6.3 Luigi Dallapiccola was the principal pioneer of dodecaphony in Italy.
Il Prigioniero (The Prisoner) was his second opera. Here the idiom is wholly if idiosyncratically dodecaphonic (several series are employed and free use is made of octave doubling and other irregularities): the series often, however, contain diatonic, even pentatonic segments, which are prominently featured to symbolize the liberty for which the prisoner yearns, spurred on by the gaoler’s golden promises. In the end this liberty is revealed as illusion (there is an insubstantial, mirage-like air about the liberty music throughout) and the work ends with a gaping question mark. Despite these differences, Il prigioniero can be regarded as, in many respects, a sequel to the Canti di Prigionia, from which the opera’s last choral section quotes. But Volo di notte, too, is an important predecessor: both operas owe a fair amount to Berg’s influence – refracted, however, through Dallapiccola’s profoundly Italian personality.
https://ulozto.net/file/Omaq9GWMa1BT/dallpris-rar