A STYLISTIC ANALYSIS OF

TRE SONETTI DEL PETRARCA

BY ILDEBRANDO PIZZETTI

THESIS

Presented to the Graduate Council of the

North Texas State University in Partial

Fulfullment of the Requirements

For the Degree of

MASTER OF MUSIC

By

Cheryl Huffman Doan, B. M.

Denton, Texas

December, 1970

/vft

,;,,08

Doan, Cheryl Huffman, Stylistic Analysis of Tre

Sonetti dePetrarca. Master of Music (Voice), December,

1970, 64 pp., 13 illustrations, 37 titles.

The purpose of this study is to examine the songs

Tre Sonetti del Petrarca by Ildebrando Pizzetti. Effort is

made to provide the performer with musical and poetic analyses

to aid him in the preparation and interpretation of the songs.

A consideration of the development of Italian solo song from

1822 to 1950 and brief biographical sketches of both the

composer and the author of the text are included as

background material. It is assumed that a detailed examination

of the music and poetry will lead to a more meaningful

expression in performance.

Petrarch wrote the poems upon hearing of the death of

the woman he loved. They are an expression of his grief and

loneliness. Pizzetti selected the poems and set them to

music following the death of his first wife.

The texts of the first and last songs contain a vision.

In the first song, the poet sees himself as a ship seeking

port in a storm. In the second poem, the poet sees himself

as a nightingale, lamenting its lost loved one. In the text

of the third song, the poet envisions the dead woman he once

loved and. hears her speaking to him, assuring him that they

will soon be together in heaven.

Though all of the songs have some lyrical qualities,

they are all basically declamatory in style, with the first

and last being more so than the second. Pizzetti, in

composing the music, gave careful attention to the natural

inflection of the Italian language.

The three songs are each based on an individual melodic

idea. In the first song, the melodic motive is found in the

first two measures. The second song is constructed around.

the melodic material found in the first line of the song, the

imitation of the call of a nightingale. The third song is

constructed around the contrasting qualities of the vocal

lines of the two characters in the poem.

It is hoped that this analysis till present material

which will be of value to the prospective performer and aid

him in the preparation of the songs. It is not intended to

limit the performer to a given interpretation, but to inspire

him to arrive at his own interpretation, influenced by his

own physical and psychological experiences.

TABLE OF CONTENTS

Page

LIST OF ILLUSTRATIONS ..................................

Chapter

I. INTRODUCTION AND BACKGROUND ................

The Development of Italian Solo Song from1822 to 1950

Biography of Ildebrando PizzettiBiography of Francesco Petrarch

II. ILDEBRANDO PIZZETTI'S MUSICAL STYLE . . . .

III. ANALYSIS OF TRE SONETTI DEL PETRARCA

"La vita fugge e non s'arresta un'ora . ."Quel rosignuol che si soave piagne ."Levommi il mio pensier in parte ov'era .

IV. CONCLUSIONS.................................... 57

APPENDIX...............................59

BIBLIOGRAPHY ................... -.. ... 6

iv

1

16

28

- a 0 0 - a * . 0 0 . 6 2

LIST OF ILLUSTRATIONS

Figure

1. The Declamatory Style of the Vocal Line, Measures 1and 2, "La vita fugge e non s'arresta un'ora...... . . . . 34

2. The Harmonic Motive,; Measures 1 and 2, "La vita fuggee non s'arresta un'ora ....... *........................ 35

3. The Variation of the Melodic Motive Measures 4 and5, "La vita fugge e non s'arresta un'ora..... . . . . 35

4. The Variation of the melodic motive, Measure 8, "Lavita fugge e non s'arresta un'ora . . . ."...#..

5. The Variation of the Melodic Motive, Measures 12 and13, "La vita fugge e non s'arresta un'ora . . . ..

6. The Variation of the Melodic Motive, Measures 14, 15,and 16, "La vita fugge e non s'arresta un'ora . . .

7. The Variation of the Melodic Motive, Measure 17, "Lavita fugge e non s'arresta un'ora . . . .". . ...

35

37

37

.... . . . . . . 37

8. The Variation of the Melodic Motive, Measure 18, "Lavita fugge e non s'arresta un'ora . . . . .......

9. The Variation of the Melodic Motive, Measures 22, 23,and 24, "La vita fugge e non s'arresta un'ora .......

10. The Inversion and Variation of the Melodic Motive, Measures3 and 4, "La vita fugge e non s'arresta un'ora . . .....

11. The Inversion and Variation of the Melodic Motive, Measures8 and 9, "La vita fugge e non s'arresta un'ora . . . ." . .

