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Theresa Procaccini 1934-, Italian composer


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Author Topic: Theresa Procaccini 1934-, Italian composer  (Read 86 times)
shamus
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« on: February 27, 2013, 12:36:32 am »

http://www.youtube.com/user/tebedonte/videos?view=0

This YouTube channel largely focuses on this wonderful composer's music, some symphonic, choral and chamber all there. Be sure to do a search as well as some of her other things appear under Wellesz' channel, etc.

Google translation of an Italian page. Her own website doesn't seem to be functional at present.
Teresa Procaccini
a life for music

, life and artistic personality Teresa Procaccini collected in the volume edited
by TARTAGLIONE SIMEON AND TERESA PROCACCINI ... I know for some forty years Teresa Procaccini and I can say that this volume was expected: essential, rich News, analysis, historical references, lists of enviable works of all different walks of instrumental and vocal, so as to leave - with wonder - almost breathless. After reading and meditating many comforting chapters, here the reader - young or old - will soon enjoy its "sound" and meet, to thank, our composer: person really rare in the world of the pentagram today. His smile is combined with the most stringent standards but providential educational, pedagogical, psychological, human, artistic ... (from the presentation of Luigi Fait)





INTRODUCTION
The knowledge of the work and the artistic personality of the composer Teresa Procaccini has given rise to the writer, curiosity and attention since the early 90s. Thus, by the diligent listening, by attending staff, analysis of the scores resulted in the determination to dedicate carle detailed study.
The main idea of this paper is to highlight the stylistic coordinates of his works in the music of the late twentieth century: a melodic lyricism "without express complex" (Celletti 2000, 2-3), anchored in sound physiological principles and formal classics that give coherence and comprehensibility to the musical discourse "engaging emotional processes of the listener" (Procaccini CD 3073), "a balance essential even in those cases where the subversive forces of the contemporary language became more insinuating" (Church CD 3073).
's biography shows the strength of character that allowed the author to persevere in the language choices and remain true to their creative needs, despite the real feeling that the historical and cultural conditions were oriented in the opposite direction. It is well known that the structures responsible for the dissemination and implementation of the new musical creations unaware of a certain type of production is not aligned on what became the stylistic canons darmstadtiani. So, not only has attended summer courses in Darmstadt but "has not shared the controversies and ideologies, has not experienced the" dramatic ambiguity ", choosing a secluded, self uncomfortable, but proved, in his case , producing (...) (CD Casellato 3071). "Rather than experiment with new forms of musical expression, the composer seems interested in Puglia to its (...) the syntactic and stylistic heritage of some of the pillars of the musical history of the early twentieth century such as Stravinsky and Bartok first for a clear sound and objectivism the taste for thematic elaboration, but also perhaps for some Prokofiev melodies and the dry "(Tozzi CD 3074).
Ella stayed away from both aleatory music cageana both daring experimentalism or micro-intervallic frammentaristici focused on mathematical calculations prompting from time to time golden sections, schedules or other frattalistiche structuralist principles aimed at re-place the traditional formal schemes. Almost all of his music is so based on the "thematic, now tainted with rhythmic vitality and mobility, now dealt with processes and imitative counterpoint trade balance. (...) Never the subject, such as agglomeration of different musical parameters and how to pre-set ideological for future developments is questioned "(Tozzi, CD 3074.)
In a time when authoritative voices said that the impending fate of the classical music should be death by asphyxiation and that art in general "should be in the humble task of describing its purpose or, at least, its slow extinction" (Clementi 1971, 1), are certainly in contrast the vastness and variety of artistic experiences of Teresa Procaccini. Its production, in fact, not only has a catalog of over two hundred works, but extends almost without interruption, over a period of time from 1955 to present embracing different musical genres: from Concerto for soloist and orchestra compositions for different formations chamber, from opera to music for ballets, melodramas and action stage, from sacred music for soloists, chorus and orchestra compositions for band, as well as some revision of ancient music and numerous didactic works, to comment on documentaries, tv, cartoons and more. This large corpus led to limit the number of compositions to be analyzed, and to avoid a general historicist approach that would allow to shed light on specific solutions both to reduce the risk of a sterile technicality that would prevent him from grasping the dialectical relationship that binds the same solutions to the historical, cultural and biographical experiences to which they refer. Our although restricted examination, however, aimed at an overview of his creative path: either highlighting the differences of the different stylistic and expressive artistic seasons, is making a wise, as comprehensive as possible, the variety of formal structures, organic and destinations of its production. Work has followed a path of mediation between structuralism and diachronic investigation by identifying, in the works selected, both stylistic traits constant denoting the personal style of the author, is subversive elements against the contemporary production.
L 'articulation of the work sees a division into three parts, the first of which is divided into two chapters. In the first, will give space to the salient features of the human, the biographical experiences more crucial nell'iter creative composer, highlighting the most significant influences due to personal and artistic encounters and the second will be a small excursus into various kinds touched during fifty years of activity and will include structural analysis, thematic and stylistic works chosen in relation to the traditional models and transformations within the same production of the musician.
The second part contains the full catalog of works, data sheets that provide news of organic and essential structure of the piece and discography. The third part included some critical reviews, an overview of executions carried out in various parts of the world, musicological writings, the Funds Teresa Procaccini and the index of names and illustrations. For the second and third parts I borrowed material has been prepared by the author in previous publications, cards works and documents in his personal archive. The two enclosed CDs are finally agile anthology that brings together entire compositions or individual movements chosen along the evolutionary path. The list of songs performed, closes this volume.
Heartfelt thanks to prof. Paolo Emilio Carapezza and Prof. Rosalba Todaro for their valuable and timely suggestions.
Simeone Tartaglione

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