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(Loo-e’-je Dal’-la-pek’-ko-la) 1904–75 Italian composer Of the Italian composers of his generation, Dallapiccola was the first to adopt the radical new ideas based in Schoenbergian serialism; he was also the only one who actively opposed the regime of the dictator Benito Mussolini in Italy. His use of serialism is lyrical and Italianate. Many of his works are vocal, often subtle ...

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1904–75, Italian At the forefront of Italian serialism, Dallapiccola was inspired to compose after attending a 1924 performance of Schoenberg’s Pierrot Lunaire (‘Moonstruck Pierrot’, 1912); he made a complete analysis of Schoenberg’s 12-tone system and used this when writing his first one-act opera, Volo di notte (‘Night flight’, 1940), based on Antoine de Saint-Exupéry’s book Vol de nuit. ...

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companion, tenor Peter Pears, Crozier also collaborated with E. M. Forster and Britten on the libretto for Billy Budd. Introduction | Modern Era | Opera Personalities | Luigi Dallapiccola | Modern Era | Opera ...

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(Jan Fran-cha-sko Ma-le-pe-a’-ro) 1882–1973 Italian composer Although he is deemed to have been unevenly prolific, Malipiero was described by his younger contemporary Dallapiccola as the most important figure in Italian music since Puccini. He was influenced by Stravinsky, no less radically by his discovery of early Italian music – Claudio Monteverdi (1567–1643) and Antonio Vivaldi (1678–1741), both of whose ...

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(Looch-ya’-no Bâr’-yo) 1925–2003 Italian composer Study with Giorgio Ghedini and Luigi Dallapiccola (1904–75) led Berio to an early interest in the possibilities offered by serialism (Nones, 1954). In 1955 Berio and Bruno Maderna (1920–73) jointly opened the Studio di fonologia for electronic composition, where he created two works, Thema (Omaggio a Joyce) (1958) and Visage (1961), that exploited ...

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• Modern Era

work in transcribing and arranging traditional American music and folksong. Recommended Recording: Chamber Works, Ensemble Aventure, Pellegrini Quartet (CPO) Introduction | Modern Era | Classical Personalities | Luigi Dallapiccola | Modern Era | Classical ...

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Nineteenth-century music had developed with an unprecedented awareness of its own history, and by 1900 the European musical legacy seemed as permanent and unshakeable as the institutions – the opera houses, concert halls and conservatories – that nurtured it. Above all, classical tonality and its associated forms and genres, now the everyday stuff of textbooks, had ...

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(1895–1982), Milhaud and Ildebrando Pizzetti (1880–1968), although varying in significance, can be seen as continuations of a pre-war tradition. Although in some senses Il prigioniero (‘The Prisoner’, 1950) by Dallapiccola returned to the concerns that had dominated pre-war opera, its fusion of Schoenbergian serialism and Italianate lyricism provided inspiration for younger composers. Its depiction of a prisoner tortured by ...