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.
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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

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

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
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(5.) 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.
It is unnecessary to list all the powerful works written in the 20th century using varying degrees of modernist strategies by Schonberg, Alban Berg, Karl Amadeus Hartmann, Olivier Messiaen, Henri Dutilleux, Luigi Dallapiccola, Elliott Carter, and even the recently departed George Rochberg.
LUIGI DALLAPICCOLA (1904-1975) was an eminent Italian composer, who needs no introduction to the readers of Perspectives of New Music.
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.
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.
During the time lasting from the 1950s until the end of his life, Luigi Dallapiccola was every bit as potent a European influence upon Sal's generation of young American composers as Nadia Boulanger had been upon the previous generation.
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.