1. CHAPTER ONE. INTRODUCTION. Luigi Dallapiccola’s Quaderno Musicale di Annalibera, a collection of eleven short pieces for piano solo, was written for the. Luigi Dallapiccola’s twelve-tone piece Quademo Musicale di Annalibera () The Quaderno Musicale di Annalibera presents these tonal references in three. Download Citation on ResearchGate | Luigi Dallapiccola’s Quaderno musicale di Annalibera: interpretive implications for piano performance derived from organ.
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Consider the ways in which Dallapiccola organizes his rows, which is different from the first movement. Who People and organizations associated with either the creation of this dissertation or its content. The UNT Libraries serve the university and community by providing access to physical and online collections, fostering information literacy, supporting academic research, and much, much more.
The rows I10 and P9 both start with the same tetrachord [9,t,2,5], R1 and RI6 both start with [7,0] which is a perfect fifth sonority, and by using the same row in the accompaniment then melody, RI6 annalibefa RI6 provides a connection between the two halves.
Quaderno musicale di Annalibera,… | Details | AllMusic
We can first see this transposed with p. The second phrase share all integers, except for a whole tone tetrachord [0,2,4,6] in each half of the hexachordal combinatoriality.
Piano Music from the 50th. For example in measure 2, there is an eb minor triad [3,6,t, e ] followed by a Bb7 chord with a missing fifth [t, e2, 58] in measure 3, followed by a uqaderno G7 chord [7,t, e ,1,5] in measure 4, which leads to the a minor [9,0,4] chord from the end of the P10 row.
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Dallapiccola ‘s Quaderno is an interesting and personal qaderno to and assimilation of Bach and some of the most difficult music ever dedicated to an 8 year old. Are there interesting ways that Dallapiccola uses his rows that are different from other composers we have studied? Within the do three phrases, there is invariance between the hexachords which either creates a chromatic tetrachord in the first and third phrases, or by exclusion a whole tone tetrachord in the second phrase.
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 Qusderno, “Contrapunctus. For example, the “Contrapunctus secundus,” which is marked Poco dallapicvola alla Serenata in the score, takes on an almost nocturnal aspect, with staccato notes that recall the strumming of mandolins.
With these trichords, Dallapiccola selects his rows to create a quasi-tonal Baroque chord progression throughout the entire movement Figure 1. In what ways might the concept of the piece reflective of the title guide row choices? The tone row contains trichords which, in combination with the ordering of rows, implies a quasi-tonal chord progression in a ternary form.
The return of the A section is announced by the return of the staccatissimo ostinato in the bass line, although the right hand returns with block chords before playing the musiicale opening theme in measure The opening A section utilizes a very rhythmic ostinato in the left hand with a very accentuated staccatissimo articulation, while the right hand is sostenuto block chords without pedal.
Three discreet tetrachords in each row Connections: Dallapiccola uses a row that contains three discreet tetrachords, and which unifies each of the phrases into one cohesive movement Figure 5. This opening up of the tetrachord provides a sense of harmonic tension and release.
Even though there are no words, this movement is set up as a sung melody line over a chordal accompaniment. Does it hold a relationship to the title?
Quaderno musicale di Annalibera, for piano
Showing of 59 pages in this dissertation. The work was written during a journey across America for the Pittsburgh International Contemporary Music Festival. Dallapiccolq Statistics When was this dissertation last used? This is music of no mean interest — strictly constructed, and sharply characterized — but it may have left young Annalibera a little bewildered.
The Modern Italian Piano. Tempo changes from 84 to and back to 84 Textural change from a rhythmic ostinato with very staccatissimo accentuated articulation, while B section is legatissimo and linear. He uses the tonal qualities of the rows to create quasi tonal progressions.
The two works were then performed. Description The lecture recital was given on November 20, Short Pieces from Italy.