Word: dallapiccola
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EDINBURGH INTERNATIONAL FESTIVAL (Aug. 24-Sept. 13) this year has an Italian slant, featuring works by composers from Monteverdi and Corelli to Dallapiccola and Nono. Opera predominates, but the London Symphony Orchestra, the New Philharmonia, and such soloists as Pianists Claudio Arrau and Misha Dichter, Violinists Itzhak Perlman and Nathan Milstein, can also be heard in nonoperatic works from Brahms to Stravinsky...
...Five Bagatelles, sandwiched as they were between two chestnuts, could not help but be a musical gourmet's delight. Written in a disjunct, motivic style that borrows almost as much from jazz as from serial technique, they presented problems of cohesion and continuity similar to those of the Dallapiccola 'Cello Concerto performed by the HRO last spring. This time, however, the orchestra succeeded. Rather than struggling frantically through the notes, the players were in sufficient control of the music to interpret it and make it come alive...
...Luigi Dallapiccola's Dialoghi for 'cello and orchestra (1960) was the most important work on the program; Friday night marked the U.S. (if not the world) premiere of the piece--even conductor Yannatos was not sure which. The strings were further reduced, making way for the wind section and a panoramic display of percussion instruments...
What matters more than the number of speakers, of course, is what comes out of them. Says Luigi Dallapiccola, the patriarch of the Italian twelve-tone school: "They already have vast technique. What they lack is ideas. Technical equipment is not important. When Beethoven wrote his piano sonatas, he anticipated the Steinway piano." Certainly the public still seems to appreciate the human touch. The biggest personal hit at Venice was U.S. Composer William Smith, a member of the original Dave Brubeck Octet. While his eight-minute electronic Improvisation, replete with amplified clarinet key clicks, breath noises, and echo chamber effects...
Hate Duets. A tiny man (5 ft. 3 in.), grey-maned Composer Dallapiccola is affectionately known in Italian musical circles as "Il Bruttino"-The Ugly One. He now lives in Florence in a musty, 17th century palazzo. There he is hard at work on a gigantic, twelve-tone grand opera to be based on Joyce's Ulysses. The trouble with modern opera, says Dallapiccola, is that composers "seem to have come to a mutual agreement to eliminate the love element which has delighted audiences for a century. The love duet was axed, and it would now be appropriate...