Use this URL to cite or link to this record in EThOS:
Title: Musical modernism in Fascist Italy : Dallapiccola in the thirties
Author: Earle, B.
Awarding Body: University of Cambridge
Current Institution: University of Cambridge
Date of Award: 2001
Availability of Full Text:
Full text unavailable from EThOS.
Please contact the current institution’s library for further details.
This is the first study in English of the music written by Luigi Dallapiccola (1904-75) during the 1930s. There are five chapters. In the first, I attempt to define Dallapiccola's compositional character with reference to what I have called a prima maniera, judged to have been established by around 1935. Particular stress is laid on Dallapiccola's debt to the works of Stravinsky's so-called 'Russian' period. The second chapter opens by pointing out how Dallapiccola's attitude towards Stravinsky, expressed in essays written throughout his career, was almost exclusively negative. In interviews given in later life, he goes so far as to repeatedly deny that Stravinsky's music had ever influenced him in any way. The contradiction between these denials and the obvious Stravinskyisms which are demonstrated in my first chapter prompts a reappraisal of Dallapiccola's early work in political terms, drawing on contemporary analyses of the relationship between neoclassicism and fascism. Chapter three investigates the most celebrated feature of Dallapiccola's music of this period, the extent to which it partakes of the innovations of the Second Viennese School. The picture usually painted in the literature is revised in the light of the analysis carried out in chapter one. The final two chapters undertake an extended study of Dallapiccola's major work of the 1930s, the one-act opera, Volo di notte (1937-39), after the novel by Antoine de Saint-Exupéry. Chapter four analyses the large-scale musico-dramatic design of the opera. Chapter five addresses the political/aesthetic issues which it raises, when read as a confessional 'artist opera' in the tradition of Die Meistersinger. Parallels are drawn between the decidedly Nietzschean heroism voiced by Saint-Exupéry novel (from which Dallapiccola prepared his own libretto), the modernism both of Schoenberg and of another of Dallapiccola's avant garde idols, Ferruccio Busoni, and a typically fascistic egotistical posturing.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available