Luigi Dallapiccola

Luigi Dallapiccola (February 3, 1904 – February 19, 1975) was an Italian composer known for his lyrical twelve-tone compositions.

Music

It was Richard Wagner's music that inspired Dallapiccola to start composing in earnest, and Claude Debussy's that caused him to stop: hearing Der fliegende Holländer while exiled to Austria convinced the young man that composition was his calling, but after first hearing Debussy in 1921 he stopped composing for three years in order to give this important influence time to sink in. The neoclassical works of Ferruccio Busoni would figure prominently in his later work, but his biggest influence would be the ideas of the Second Viennese School, which he encountered in the 1930s, particularly Alban Berg and Anton Webern. Dallapiccola's works of the 1920s have been withdrawn, with the instruction that they never be performed, though they still exist under controlled access for study.

Related Topics:
Richard Wagner - Claude Debussy - Der fliegende Holländer - Neoclassical - Ferruccio Busoni - Second Viennese School - Alban Berg - Anton Webern

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His works widely use the serialism developed and embraced by his idols; he was, in fact, the first Italian to write in the method, and the primary proponent of it in Italy, and he developed serialist techniques to allow for a more lyrical, tonal style. Throughout the 1930s his style developed from a diatonic style with bursts of chromaticism to a consciously serialist outlook. He went from using twelve-tone rows for melodic material to structuring his works entirely serialist. With the adoption of serialism he never lost the feel for melodic line that many of the detractors of the Second Viennese School claimed to be absent in modern dodecaphonic music. His disillusionment with Mussolini's regime effected a change in his style: after the Abyssinian campaign he claimed that his writing would no longer ever be light and carefree as it once was. While there are later exceptions, particularly the Piccolo concerto per Muriel Couvreux, this is largely the case.

Related Topics:
Serialism - Serialist - Tonal - Second Viennese School

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Liriche Greche (1942-45), for solo voice with instruments, would be his first work composed entirely in this twelve-tone style, composed concurrently with his last original purely diatonic work, the ballet Marsia (1943). The following decade showed a refinement in his technique and the increasing influence of Webern's work. After this, from the 1950s on, the refined, contemplative style he developed would characterize his output, in contrast to the more raw and passionate works of his youth. Most of his works would be songs for solo voice and instrumental accompaniment. His touch with instrumentation is noted for its impressionistic sensuality and soft textures, heavy on sustained notes by woodwinds and strings (particularly middle-range instruments, such as the clarinet and viola).

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The three political operas Canti di prigionia, Il prigionero, and Canti di liberazione form a trilogy, though the temporal and stylistic separation between the first two and the third make the set seem less than cohesive. Ulisse, with his own libretto after The Odyssey, was the culmination of his life's work. It was composed over 8 years, including and developing themes from his earlier works, and was his last major composition.

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