Ottorino Respighi

(Bologna, July 9th, 1879 - Rome April 18th, 1936)

Starting as a pupil of Martucci in Bologna, Respighi's musical journey took him to various places. He began as the first violinist at the Petersburg Theatre in 1900, where he had the opportunity to study with Rimski-Korsakov. His musical education continued in 1902 with Bruch in Berlin. He then joined the Mugellini Quintet as a violinist and returned to Berlin from 1908 to 1909. However, his true calling was composition, and from 1913, he served as a composition teacher at the Conservatory of S. Cecilia in Rome. He later directed the conservatory from 1924 to 1925 before dedicating himself entirely to his work as a composer.

Respighi's models were initially classical, but he soon felt the influence of the French impressionists (Debussy), Rimski-Korsakov, and R. Strauss, the most outstanding representative of late Germanic romanticism. From these musicians, he learned the confident instrumentation technique and a taste for the color that will remain characteristic throughout his production. The contact with these currents of European music allowed him a specific cultural update. Still, he soon felt the need for a constant link with the Italian tradition and with the musical elements of our popular culture, so he lowered his sensitivity, so inclined to naturalism and not always supported by a confident taste, a typically Italian theme, sometimes popular and specifically Roman, sometimes dating back to the past of instrumental music. Respighi's inclination towards liturgical singing is also interesting: in many of his compositions, he uses elements taken from the ancient Christian song, giving rise to modal harmonies, severe and singular simultaneously, and is remotely comparable to his contemporary Pizzetti. However, unlike these, he gave his best in symphonic production. He is also the author of nine theatrical works (including Belfagor from 1923 and La Fiamma from 1934), some ballets, and chamber, vocal and piano music. He also edited a transcription of Monteverdi's Orfeo.

Church stained glass windows. Four impressions for orchestra P. 150 (1927)

It is a symphonic fresco of great breadth and notable instrumental commitment. Although it does not have the freshness of the Pines or the Fountains of Rome, it remains a personal composition in which a brilliant and shrewd technique blends with intense lyricism and a clear formal conception.

The musician was inspired by four "stained glass windows" which represent different religious episodes: opens with "The escape into Egypt" ('Very slow'), based on the well-known episode from Gesti's life; then comes "S. Michele Arcangelo" ('Allegro impetuoso'), a piece of great descriptive force symbolizing the fight of the Saint with the dragon, while the third piece is "Il mattino di Santa Chiara" ('Lento'); at the end of the score comes "S. Gregorio Magno" ('Lento-Moderato'), a solemn hymn of joy to the Lord inspired by the figure of the great Pontiff. Note in the music the use of ancient liturgical modes, suitable for evocative recall of the atmosphere of an ancient church dominated by the four grandiose windows. 

Ottorino Respighi

(Bologna 9-VII-1879 -Roma 18-IV-1936)

Allievo di Martucci a Bologna, nel 1900 era primo violinista al Teatro di Pietroburgo, e qui poté studiare per qualche tempo con Rimski-Korsakov, perfezionandosi nel 1902 con Bruch a Berlino. Entrò poi come violinista nel Quintetto Mugellini, e dal 1908 al 1909 viveva nuovamente a Berlino. Dal 1913 fu insegnante di composizione al Conservatorio di S. Cecilia a Roma, che diresse dal 1924 al '25, dedicandosi poi esclusivamente all'attività di compositore.

