Ildebrando Pizzetti

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Pizzetti, Ildebrando


Born Sept. 20, 1880, in Parma; died Jan. 17, 1968, in Rome. Italian composer and writer on music. Member of the Italian Academy (1939).

Pizzetti taught at the conservatories of Parma (1908), Florence (from 1909, director from 1917), and Milan (director from 1924 to 1935). Beginning in 1936, he occupied the chair of composition at the National Academy of St. Cecilia in Rome, of which he was president from 1948 to 1951.

Pizzetti specialized in opera and other theatrical genres. He frequently turned to medieval subjects, stylizing Renaissance music forms. He wrote more than ten operas, usually to his own librettos. His most important operas include Fedra (based on G. d’Annunzio’s tragedy, 1915), Assassinio nella cattedrale (based on T. S. Eliot’s Murder in the Cathedral, 1958), and Clytemnestra (1964), all staged at La Scala. He also wrote music for the staging of plays by Aeschylus, Sophocles, and Shakespeare. Pizzetti is the author of The Music of Greece (1914), Contemporary Music (1914), and Paganini (1940).


Gatti, G. M. I. Pizzetti. [Milan, 1954.]
References in periodicals archive ?
Gatti, Gianandrea Gavazzeni, Renato Mariani, Guido Marotti, Massimo Mila, Ugo Ojetti, Ildebrando Pizzetti, Enio Sindona, Luigi Torchi, Mario Zafred.
Letters confirm that other artists involved in the production, such as the composer Ildebrando Pizzetti, also saw this link, referring to Cabiria as 'romanzo cinematografico' ('cinematographic novel').
There were other premieres during the threeweek diocese-wide festival, including Michael Tippett's opera King Priam, The Beatitudes by Master of the Queen's Music Sir Arthur Bliss, and something by the veteran Italian composer Ildebrando Pizzetti (whose contribution I haven't been able to identify).
Conducted by Paul Spicer, the concert offers a mass by the Swiss composer Frank Martin, and the Requiem mass by Martin's noted Italian contemporary Ildebrando Pizzetti.
A book that lived up to Suvini-Hand's subtitle would survey a good three dozen works, demonstrating a striking range of verbal and musical forms and styles, from the politically committed avant-gardism of Luigi Nono's Intolleranza 1960 (Venice, 1961) through the high modernist Ulisse to the quirky productions of Gian Francesco Malipiero and the conservative music dramas of Ildebrando Pizzetti.
Moreover, in 1951, a few years after Zerbini's poem, Ildebrando Pizzetti put to music some of the stanzas dealing with Barbara's execution: ibid.
During his early teens, it seemed that Ildebrando Pizzetti (1880-1968) was destined more for a career as a playwright than as a playwright than as a composer.
At that time Rota, who had been taught by, among others, Ildebrando Pizzetti, moved to study at Rome's Conservatory of St.
Together with Ottorino Respighi, Ildebrando Pizzetti and, most significantly, Gian Francesco Malipiero, he played an essential part in the reorientation of Italian music towards a much broader conception of the art than had been the case in the long years of the preceding 'operacentric' period, and towards an assimilation by Italian composers of influences from some of the modernist trends that emerged beyond the Alps during the first decades of the century.
An operatic version, Assassinio nella Cathedrale, composed by Ildebrando Pizzetti in 1958, was well received; an earlier film version (1952) was not.
Following the path traced by other journals dedicated to contemporary music, Il Pianoforte also contained contributions from composers, not only those mentioned above, but also Ildebrando Pizzetti (1880-1968), one of the most influential voices in Italian musical culture of the period.
Her songs stand in sharp contrast to the gentler songs of Italian composer Giulia Recli (1890-1970), who studied with one of her country's finest song composers, Ildebrando Pizzetti.