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).

REFERENCE

Gatti, G. M. I. Pizzetti. [Milan, 1954.]
References in periodicals archive ?
Rota studied with some of the twentieth century's outstanding Italian composers, including Rosario Scalero, Alfredo Casella, and Ildebrando Pizzetti, and also studied conducting and orchestration with Fritz Reiner.
Charles Singers, will lead his mixed-voice ensemble in a set of unaccompanied choral works, including Herbert Howells' Magnificat "Collegium Regale," the Kyrie from Ildebrando Pizzetti's "Mesa di Requiem," and Benjamin Britten's virtuosic "Hymn to St.
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. Tickets (pounds 12 /pounds 10 conc) may be purchased on the door or from Birmingham Central Library (Tel.
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.
(63) Zerbini, 12, comments that "The conspiracy was headed by Barbara Sanseverino Sanvitale, Countess of Sala and Marchioness of Colorno, one of the most beautiful, cultivated, and vivacious ladies of her time, idol of all the courts, inspiration of illustrious poets, among whom was Torquato Tasso, who celebrated her spirit and charm in diverse and passionate sonnets." However, he also goes on to acknowledge (ibid., 13) that some scholars have doubted whether this was a "true and actual conspiracy." 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., 14.
The Enciclopedia italiana di scienze, lettere ed arti directed by Giovanni Gentile, Mussolini's Minister of Culture, canonized a taxonomy of jazz as a kind of aesthetic primitivism in the authoritative words of composer Ildebrando Pizzetti:
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.
Their topics include Jephthah's daughters as object of desire or feminist icon, Ildebrando Pizzetti's re-visioning of a biblical story through libretto and music in Debora e Jaele, and strategic ambiguity in Judges 4-5 and in classic film noir.
At that time Rota, who had been taught by, among others, Ildebrando Pizzetti, moved to study at Rome's Conservatory of St.