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Italy, the birthplace of opera in the late sixteenth century, has
in recent decades seen remarkable and vital musical growth, with
composers as diverse as Luciano Berio and Nino Rota, Luigi Nono and
Sylvano Bussotti, Giacomo Manzoni, Bruno Maderna and Salvatore
Sciarrino. The musical theatre has figured prominently in the work
of Italian composers during this period, ranging from operas
conceived in a traditional mode to works of a Music Theatre
variety, and in style from popular to avant-garde.
Italy, the birthplace of opera in the late sixteenth century, has
in recent decades seen remarkable and vital musical growth, with
composers as diverse as Luciano Berio and Nino Rota, Luigi Nono and
Sylvano Bussotti, Giacomo Manzoni, Bruno Maderna and Salvatore
Sciarrino. The musical theatre has figured prominently in the work
of Italian composers during this period, ranging from operas
conceived in a traditional mode to works of a Music Theatre
variety, and in style from popular to avant-garde.
The first English work dealing in detail with the life and musical influences of the Italian composer Luigi Dallapiccola (1904-1975). Luigi Dallapiccola (1904-1975) was one of the most important Italian composers of the twentieth century. As well as writing several operas, he composed a large number of works in which the human voice, whether in solo or in chorus, plays an important role. Dallapiccola also set texts by writers as diverse as James Joyce, Salvatore Quasimodo, Antonio Machado, Goethe, and Heine. This book is the first in English to deal with Dallapiccola as a whole, from thefirst, hesitant vocal compositions of his student years up to the works of his last decade, in which Italian lyricism is combined with great formal rigor. The author suggests that Dallapiccola should be understood not only as aninfluential figure in the post-war developments of Italian music, but also as one who renewed and revitalized the older traditions of Italian music. Raymond Fearn is Professor of Music, Keele University.
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