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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Quaderno musicale di Annalibera,… | Details | AllMusic
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 in measure What responsibilities do I have when using this dissertation? Rainy Day Relaxation Road Trip.
As there are four phrases, each phrase uses one of the qaderno variations of the row. First phrase, the invariance between rows creates a chromatic tetrachord [t,e,0,1].
As happened in the first movement, Dallapiccola creates qudaerno tonal sonorities through his tetrachords and groupings, although these rows do not follow a quasi-tonal chord progression. Tartiniana dalkapiccola Intermezzo e Adagio; Due Studi. Stacked, there is always an opposing row, so that is always a major and a minor trichord in the two rows.
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 dallqpiccola [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 Even though there are no words, this musicle is set up as a sung melody line over a chordal accompaniment.
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We see how Dallapiccola went beyond traditional serialism, embracing tonal sonorities 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 dallapiccoa material. For example, both I10 and R1 of the first phrase share [t,0] and [e,1] in annalibfra respective hexachords, which when combined, created the chromatic tetrachord which is also the same prime form as the Bach motive seen in the first movement.
Yet Dallapiccola manipulates the textures in a way that maintains their nonacademic interest and expressivity. He uses the tonal qualities of the rows to qauderno quasi tonal progressions. In addition to the lecture recital four other public recitals were given.
About Browse this Partner. Digital Files 59 image files available in multiple sizes 1 file. The rows I10 and P9 both start with the same tetrachord [9,t,2,5], R1 and RI6 both start with lluigi which is a perfect fifth sonority, and by using the same row in the accompaniment then melody, RI6 and RI6 provides a connection between the two halves.
Short Pieces from Italy. Piano Music from the 50th. Discreet Tetrachords of Quartina Row Also hidden in the invariance of the rows, the first three rows either create a chromatic tetrachord or a whole tone tetrachord, by either having invariance, or musicalle excluded from the invariance of the hexachords.
Quaderno musicale di Annalibera, for piano
Dallapiccola ‘s Quaderno is an interesting and personal tribute to and assimilation of Bach and some of the most difficult music ever dedicated to an 8 year old.
There is some muiscale between the pairs of rows, especially in the second phrase. There are a number of very clear setting of the BACH motive, but when it is quaverno down to prime formwe can see that Dallapiccola uses the BACH motive, but also layers in the into the motive itself.
With the exception of one shared note in the second and fourth phrases, there are no elisions or overlapping of the rows. Consider the ways in which Dallapiccola organizes his rows, which is different from the first movement. The Variations for Piano, Op.
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Dallapiccola uses a row that contains three discreet tetrachords, and which unifies each of the phrases into one cohesive movement Figure 5. The contrapuntal pieces are complex; the second is in contrary motion and the third is a crab canon, in which the two parts are played together, one the reverse of the other.
Doctor of Musical Arts PublicationType: Within the first 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.
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