Luigi Dallapiccola


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Dallapiccola, Luigi

(lo͞oē`jē däl'läpēk`kōlä), 1904–75, Italian composer, b. Pazan, Istria (now in Croatia). Dallapiccola was in a detention camp during World War I; because his wife was Jewish, he suffered persecution under Mussolini. He was the first Italian composer of atonal music, and after 1940 he increasingly used the twelve-tone system (see serial musicserial music,
the body of compositions whose fundamental syntactical reference is a particular ordering (called series or row) of the twelve pitch classes—C, C#, D, D#, E, F, F#, G, G#, A, A#, B—that constitute the equal-tempered scale.
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). His interest in vocal music is revealed in his operas The Prisoner (1949) and Odysseus (1968); the oratorio Job (1950); and the Christmas Concerto (1956) for soprano and orchestra. He also wrote instrumental concertos, ballets, and orchestral works.

Dallapiccola, Luigi

 

Born Feb. 3, 1904, in Pisino, Is-tria. Italian composer, pianist, and teacher.

Born into the family of a teacher of Greek, Dallapiccola studied piano with E. Consolo and composition with V. Frazzi at the conservatory in Florence, where he taught a piano class beginning in 1934. He was a concert pianist. From 1951 to 1957, Dallapiccola taught in the USA. (In 1956 he became a professor of composition at Queens College in New York City.) From 1963 to 1964 he taught in the summer program at the Mozarteum in Salzburg.

In his creative work Dallapiccola skillfully combines the principles of the twelve-tone technique with singing melodies that have an Italian character. Many of his works took shape as an expression of protest against fascist policies. His compositions include the operas Night Flight (based on the work by A. de Saint-Exupery, presented in 1940 in Florence) and The Prisoner (staged in 1950 in Florence). Dallapiccola also wrote the cantata Songs of Imprisonment, and the work Songs of Liberation for chorus and orchestra (1941), as well as orchestral, vocal-instrumental, and piano pieces.

WORKS

“The Genesis of the Canti di prigionia and II Prigioniero.” Musical Quarterly, vol. 39, 1953, no. 3. pp. 355–72.

REFERENCES

Dallapiccola, L. “Interv’iu.” Sovetskaia muzyka, 1967, no. 4, pp. 129–31. (Translated from English.)
Vlad, R. Luigi Dallapiccola. Milan. 1957.

O. T. LEONT’EVA

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See Angela Ida De Benedictis, 'Intorno ad alcuni inediti giovanili di Luigi Dallapiccola rinvenuti nella collezione Aldo Clementi', Mitteilungen der Paul Sacher Stiftung 29 (2016): 21-28n21.
In his review of Dietrich Kamper's Gefangenschaft und Freiheit: Leben und Werk des Komponisten Luigi Dallapiccola (Cologne: Gitarre + Laute--Verlagsgesellschaft GmbH, 1984), Michael Eckert points out that the row for the Canti di liberazione--"0 1 5 8 10 4 3 7 9 2 11 6 in integer notation--in fact does not conform to the standard definition of an eleven-interval series, in which each interval appears once when all intervals are measured in the same direction" (Journal of Musicology (Fall 1987): 565).
Nevertheless, a quick comparison is enough to reveal that Petrobelli's proud claim that his students were exploring areas which had 'until now [been] completely ignored' is in this case somewhat exaggerated: indeed, had Dr Brown's still-unpublished dissertation been more readily available in its entirety, it would have become clear to all concerned that her work also anticipates some of the other supposedly ground-breaking explorations in Studi su Luigi Dallapiccola.
Both Luigi Dallapiccola and Hans Werner Henze produced transcriptions of Ulisse: nowadays the trend would be to favour a much cleaner text.
The editor's ambitious undertaking aims at portraying both Karlowicz the man and the composer; Sala's own contribution benefits from his broad humanistic and philosophical background (he published on such stylistically distant composers as Luigi Dallapiccola and Luigi Boccherini).
The Twelve-Tone Music of Luigi Dallapiccola By Brian Alegant.
De tal modo, como director de escena participo en varios montajes como L'enfant Prodigue, de Claude Debussy (1862-1918) y Le Rossignol, de Igor Stravinsky (1882-1971), y algunos otros en calidad de estreno en Mexico; entre ellos: La Voix Humaine, de Francis Poulenc (1899-1963), II Prigioniero, de Luigi Dallapiccola (1904-1975) y el estreno mundial de la opera mexicana La mujer y su sombra, de Miguel Alcazar (1942).
A third Chandos release from the BBC Philharmonic has their principal conductor Gianandrea Nosed a with the music of his fellow country-men Luigi Dallapiccola, who died at the age of 71 in 1975.
But by far the most important influence upon his development as a composer was Sal's period of study with Luigi Dallapiccola at the Cherubini Conservatory in Florence, Italy.
It also started to manage important acquisitions: Giancarlo Rostirolla's music manuscript collection of the seventeenth through eighteenth centuries; printed music and long-playing records belonging to the composer Luigi Dallapiccola (1904-75) donated by the family with his portrait and his piano; the autograph manuscript collections by Ildebrando Pizzetti (18801968); the music library of the English conductor Gordon Bryan; and the entire library and sound recordings collection of the musicologist Massimo Mila (1910-88), whose books are enriched by his autographs notes and dedications.
En su estructura, el organismo ha contado con prestigiados compositores como miembros honorarios, entre ellos Paul Hindemith (1895-1963), Luigi Dallapiccola (1904-1975), Maurice Ravel (1875-1937), Igor Stravinski (1882-1971), Arnold Schoenberg (1874-1951) y John Cage (1912-1992).