot.

In 1935 Zandonai became the director of the Rossini Conservatory in his beloved Pesaro. There he revived some works of Rossini, such as Il viaggio a Reims and the overture for Maometto secondo. In 1941 he re-orchestrated —and reduced to three acts— La gazza ladra.

Three years later, he died in Trebbiantico, Pesaro, after undergoing gallstone surgery. His last words were for the priest who announced to him that the day before, Rome had been liberated. The dying composer said, in his native dialect: "Good! Viva l'Italia;".



Title: Re: Italian Music
Post by: jowcol on November 06, 2015, 06:45:02 pm
Amfitheatrof Piano Concerto (1936)
(http://newstalgia.crooksandliars.com/files/uploads/2010/06/Daniele%2BAmfitheatrof%2Bd_amfitheatrof2%20copy_1c14f.jpg)

From the collection of Karl Miller


Details of performance are unknown.



You are also encourged to check out these interested tidbits from his movie career.


https://www.youtube.com/watch?v=9d-bEm_50eU (https://www.youtube.com/watch?v=9d-bEm_50eU)
https://www.youtube.com/watch?v=Ra9N_PKaMmI (https://www.youtube.com/watch?v=Ra9N_PKaMmI)



Wikipedia Bio


Daniele (Alexandrovich) Amfitheatrof (Russian: Даниил Александрович Амфитеатров, October 29, 1901 in Saint Petersburg, Russia – June 4, 1983 in Venice, Italy) was a Russian-born Italian-naturalised composer and conductor.

Contents

    1 Early life
    2 Composer and conductor
    3 Arrival in the United States of America
    4 Hollywood
    5 Final years
    6 Selected filmography
    7 References
    8 External links

Early life

Amfitheatrof was born in Saint Petersburg, into a family that was distinguished in various areas of the arts and culture. His father, Aleksander Amfiteatrov, was a noted writer. His mother Illaria (née Sokoloff), an accomplished singer and pianist, had studied privately with Rimsky-Korsakov.

The composer's early life was one of extreme hardship. In January 1902, at the age of three months, he was removed to Siberia, where his father was imprisoned for publishing anti-Tsarist articles. In 1904 the authorities returned the family to St. Petersburg, after which time they emigrated to Italy.

At the age of six, Daniele commenced private music studies with his mother. In 1914 he was accepted as a student by Ottorino Respighi in Rome. Shortly thereafter, however, the family returned to Russia, where Alexander Amfitheatrof was appointed as political advisor to Alexander Kerensky during the few months that he was Prime Minister prior to the Bolshevik Revolution in 1917. In spite of the political and social upheavals of the time, young Daniele received formal instruction in harmony under Nikolai Shcherbachov and Jāzeps Vītols at the Petrograd Conservatory between 1916 and 1918. In 1921, he was permitted to travel to Prague, Czechoslovakia for further study in counterpoint under Jaroslav Kricka.

After four years of ongoing hardships, the Amfitheatrof family escaped from Soviet Russia. Their perilous crossing through the Gulf of Finland was made in the dead of night. The family returned to Italy in the spring of 1922. Daniele became a naturalised Italian citizen and resumed his formal music training under Respighi. He received his diploma in composition from the Royal Conservatory of Santa Cecilia in Rome in 1924.
Composer and conductor

Following his graduation, Amfitheatrof took his place in Italian music circles of the day. In 1924 he was appointed pianist, organist, and assistant choral conductor of the Augusteo Symphony of Rome. Successive appointments included a position as the artistic director of the Italian Radio in Genoa and Trieste (1929–1932), as well as the management of RAI in Turin, where he also conducted many symphony concerts, choral works and operas at the Teatro di Torino (1932–1937). He also travelled extensively throughout Europe, conducting many of the leading orchestras there. Amfitheatrof's success as a composer in his own right was assured early on in his professional career by performances of his concert works, including Poema del Mare (1925), Miracolo della Rose (1926) and Christmas Rhapsody for Organ and Orchestra (1928) and American Panorama (1933). Later, he composed his first film score for Max Ophüls' La Signora di tutti (1934).
Arrival in the United States of America

Following the premiere of his programmatic work American Panorama (1935), which was conducted by Dimitri Mitropoulos in Turin in 1937, Amfitheatrof was invited by the Minneapolis Symphony Orchestra to a position as Mitropoulos's associate for the first two months of the 1937-1938 concert season. Amfitheatrof arrived in the United States with his wife (née May C Semenza), his son, Erik (b. 1931), and daughter, Stella Renata (b. 1934), at New York Harbour on October 21, 1937. His arrival was noted in the New York papers.

Amfitheatrof's busy schedule with the Minneapolis Symphony Orchestra included concerts in regional Minnesota and the Province of Manitoba. His appearances were well liked by audiences and received much favourable press.

Amfitheatrof also accepted a brief engagement with the Boston Symphony Orchestra at the behest of their conductor, Serge Koussevitsky, in 1938.
Hollywood

With World War II imminent in Europe, Amfitheatrof elected to remain in the United States. He relocated his family to California on the recommendation of Boris Morros, then director of music at Paramount Pictures. Amfitheatrof was hired by Metro-Goldwyn-Mayer Studios under an exclusive four-year contract (1939–1943). His scores at MGM include those for Lassie Come Home, the first major film of a young Elizabeth Taylor. During his twenty-six years in Hollywood, where he was employed by each of the major studios at one time for another, he composed the scores (often uncredited) for over fifty films, including Letter from an Unknown Woman, The Desert Fox, The Naked Jungle, The Last Hunt, and The Mountain.[1] His final score was written for Major Dundee in 1965. (This score, which was disliked by many, including director Sam Peckinpah, was replaced with a new score by Christopher Caliendo for the reconstructed version, which was released theatrically in 2005; both scores can be heard on the DVD, released later that year).

Amfitheatrof was twice nominated for an Oscar, for his work on Guest Wife and Song of the South.

Amfitheatrof once remarked in written correspondence (citation: private letters) with his friend and colleague, John Steven Lasher, that his career in Hollywood "as a prostitute composer" ultimately tarnished his image as a professional musician. As a result, he was unable to secure commissions or performances of his concert works.
Final years

Amfitheatrof returned to Italy in 1959 and lived there for the most part until 1967. He made frequent visits to the United States during the final fifteen years of his life. Plans to secure funding for a stage musical called The Staring Match, the production of a film, and the completion of a cello concerto, were all doomed to failure. His final years were spent in relative seclusion in Venice and in Rome, where he died on June 4, 1983.