Luigi Dallapiccola - Canti di Prigionia
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- Опубліковано 2 сер 2024
- Luigi Dallapiccola (1904 - 1975) - Canti di Prigionia (1938 - 1941)
I. "Preghiera di Maria Stuarda" [0:00]
II. "Invocazione di Boezio" [12:21]
III. "Congedo di Girolamo Savonarola" [17:08]
New London Chamber Choir, James Wood
Ensemble InterContemporain, Hans Zender (1992)
Luigi Dallapiccola's Canti di Prigionia (Songs of Imprisonment) is a work for chorus, two pianos, two harps, and percussion. Dallapiccola sets three texts of imprisonment: a prayer of Mary Stuart, an extract from Book Three of Boethius' The Consolation of Philosophy and Savonarola's unfinished Meditation on the Psalm 'My hope is in Thee, O Lord'. The first song was premiered on Brussels Radio in 1940, weeks before the Nazi Invasion of Belgium.
"The Canti di prigionia (Songs of Prison) were written in a spirit of protest, not by design but almost compulsively. The idea of the piece came to Dallapiccola, he continues, 'when on September 1st 1938 I heard the voice of Mussolini on the radio announcing that the time had come for Italy to initiate her own anti-Semitic campaign. I wanted to protest; but I was not so simple-minded as to imagine that an isolated individual could achieve anything in a totalitarian state. In a matter of a few days, knowing that only through music could I express my indignation, I sketched the “Preghiera di Maria Stuarda” (Prayer of Mary Stuart), the first movement of the Canti di prigionia.'
All three songs of the Canti di prigionia are threaded through with the dies irae, the 13th-century 'day of wrath' chant from the mass for the dead. (This tune, heard immediately in the harp and timpani, has long fascinated composers, and appears as a memento mori in dozens of pieces, from Berlioz’s Symphonie fantastique to Liszt’s Totentantz to Rachmaninoff’s Rhapsody on a Theme of Paganini to George Crumb’s Black Angels.) The use of plainchant in a 12-tone composition is highly unusual, and anchors Dallapiccola’s music in tonality. And yet, 12-tone rows do wreathe themselves around the chant like ivy, especially in Mary Stuart’s prayer, where the four-note phrases of the chant are paired with a four-note motive from the row, rising up to heaven in anguished intervals. Here and in the final prayer of Savonarola, an antique atmosphere is created by the clicking along of stately half-notes in the harps and pianos. One can hear in this Dallapiccola’s enthusiasm for early Italian composers such as Monteverdi and Gesualdo, also evident in the smoothly contrapuntal choral writing. The invocation of Boethius is more scherzo-like, with whirling atonal lines among which the dies irae gets dotted out on accented beats."
The texts of the songs, in English:
Prayer of Mary Stuart:
"O Lord God! I have hoped in Thee. O dearest Jesus! Deliver me now. In harsh chains, in pitiable pain, I desire Thee. Languishing, moaning, and kneeling, I worship Thee, I implore that you free me."
Invocation of Boethius:
"Happy is he who has been able to contemplate clearly the fount of good, happy he who has been able to unbind the chains of the burdensome earth."
Farewell of Girolamo Savanarola:
"Let the world oppress, the enemy attack. I fear nothing for in Thee, O Lord, have I put my trust, for Thou art my hope, for Thou hast established the highest refuge of all."
(source: americansymphony.org, AllMusic, Wikipedia)
I am new to this, but finding Dallapiccola to be the most approachable, gentle, lyrical of the post-war avant-garde.
This is one of the most beautiful pieces of music I've ever heard.
Mesmerizing.
Beautiful
Absolutely awesome music.
Wonderful !
Che meraviglia....
so good ...
Whoa! This is huge! Thank you so much
Straordinario.
Eccezionale
Nice to hear 12 tone music that's actually moving & not just note-by-number.
What is a 12 tone piece that you would say is note-by-number?
@@mm-dn6oe To me, much of Schoenberg's free atonal period and almost all of Webern feel emotionless. Berg, Skalkottas, Dallapiccola, etc., on the other hand, are quite compelling
@@towardthesea_ if I listen to something like Schoenberg op. 11, that doesnt sound like note by number to me at all. With Webern it could depend on what you mean but his music is never emotionless.
@@mm-dn6oe Yes, Schoenberg op. 11 is one of his atonal works I don't find to be devoid of emotion. Webern for me is almost unlistenably dry, and I've studied quite a few of his works with music theorists
@@towardthesea_ if you want to study webern, you should not do it with music theorists. If you look at a score it's undeniable the level of emotion present. You can certainly see it in dallapiccola as well.
1:02 Dies Irae
The new music Tonal Scale is as thus: 12 7 5 2 3 : 1 4 5 9 14
Not 12 with 7 & 5 BUT 14 with 9 & 5 [2^(1/14)]
These are the Tonal Scales growing from f (by cycles of fifths):
All Scales build from the first mode: equivalent to Lydian f
White keys are = & Black keys are |
12 with 7 & 5 [2^(1/12)] =|=|=|==|=|= {1,8,3,10,5,12,7,2,9,4,11,6}
1thru7are= 8thru12are|
7 with 5 & 2 [2^(1/7)] ===|==| {1,3,5,7,2,4,6} 1thru5are= 6&7are|
5 with 2 & 3 [2^(1/5)] =||=| {1,3,5,2,4} 1&2are= 3thru5are|
Now evolving up the other end
5 with 4 & 1 [2^(1/5)] ==|== {1,3,5,2,4} 1thru4are= 5is|
9 with 5 & 4 [2^(1/9)] =|=|=|==| {1,8,3,7,5,9,2,4,6} 1thru5are= 6thru9are|
14 with 9 & 5 [2^(1/14)] =|=|===|=|===| {1,12,3,14,5,7,9,11,2,13,4,6,8,10}
1thru9are= 10thru14are|
Joseph Yasser is the actual originator of the realization,
that scales develop by cycles of fifths.
www.seraph.it/blog_files/623ba37cafa0d91db51fa87296693fff-175.html
www.academia.edu/4163545/A_Theory_of_Evolving_Tonality_by_Joseph_Yasser
www.musanim.com/Yasser/
The chromatic scale we use today is divided by 2^(1/12) twelfth root of two
Instead of moving to the next higher: the 19 tone scale 2^(1/19) nineteenth root of two
I decided to go all the way down and back up the other end:
So 12 - 7 is 5 & 7 - 5 is 2 & 5 - 2 is 3
Now we enter to the other side:
2 - 3 is (-1)* & 3 - (-1) is 4* & (-1) - 4 is (-5)* & 4 - (-5) is 9* & (-5) - 9 is (-14)*
ignoring the negatives we have * 1 4 5 9 14
Just follow the cycles how each scale is weaved together, as shown above.
Each scale has its own division within the frequency doubling,
therefore the 14 tone scale is 2^(1/14) fourteenth root of two