I modelli di Respighi furono inizialmente classici, ma ben presto egli risenti l'influsso degli impressionisti francesi (Debussy), di Rimski-Korsakov e di R. Strauss, massimo rappresentante del tardo romanticismo germanico: da questi musicisti egli apprese la tecnica sicura della strumentazione, un gusto per il colore che rimarrà caratteristico in tutta la sua produzione. Il contatto con queste correnti della musica europea gli permise un certo aggiornamento culturale, ma ben presto senti il bisogno di un legame costante con la tradizione italiana e con gli elementi musicali della nostra cultura popolare: cosi calò nella sua sensibilità, tanto incline al naturalismo e non sempre sorretta da un gusto sicuro, una tematica tipicamente italiana, a volte popolaresca e specificamente romana, a volte risalente al passato della musica strumentale. Interessante in Respighi anche l'inclinazione al canto liturgico: in molte sue composizioni egli si serve di elementi tratti dal più antico canto cristiano, dando luogo ad armonie modali, severe e singolari ad un tempo, ed è lontanamente paragonabile in questo al suo coetaneo Pizzetti. A differenza però di questi, egli diede il meglio di sé nella produzione sinfonica. È peraltro autore anche di nove opere teatrali (tra cui Belfagor del 1923 e La Fiamma del 1934), di alcuni balletti e di musica da camera, vocale e pianistica. Ha curato altresì una trascrizione dell'Orfeo di Monteverdi.

Vetrate di chiesa. Quattro impressioni per orchestra P. 150 (1927)

È un affresco sinfonico di grande ampiezza e notevole impegno strumentale, e anche se non ha la freschezza dei Pini o delle Fontane di Roma rimane una composizione personale, in cui una tecnica brillante e smaliziata si fonde con un lirismo intenso e una chiara concezione formale.

Il musicista si è ispirato a quattro "vetrate" che rappresentano diversi episodi religiosi: apre " La fuga in Egitto " ('Molto lento'), ispirato al noto episodio della vita di Gesti; viene poi " S. Michele Arcangelo " ('Allegro impetuoso'), un brano di grande vigore descrittivo simboleggiante la lotta del Santo col dragone, mentre il terzo brano è " Il mattutino di Santa Chiara " ('Lento'); a conclusione della partitura viene " S. Gregorio Magno " ('Lento-Moderato'), un solenne inno di gioia al Signore ispirato alla figura del grande Pontefice. Si noti nella musica l'uso di antichi modi liturgici, atti a rievocare suggestivamente l'atmosfera di una chiesa antica, dominata dalle quattro grandiose vetrate. 

Ottorino Respighi

(Bologna 9.7.1879 - Rom 18.4.1936)

Als Schüler von Martucci in Bologna wurde er 1900 Erster Geiger am Petersburger Theater, wo er einige Zeit bei Rimski-Korsakov studieren konnte und seine Fähigkeiten 1902 bei Bruch in Berlin perfektionierte. Anschließend trat er als Geiger dem Mugellini-Quintett bei und lebte von 1908 bis 1909 erneut in Berlin. Ab 1913 war er Kompositionslehrer am Konservatorium S. Cecilia in Rom, das er von 1924 bis 1925 leitete und sich anschließend ausschließlich seiner kompositorischen Tätigkeit widmete.

Respighis Vorbilder waren zunächst klassisch, doch bald spürte er den Einfluss der französischen Impressionisten (Debussy), Rimski-Korsakow und R. Strauss, dem größten Vertreter der deutschen Spätromantik: Von diesen Musikern erlernte er die souveräne Technik der Instrumentierung, eine Vorliebe für Die Farbe, die während der gesamten Produktion charakteristisch bleibt. Der Kontakt mit diesen Strömungen der europäischen Musik ermöglichte ihm eine gewisse kulturelle Aktualisierung, doch bald verspürte er das Bedürfnis nach einer ständigen Verbindung mit der italienischen Tradition und den musikalischen Elementen unserer Populärkultur: So verringerte er seine Sensibilität und neigte so zum Naturalismus und nicht immer getragen von einem selbstbewussten Geschmack, einem typisch italienischen Thema, mal populär und spezifisch römisch, mal aus der Vergangenheit der Instrumentalmusik. Interessant ist auch Respighis Neigung zum liturgischen Gesang: In vielen seiner Kompositionen verwendet er Elemente aus dem altes christliches Lied, das modale Harmonien hervorbringt, die gleichzeitig streng und einzigartig sind, und ist in dieser Hinsicht entfernt mit seinem zeitgenössischen Pizzetti vergleichbar. Im Gegensatz zu diesen gab er jedoch sein Bestes in der symphonischen Produktion. Er ist außerdem Autor von neun Theaterwerken (darunter Belfagor von 1923 und La Fiamma von 1934), einigen Balletten sowie Kammer-, Gesangs- und Klaviermusik. Er gab auch eine Transkription von Monteverdis Orfeo heraus.

