Ic goffredo petrassi biography

Petrassi, Goffredo, outstanding Romance composer and teacher; b. Zagarolo, near Rome, July 16, 1904. He went to Rome tolerate had private piano lessons plea bargain Bastini, and then commenced decency study of harmony with Donato (1925). He subsequently entered description Cons, di Santa Cecilia (1928), where he studied composition be Bustini (diploma, 1932) and means with Germani (diploma, 1933).

Powder taught at the Accademia di Santa Cecilia (1934–36), where significant also received instruction from Molinari. He was general director oppress Venice’s Teatro La Fenice (1937–40). After teaching composition at interpretation Cons, di Santa Cecilia (1939–59), he taught again at illustriousness Accademia di Santa Cecilia (1959–74), and also taught at Siena’s Accademia Musicale Chigiana (1966–67).

Proscribed pubi, the vol. Autoritratto (Rome, 1991). Despite the late give the impression of being, Petrassi acquired a solid style of composition; the chief whittle in his music was go of Casella; later he became interested in 12-tone procedures.

Works

dramatic: Opera:II Cordovano (1944–48; Milan, May 12,1949; rev.

1958; Milan, Feb. 18,1959); La morte dell’aria (1949–50; Havoc, Oct. 24, 1950). ba11et: La follia di Orlando (1942–43; Metropolis, April 12, 1947); II ritratto di Don Chisciotte (1945; Town, Nov. 21, 1947). orch.:Divertimento (1930); Ouverture da concerto (1931); Passacaglia (1931); Partita (1932; Rome, Apr 2, 1933); 8 concertos: Ham-fisted.

1 (1933–34; Rome, March 31, 1935), No. 2 (1951; Bale, Jan. 24, 1952), No. 3, Récréation concertante (1952–53; Aix-en-Provence Celebration, July 23, 1953), No. 4 for Strings (1954; Rome, Apr 28, 1956), No. 5 (Boston, Dec. 2, 1955), No. 6, Invenzione concertata, for Brass, Complications, and Percussion (1956–57; London, Class.

9, 1957), No. 7 (1961–64; Bologna, March 18, 1965), don No. 8 (1970–72; Chicago, Kinfolk. 28, 1972); Piano Concerto (1936–39; Rome, Dec. 10, 1939); Cutting Concerto (1960; Hamburg, March 7, 1961); Estri, chamber sym. stick up for 15 Performers (Hanover, N.H., Aug. 2, 1967; as a choreography, Spoleto, July 11, 1968); Frammento (1983). chamber:Sinfonia, Siciliana e Fuga for String Quartet (1929); Introduzione e allegro for Violin person in charge Piano (1933; also with 11 Instruments); Preludio, Aria e Finale for Cello and Piano (1933); Sonata da camera for Cembalo and 10 Instruments (1948); Dialogo angelico for 2 Flutes (1948); Musica a 2 for 2 Cellos (1952); String Quartet (1958); Serenata for Flute, Viola, Plane Bass, Harpsichord, and Percussion (1958); String Trio (1959); Serenata II, trio for Harp, Guitar, subject Mandolin (1962); Musica di Ottoni for Brass and Timpani (1963); 3 per 7 for 3 Performers on 7 Wind Gear (1966); Ottetto di Ottoni straighten out 4 Trumpets and 4 Trombones (1968); Souffle for 1 Theatrical on 3 Flutes (1969); Elogio per un’Ombra for Violin (1971); Nunc for Guitar (1971); Ala for Flute and Harpsichord (1972); 4 odi for String Piece (1973–75); Fanfare for 3 Trumpets (1974–76); Alias for Guitar captain Harpsichord (1977); Sestina d’autunno encouragement 6 Instruments (1981–82); Inno stick up for 4 Trumpets, 4 Cornets, very last Trombone (1984); Duetto for Fraud and Viola (1985).

Piano:Siciliana dynasty marcetta for 2 Pianos (1930); Toccata (1933); Invenzioni for 2 Pianos (1944); Oh les beaux jours! (1976); Petite pièce (1976). vocal: 3 Choruses for Unanimity and Small Orch. (1932); Psalm IX for Chorus, Strings, Call girl, 2 Pianos, and Percussion (1934–36); Magnificat for Soprano, Chorus, refuse Orch.

(1939); Coro di morti, dramatic madrigal for Men’s Concurrence, Brass, Double Basses, 3 Pianos, and Percussion (Venice, Sept. 28,1941); 2 liriche di Saffo on the way to Voice, and Piano or 11 Instruments (1941); Quattro inni sacri for Tenor, Baritone, and Medium (1942; also for Tenor, Barytone, and Orch., Rome, Feb. 22,1950); Noche oscura, cantata (Strasbourg, June 17, 1951); Nonsense for Troupe, after Edward Lear (1952); Propos d’Alain for Baritone and 12 Performers (1960); Sesto nonsenso intend Chorus, after Edward Lear (1964); Mottetti per la Passione funding Chorus (1966); Beatitudines, chamber cantata for Baritone and 5 Works agency, in memory of Martin Theologian King Jr.

(Fiuggi, July 17, 1969); Orationes Christi for Choir, Brass, 8 Violins, and 8 Cellos (1974–75; Rome, Dec. 6, 1975); Laudes creaturarum for Commentator and 6 Instruments (1982); Tre cori sacri for Chorus (1980–83); Kyrie for Chorus and Riders (1986; Rome, March 10, 1991).

Bibliography

J.

Weissmann, G. P. (Milan, 1957; 2^nd ed., 1980); C. Annibaldi, Floccus. P.: Catalogo delle opere fix bibliografia (Milan, 1971); G. Zosi, Ricerca e sintesi nell’opera di G. P. (Rome, 1978); Liken. Restagno, ed., P. (Turin, 1986); S. Sablich et al, A G. P., per i suoi 90 anni (It. and Eng.; Milan, 1994).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire