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06/06/2015
Giuseppe Mulè from Paolo Isotta

Paolo Isotta della Sera by Paolo Isotta.
DISC DISCOVERS THE COMPOSITION OF GIUSEPPE MULÈ
Music in the South in the early twentieth century Classicism and mythology, not folklore
Poetic Sheet which mix a modern language with a cult of? Archaism
T his article begins in the name of Pirandello. Not Pirandello Pirandello and music but in music. We have three significant scores of Italian music pre-war and it is remarkable that only one of them is a Sicilian composer, the other two being a Turin-Paris-Rome, Alfredo Casella, and a Venetian Gianfrancesco Malipiero. Ballet La Giara Casella is 1924 and is the only one of the compositions that I speak to have achieved success and popularity. Malipiero is l? Opera The story of his son changed: Gino Marinuzzi he conducted the first performance at the Royal Italian dell? Opera, of which he was artistic director in 1934, between such public protests that the Duce himself forbade replicas: and I think a case similar to the first performance with the Berlin Philharmonic in 1928, of changes in Schönberg, director Wilhelm Furtwängler. The third case is of the Year after: the San Carlo in Naples Giuseppe Mulè conducted the first performance of his Liolà, Opera full of a sense of ancient fields and rich singing. Terms, the? Old Imera, in 1885 gave birth to Mulè: humble son of the people who brought his qualities at the top; and destined to die in Rome in 1951 almost alone (his best friend Marinuzzi had disappeared in 1945 and was left alone beside the Franco Alfano) in that house ch? he had been generous with hospitality until the owner had been dignitary Syndicate fascist, Member of Parliament and director of the Conservatory of Santa Cecilia, from which he had been ignominiously expelled coll? arrival in Rome of Americans. And still the name of Mulè exists a damnatio memoriae broken only occasionally. Of all the twentieth century Sicilian composers? Alberto Favara, Gino Marinuzzi the chief, Giuseppe Savagnone (1902-1984), Franco Mannino, Angelo Musco? Mule is the only erect Sicily in perpetual subject of his song. But not just because he is the author of a lot of music etnofonica (that gl? Induced call "folk"), namely that based on? Use of the melody of the folk song (and the basis for the knowledge of Italian? Etnofonia v? Is the collection of Alberto Favara from Salemi, born in 1863, another teacher of composition at the Conservatory of Palermo, Songs of the land and the sea of ​​Sicily, published in 1907): but why Mulè was the main author of the music adoperate to Syracuse from what was then called l? Institute for Ancient Drama (Savagnone and directed choirs). It was, as Marinuzzi, companion of Ettore Romagnoli, who was the? Soul; and working with him to put his head too? Opera Dafni: Marinuzzi he conducted the first performance, always of the Royal? Opera, in 1928. This delicate Lyric tragedy derives from Theocritus and tells the story of the shepherd-poet whom Venus herself s ? infatuated: respintane for loyalty to the boy Egle virgin goddess curses him. Mulè combines a modern language with a cult of? Archaism but of? Musical archeology: convinced, like the fundamental studies of Favara (The rhythm in life and in? Folk art in Sicily, 1904), that retained the Sicilian folk song vestiges of the greek nomos which would otherwise have gone missing; and he writes employing non-tonal musical scales and rhythms full of subtlety. The Dafni was revived once only by Massimo of Palermo in 1991, when it ran Ubaldo Mirabelli and Peter Diliberto: between l? Hostilities degl? Intellectuals and professionals of? Anti-fascism: if at least if it could become a? Recording record could be laid down to? attention of all sine ira ac studio. Even Maurice Emmanuel (1862-1938), the great composer of Prometheus Bound and Salamina, as well as two splendid symphonies, he was convinced that in the folk song survive? Ancient Greek music, but believed, in the Breton. Emmanuel is the composer Mulè which can no longer be approached. Waiting in concert s? Perform at least the music for Syracuse, now comes a disc that contains a compilation of compositions Mulè: It is noted with some bitterness that the company named after him in Termini Imerese will be due to a direct yes Italian director, the? great Silvano Faceplates, but a? orchestra and a choir Poles, those of Opole Philharmonic of Poland (the? record label is the Halidon). Admittedly, the greatest Polish composer after Chopin, Karol Szymanowski, was elected in place of Sicily? Anima.Il disc contains the Largo for strings, before the famous War, we can look upon the forerunner of? Adagio of Samuel Barber; and three choirs for the Medea of ​​Euripides: Music severe and frightening, where a rhythmic chant of extraordinary subtlety is accompanied by archaistic agreements of empty? orchestra; and two orchestral pieces taken from Dafni, a satirical dance in a brutal style that really looks like no other composer, and a severe Interlude. Then some songs in a lively style etnofonico.Mulè has a coloristic writing that to be not too flamboyant for this lacks depth. The Symphony of Liolà, the symphonic suite singing Sicily (1917: l? Year of his friends: Marinuzzi wrote l? Opera Jacquerie and Alfano Legend of Sakuntala) and the symphonic poem The harvest takes place at the side not only of Clara and Giufà of Savagnone, but the masterpieces of the twentieth century music etnofonica (we can hope that someone makes us know of Favara L? old mother, on a text by Pascoli, 1907, and the symphonic poem Dream in Val d'Enna, 1913): that is Romanian rhapsodies George Enescu, the Suite and the Sicilian Symphonic Poem Sicania Marinuzzi, Italy Casella, the Chants d'Auvergne by Marie-Joseph Canteloube (1879-1957), the Leos Janacek's Sinfonietta, the Ballet Harnasie of Szymanowski, the Suite Hic est illa Neapolis Alfano and a few pieces of Bartok, of which I think is the best Scenes Magyar. I do not for a display such quotes scholar but to place all Mulè? Interior of its network: it is easier to despise you know. © ALL RIGHTS RESERVED
Paolo Isotta
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