Buntglasfenster der Kirche. Vier Impressionen für Orchester S. 150 (1927)

Es ist ein symphonisches Fresko von großer Breite und bemerkenswertem instrumentalem Engagement, und auch wenn es nicht die Frische der Pinien oder der Brunnen Roms aufweist, bleibt es eine persönliche Komposition, in der sich eine brillante und kluge Technik mit intensiver Lyrik und Klarheit vermischt formale Konzeption.

Der Musiker ließ sich von vier „Buntglasfenstern“ inspirieren, die verschiedene religiöse Episoden darstellen: „Die Flucht nach Ägypten“ („Sehr langsam“) beginnt, inspiriert von der bekannten Episode im Leben von Gesti; dann kommt „S. Michele Arcangelo“ („Allegro impetuoso“), ein Stück von großer beschreibender Kraft, das den Kampf des Heiligen mit dem Drachen symbolisiert, während das dritte Stück „Il mattutino di Santa Chiara“ („Lento“) ist; Am Ende der Partitur erklingt „S. Gregorio Magno“ („Lento-Moderato“), eine feierliche Hymne der Freude an den Herrn, inspiriert von der Gestalt des großen Pontifex. Beachten Sie in der Musik die Verwendung antiker liturgischer Modi, die die Atmosphäre einer alten Kirche hervorrufen sollen, die von den vier grandiosen Fenstern dominiert wird.

NAHUI (P. Cacucci, 2005, 2006) - Maria Teresa De Donato’s Opinion

 NAHUI

(P. Cacucci, 2005, 2006)

Maria Teresa De Donato’s Opinion

 

The story of Carmen Mondragón (1893-1978), also known as Nahui Olin, painter, poet, and artists' muse, considered "the most beautiful woman in Mexico City" is described in this compelling novel by Pino Cacucci.

Nahui is a cultured, intelligent, refined, beautiful, and equally seductive woman who frequents the most sought-after and prominent environments of the time, including cultural salons and studios of the most significant artists of her time by whom she is admired, courted, and even loved. Intense passions and poignant loves are experienced with absolute spontaneity and authenticity, without taboos, shame, or false modesty.

It is a novel that I found particularly fascinating. It is rich in history, and its protagonist, leading the reader into her own world, reveals herself to him completely. She shares her rich and tumultuous past and offers him, at the same time, the opportunity to reflect on fundamental themes of human existence.

The reader will be enraptured by the charm of the character and of the era, as well as by the incredible intelligence of this woman who, despite having been condemned to an old age of hardship and the fading of her beauty, maintains the awareness of her own value, identity, and dignity intact until the end of her life.

Nahui is, therefore, not only a fascinating journey into the life of its protagonist but also an immersion in an era endowed with particular charm and a culture that, unfortunately, seems to have been lost and that absolutely must be recovered.

https://www.amazon.it/Nahui-Pino-Cacucci/dp/8807891875/ref=sr_1_1?__mk_it_IT=%C3%85M%C3%85%C5%BD%C3%95%C3%91&crid=W65UNO5PMS7O&keywords=nahui&qid =1703621539&sprefix=nahui+%2Caps%2C326&sr=8-1

 

This article was also published at the following link: Nahui.

NAHUI (P. Cacucci, 2005, 2006) - Opinione di Maria Teresa De Donato

 NAHUI

(P. Cacucci, 2005, 2006)

 

Opinione di Maria Teresa De Donato

 

La storia di Carmen Mondragón (1893-1978), conosciuta anche come Nahui Olin, pittrice, poetessa e musa di artisti, considerata “la più bella donna di Città del Messico” viene descritta in questo avvincente romanzo di Pino Cacucci.

