Overview
This book offers a detailed examination of the literary influences behind the experimental music of five twentieth-century Italian composers: Luigi Dallapiccola, Bruno Maderna, Luciano Berio, Giacomo Manzoni and Armando Gentilucci.
Full Product Details
Author: Vivienne Suvini-Hand
Publisher: Maney Publishing
Imprint: Maney Publishing
Volume: v. 16
Dimensions:
Width: 17.40cm
, Height: 2.20cm
, Length: 24.60cm
Weight: 0.816kg
ISBN: 9781904350606
ISBN 10: 1904350607
Pages: 304
Publication Date: 12 December 2006
Audience:
College/higher education
,
Professional and scholarly
,
Tertiary & Higher Education
,
Professional & Vocational
Format: Hardback
Publisher's Status: Active
Availability: In Print
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Reviews
"The term ""libretto"" names the text - usually poetic - set to music by the composer of an opera. Published separately from the vocal or full scores, this ""little book"" will also give stage directions and a list of characters. Of the five works studied by Vivienne Suvini-Hand, only Luigi Dallapiccola's Ulisse (Berlin, 1968) has a libretto... But Italian composers of the 1960s had not ceased to write operas, even if the younger generation preferred to call their music-theatrical assaults on bourgeois proprieties ""azioni sceniche"". -- Modern Language Review Modern Language Review Chapter 7 displays the dominating element of the five compositions: the reassertion of spiritual values over the material values of 1960s Italy. This distinctive tone makes these compositions uniquely commendable for further investigations into their influence on Italy's artistic canon. -- Forum for Modern Language Studies Forum for Modern Language Studies"
The term libretto names the text - usually poetic - set to music by the composer of an opera. Published separately from the vocal or full scores, this little book will also give stage directions and a list of characters. Of the five works studied by Vivienne Suvini-Hand, only Luigi Dallapiccola's Ulisse (Berlin, 1968) has a libretto... But Italian composers of the 1960s had not ceased to write operas, even if the younger generation preferred to call their music-theatrical assaults on bourgeois proprieties azioni sceniche . -- Ben Earle Modern Language Review 103.4, October 2008, 1141-42 Chapter 7 displays the dominating element of the five compositions: the reassertion of spiritual values over the material values of 1960s Italy. This distinctive tone makes these compositions uniquely commendable for further investigations into their influence on Italy's artistic canon. -- unsigned notice Forum for Modern Language Studies 47.1, January 2011
The term libretto names the text - usually poetic - set to music by the composer of an opera. Published separately from the vocal or full scores, this little book will also give stage directions and a list of characters. Of the five works studied by Vivienne Suvini-Hand, only Luigi Dallapiccola's Ulisse (Berlin, 1968) has a libretto... But Italian composers of the 1960s had not ceased to write operas, even if the younger generation preferred to call their music-theatrical assaults on bourgeois proprieties azioni sceniche . -- Ben Earle Modern Language Review, 103.4, October 2008, 1141-42 Chapter 7 displays the dominating element of the five compositions: the reassertion of spiritual values over the material values of 1960s Italy. This distinctive tone makes these compositions uniquely commendable for further investigations into their influence on Italy's artistic canon. -- unsigned notice Forum for Modern Language Studies, 47.1, January 2011
