from Dallapiccola’s Quaderno Musicale di Annalibera, I examine his use of cross partitioning as a motivic tool and as a referential collection. The development of. Download Citation on ResearchGate | Luigi Dallapiccola’s Quaderno musicale di Annalibera: interpretive implications for piano performance derived from organ. Luigi Dallapiccola’s twelve-tone piece Quademo Musicale di Annalibera () . The feet that the Quaderno Musicale di Annalibera is Dallapiccola’s only.
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The children of composers often have dedications bestowed upon them, and the pieces so dedicated are normally simple, appropriately childlike works. Luigi Dallapiccola ‘s Quaderno musicale di Annalibera Annalibera’s musical notebookhowever, — dedicated to his daughter Annalibera on her 8th birthday — is a dense tone work whose name, form, and content all pay tribute to Johann Sebastian Bach. The work was written during a journey across America for the Pittsburgh International Contemporary Music Festival.
Its sixth movement, “Ornaments,” would go on to ri as the basis of Dallapiccola ‘s Songs of liberation, leading some to suspect that the Quaderno was a preparatory work for the adllapiccola piece; the whole notebook was later transcribed as the Variations for orchestra. This is music of no mean interest — strictly constructed, and sharply characterized — but it may have left young Annalibera a little bewildered.
The 10 short movements that follow alternate between freely expressive movements with names like “Accents,” “Shadows,” and “Colors,” and various species of canon titled with a term Bach used in the Art of Fugue, “Contrapunctus. Some of the free movements are lyrical, like “Lines,” which spreads a serene melody over a bass line of broken chords.
Others explore rhythm, like “Accents,” in which the irregular meter is smashed out in chords.
A pedagogical analysis of Luigi Dallapiccola’s Quaderno musicale di Annalibera
The contrapuntal pieces are complex; the second is in contrary motion and the third is a crab canon, in which the two parts are played together, one the reverse of the other. Yet Dallapiccola manipulates the textures in a way that maintains their nonacademic interest and expressivity.
For example, the “Contrapunctus secundus,” which is marked Poco allegretto; alla Serenata in the score, takes on an almost nocturnal aspect, with staccato notes that recall the strumming of mandolins.
Dallapiccola ‘s Quaderno is an interesting and personal tribute to and assimilation of Bach and some of the most difficult music ever dedicated to an 8 year old.
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Quaderno musicale di Annalibera, for piano
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