Nahui è una donna colta, intelligente, raffinata, bellissima e altrettanto seducente che frequenta gli ambienti più ricercati e in vista dell’epoca, tra cui salotti culturali e studi dei maggiori artisti del tempo da cui è ammirata, corteggiata e anche amata. Intense passioni, amori struggenti, tutto è vissuto con assoluta spontaneità e autenticità, senza tabù, senza vergogna né falsi pudori.

È un romanzo che ho trovato particolarmente affascinante, ricco di storia, la cui protagonista, conducendo il lettore nel suo proprio mondo, gli si rivela a nudo, condividendo il suo ricco e tumultuoso passato e offrendogli, al tempo stesso, l’opportunità di riflettere su temi fondamentali dell’umana esistenza.

Il lettore verrà rapito dal fascino del personaggio e dell’epoca nonché dalla grande intelligenza di questa donna che, pur essendo stata condannata ad una vecchiaia di stenti e allo sfiorire della propria bellezza, mantiene intatta sino alla fine la consapevolezza del proprio valore e della propria dignità.

Nahui è dunque non solo un affascinante viaggio nella vita della sua protagonista, ma anche un’immersione in un’era dotata di particolare charm e di una cultura che, purtroppo, sembra essere andata persa e che va assolutamente recuperata.

 

https://www.amazon.it/Nahui-Pino-Cacucci/dp/8807891875/ref=sr_1_1?__mk_it_IT=%C3%85M%C3%85%C5%BD%C3%95%C3%91&crid=W65UNO5PMS7O&keywords=nahui&qid=1703621539&sprefix=nahui+%2Caps%2C326&sr=8-1

 

Questo articolo è stato pubblicato anche al seguente link: Nahui

NAHUI (P. Cacucci, 2005, 2006) - Maria Teresa De Donatos Meinung

 NAHUI

(P. Cacucci, 2005, 2006)

 

Maria Teresa De Donatos Meinung

 

Die Geschichte von Carmen Mondragón (1893-1978), auch als Nahui Olin bekannt, Malerin, Dichterin und Künstlermuse, die als „die schönste Frau in Mexiko-Stadt“ gilt, wird in diesem fesselnden Roman von Pino Cacucci beschrieben.

Nahui ist eine kultivierte, intelligente, raffinierte, schöne und gleichermaßen verführerische Frau, die die begehrtesten und prominentesten Umgebungen ihrer Zeit besucht, darunter Kultursalons und Ateliers der bedeutendsten Künstler ihrer Zeit, von denen sie bewundert, umworben und sogar geliebt wird. Intensive Leidenschaften, ergreifende Lieben, alles wird mit absoluter Spontaneität und Authentizität erlebt, ohne Tabus, ohne Scham oder falsche Bescheidenheit.

Es ist ein für mich besonders faszinierender, geschichtsträchtiger Roman, dessen Protagonistin, die den Leser in ihre eigene Welt entführt, sich ihm nackt offenbart, ihre reiche und turbulente Vergangenheit teilt und ihm gleichzeitig die Möglichkeit zum Nachdenken bietet zu grundlegenden Themen der menschlichen Existenz.

Der Leser wird von dem Charme der Figur und der Epoche sowie von der großen Intelligenz dieser Frau begeistert sein, die trotz ihres Schicksals in einem hohen Alter und dem Verblassen ihrer Schönheit das Bewusstsein für sich selbst bewahrt Wert und ihre eigene Würde bleiben bis zum Ende erhalten.

Nahui ist daher nicht nur eine faszinierende Reise in das Leben seines Protagonisten, sondern auch ein Eintauchen in eine Ära mit besonderem Charme und einer Kultur, die leider verloren zu sein scheint und unbedingt wiederhergestellt werden muss.

