L’espace sensible du héros dans Volo di notte de Luigi Dallapiccola

Luigi Dallapiccola was the leading Italian composer of the middle half of the twentieth century, contributing much to the development of musical modernism in Italy as well as writing some of the most famous and widely performed music of his era. He was born in Pisino in modern-day Croatia; his Istrian background and the changing political ownership of his hometown are often cited as the root of many of his later musical and esthetic directions. However, it could be claimed that his more crucial relationship with place occurred in Florence, where he re-located in 1922 as a burgeoning compositional talent to study with Ernesto Consolo and later the modernist Vito Frazzi. He never left, finding the city of Dante, Botticelli, and Boccaccio to be a perpetual artistic muse. By the end of the 1930s, Dallapiccola had been firmly established as Italian music’s principal pioneer and was known overseas as a vocal supporter of musical internationalism through the International Society for Contemporary Music.

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Luigi Dallapiccola

10.4000/books.contrechamps.1415 ◽

1996 ◽

Cited By ~ 2

Author(s):

Pierre Michel

Keyword(s):

Luigi Dallapiccola

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A Footnote to ‘Dallapiccola and the Organ’

Tempo ◽

10.1017/s0040298200016351 ◽

1976 ◽

pp. 21-23

Author(s):

Roman Vlad

Keyword(s):

Luigi Dallapiccola ◽

Quaderno Musicale Di Annalibera ◽

The Right

Rudy Shackleford has pointed out that in my (English) monograph Luigi Dallapiccola, published in 1957, I gave two different forms of the series on which Luigi Dallapiccola's Quaderno Musicale di Annalibera is based: a first, ‘erroneous’ form (quoted in Shackleford's Example Ia), and a second one, included in the ‘arc of melody’ in piece No. 6 of the Quaderno, ‘Fregi’. This second form, quoted in Shackelford's Ex. No. Ib (which is obviously the ‘right’ one) differs from the first in the placing of two notes — G and A. Shackleford's remark requires some clarification, not so much for personal reasons as for its bearing on the very nature of the 12-note method and serial writing.

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Le Prisonnier de Luigi Dallapiccola : derrière le politique, le religieux

Intersections Canadian Journal of Music ◽

10.7202/1013214ar ◽

2012 ◽

Vol 31 (2) ◽

pp. 65-78

Author(s):

Charlotte Ginot-Slacik

Keyword(s):

Luigi Dallapiccola ◽

Seconde Guerre Mondiale

Composé pendant la seconde guerre mondiale, Le Prisonnier de Luigi Dallapiccola constitue un tournant pour la musique italienne : premier opéra sériel italien en un temps de réaction esthétique et charge contre le fascisme, il est un modèle pour des compositeurs engagés tels que Luigi Nono et Bruno Maderna. Par-delà sa charge politique, Le Prisonnier est également l’expression d’une crise religieuse et d’un doute existentiel. L’Inquisition, institution religieuse par excellence est aussi celle qui torture le croyant au nom de la foi. Le retournement diabolique fait par le Grand Inquisiteur des principales thématiques chrétiennes vise à détruire le libre arbitre de l’autre. La manipulation du prisonnier, Christ contemporain, démontre la vacuité, voire la dangerosité de l’espérance, au nom de laquelle a été abjuré le libre arbitre. Dans l’affrontement entre le geôlier et son prisonnier s’esquisse enfin une sombre définition de la liberté car la parole de celui qui enferme n’est pas plus libre que celle de celui qui est enfermé. La mère seule, unique personnage clairvoyant de l’opéra a pu conserver sa liberté, mais à quel prix : celui de ne pas entrer dans l’action. Le doute qui émerge du Prisonnier est aussi celui de Luigi Dallapiccola, en individu directement touché par la guerre et les lois raciales, et en compositeur humaniste. L’objet de ce texte sera d’étudier la façon dont le musicien décline les thématiques religieuses mais pour les retourner totalement. Car Le Prisonnier, immense oeuvre politique, est aussi celle de l’errance et du questionnement religieux.

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