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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Even though there are no words, this movement is set up as a sung melody line over a chordal accompaniment. The Variations for Piano, Op. Dallapiccola ‘s Quaderno is an interesting and personal tribute to and assimilation of Bach and some of the most difficult music luiggi dedicated to an 8 year old.

Three discreet tetrachords in each row Connections: Bell, Digby May Follow the links below to find similar items on the Digital Library. In addition to the lecture recital four other public recitals were given. This expansion and contraction provides an extra layer of harmonic tension between the rows. Introspection Late Night Partying.

Quaderno musicale di Annalibera, for piano

People and organizations associated with either the creation of this dissertation or its content. There is some invariance between these rows, which connect them all together.

Doctor of Musical Arts PublicationType: Romantic Evening Sex All Themes. Dallapiccola uses a row that contains three discreet tetrachords, and which unifies each of the phrases into one cohesive movement Annaliera 5. At the end of the B section, we see a similar back and forth progression when, starting in measure 25, there are five prime and retrograde rows back to back P7-R7-P7-R7-P7. Theses and dissertations represent a wealth of scholarly and artistic content created by masters and doctoral students in the degree-seeking process.

With the exception of one shared note in the second and fourth phrases, there are no elisions or overlapping of the rows. 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.


We can first see this transposed with p. The first is the actual motive [3,2,5,4] ; the second or middle line uses the same first two notes, but instead of moving up an IC3, it continues downwards by half step [3,2,1,0] ; the third or bass line is a different pitch order [6,8,7,9], but still shares the same prime form Collections This dissertation is part of the following collection of related materials.

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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. This opening up of the tetrachord provides a sense of harmonic tension and release. There are four phrases in this movement,and can be divided into two distinct halves. The final trichord of the Prime row [0,4,9] creates a minor sonority, while the final trichord of the Inversion row [4,8,e] creates a major sonority, both prime form R10 P10 am am Figure 1 – Rows and implied sonorities in Simbolo In addition to the sonorities included within the rows, Dallapiccola creates groupings within the row that highlight other implied tonal chords.

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 same opening theme auaderno measure We see how Dallapiccola went beyond traditional serialism, embracing tonal dallapiccoka and quasi-tonal progressions that were embedded within the row, how both movements use baroque forms, and how the Bach motive is used both as main thematic material, but also layered underneath other material.

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It is in this movement that one sees more similarity muxicale Dallapiccola and a more traditional approach to serialism. Who People and organizations associated with either the creation of this dissertation or its content. For example in measure 2, there is an eb minor triad [3,6,t, e ] followed by a Bb7 chord quaderho a missing fifth [t, e2, 58] in measure 3, followed by a half-diminished 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.


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. The third recital was a vocal chamber music recital and musicalee fourth consisted of a piano concerto performed with an orchestra.

More information about this dissertation can be viewed below. North Texas State University.

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There is some invariance between the pairs of rows, especially in the second phrase. The composer also uses the BACH motive in both direct quotations, as well as layering the prime form underneath it, in prime and inverted forms. The children of composers often have dedications bestowed upon them, and the pieces so dedicated are normally simple, appropriately childlike works. School of Music Discipline: This dissertation is part of the collection entitled: 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.

Dates and time periods associated with this dissertation. What Descriptive information to help identify this dissertation. The lecture recital was given on November 20,