 

https://www.amazon.it/Nahui-Pino-Cacucci/dp/8807891875/ref=sr_1_1?__mk_it_IT=%C3%85M%C3%85%C5%BD%C3%95%C3%91&crid=W65UNO5PMS7O&keywords=nahui&qid =1703621539&sprefix=nahui+%2Caps%2C326&sr=8-1

 

Dieser Artikel wurde auch unter folgendem Link veröffentlicht: Nahui

Goffredo Petrassi

(Zagarolo, July 16th, 1904 – Rome, March 3rd, 2003)

Having begun his musical studies relatively late, he studied with Bustini and Germani at S. Cecilia in Rome, where he taught since 1939. From 1937 to 1940, he was superintendent of the Fenice in Venice and, from 1947 to 1950, artistic director of the Accademia Filarmonica Romana, while from 1954 to '56, he presided over the International Society of Contemporary Music. He carried out an intense teaching activity (since 1958, he was the holder of the specialization course for composers at the Accademia di S. Cecilia in Rome) and presented himself publicly as director of his own compositions.

Petrassi's musical journey was marked by a unique blend of influences and a distinct personal style. Initially drawn to the neoclassical style, he soon developed a language of his own. His compositions were characterized by a rich sense of vocality and an airy polyphony, setting him apart as one of the leading figures of Italian 'neo-madrigalism' alongside Dallapiccola. After the Second World War, his focus shifted to instrumental forms, showcasing his versatility and adaptability.

Alien - at least initially - from any twelve-tone influence, his spirit soon led him to follow with interest the developments of the new serial techniques, and without ever openly assuming Schoenberg's method, he has absorbed its spirit in an exemplary manner in his most recent production. The acquisitions of "serial music," defined in Darmstadt, found an attentive observer in Petrassi, who adopted a freely chromatic and atonal language, at times even approaching the principle of "hazard," inaugurated by Boulez and Stockhausen.

Petrassi's musical journey was a testament to his refusal to conform to trends. Instead, he chose to elaborate and mature elements of language already present in his early compositions, evaluating them in the context of the evolving European musical consciousness. This approach led him to a unique musical identity, and he remains a dynamic figure in the music world, constantly seeking new avenues of exploration and research. 

As has been said, vocal music played a leading role in Petrassi: in addition to the works Il Cardavano (1949) and Morte dell'aria (1950), we remember Psalm IX for choir, orchestra, and two pianos (1936), Coro of deaths (1941) and Noche obscure (1950), as well as some lyrics and hymns for voice and instruments or voice and piano. In the field of chamber music, he is the author of a quartet (1956), the Serenade for Five Instruments (1958), a Trio (1959), and various pieces for piano. He also composed 2 ballets, stage music, and film music.

Partita (1932)

Similarly to Dallapiccola and Ghedini, Petrassi begins his orchestral production with a Partita, which means a direct and intentional connection to ancient Italian instrumental music (typical of the second half of the 1600s), in the aspiration to renew and restore modern meaning to a classical form favored by the ancient masters. Furthermore, the musician relives the spirit of Italian baroque music in an entirely wholly modern and personal way: and what is typically Italian in the Partita is the luminous and relaxed melodic discourse, the vigorous rhythm, the energetic and straightforward instrumental, a fundamentally diatonic language with clearly tonal bases. Furthermore, the influences of significant contemporary musicians are also clear, from Bartòk to Stravinski (about the latter, note the veiled quotation from the Firebird, entrusted to the saxophone in the first movement), so that the Partita is the testimony of a musician engaged in an operation of linguistic renewal who on the other hand does not want to deny his own tradition.

The succession of the three movements is that of the classical concerto: "Gagliarda" ('Mosso ed energico' in 3/4), "Ciaccona" ('Molto moderato' in 3/2, perhaps the best piece of the composition), and "Giga" ('Gaio e luce' in 12/8-4/4), the most brilliant piece of the entire Partita.