12. The Inversion and Variation of the Melodic Motive, Measure17, "La vita fugge e non s'arresta un'ora . . . ... . . .

13. The Variation of the Melodic Motive, Measure 12, "La vitafugge e non s'arresta un'ora . . . ." . . . . . . . . . . . .

40

40

iv

. . 38

38

. . . . 39

39

Page

35

."1

Page14. The Inversion and Variation of the Melodic Motive, Measure

19, "La vita fugge e non s'arresta unI'ora... . . . . . . . . . . 41

15. The Variation of the Melodic Motive and its Inversion, Measure25, 26, and 27, "La vita fugge e non s'arresta un'ora . . . .". . . 42

16. The Melodic idea, Measures I and 2, "Quel RosignuolChe Si Soave Piagne . . . .". . . . . . . . . . . . . . . . . . . . . . 47

17. Sixteenth-note Triplet Pattern, Measures 24 thru 27, "QuelRosignuol Che Si Soave Piagne . . . .".............48

18. Sixteenth-note Pattern, Measures 24 thru 27, "Quel RosignuolChe Si Soave Piagne . . . .". . ................ 49

19. The Melodic Idea, Measures 6, 16, and 18, "Quel RosignuolChe Si Soave Piagne . . . ." . . . . . . . . . . . . . . . . . . . . . 49

20. The Variation of the Melodic Idea, Measure 11, "QuelRosignuol Che Si Soave Piagne . . . .". . . . . . . . . . . . . . . . 49

21. The Second Half of the Melodic Phrases, Measures 6, 16,and 18, "Quel Rosignuol Che Si Soave Piagne " 50

22. The Vocal Line and Accompaniment, Measure 2, "Levommiil mio pensier ..... ....................... 54

23. The Accompaniment, Measure 3, "Levommi il miopensier .- ... ".. .. .. ... . .. . .a.* . .0 . .*. .0. .0. 0.0.0.055

24. The Vocal Line and Accompaniment, Measure 20, "Levommiil mio pensier.........."... . . . . . . ........a.*.0..*.... .55

25. The Unifying Melodic Idea, Measures 4 and 5, "Levommiil mio pensier . .. .... . ........... . . . . . . . . . . ..... 56

26. The Variation of the Unifying Melodic Idea, Measures 12 and13, "Levommi ili mio pensier . . . ."... . . . . . . . . . . . . . . .56

v

CHAPTER I

INTRODUCTION AND BACKGROUND

The purpose of this study is to examine the songs Tre Sonetti del Petrarca by

Ildebrando Pizzetti. Effort has been made to provide the performer with musical and poetic

analyses which will aid him in preparing an interpretation of the songs. It is assumed

that a detailed examination of the music and poetry will lead to a more meaningful

expression in performance.

Development of Italian Song in the Nineteenthand Twentieth Centuries

In order to place the songs of Ildebrando Pizzetti in historical perspective, this chapter

will survey the developments in the Italian art song in the late nineteenth and early

twentieth centuries. The most important composers of Italian song in the last part of

the nineteenth century were Arditi, Donaudy, Denza, and Tosti. The style of these

composers can be described as pleasant and unpretentious, much like the drawing-room

ballads of Arthur Sullivan (1842-1900).'

Luigi Arditi (1822-1903) began his musical career as a violinist2 but later his interests

turned to composition. In 1841, he composed his first opera I briganti. He began his

operatic conducting career in 1843, and was still conducting in 1891. During his stay

in London in 1858, he also taught voice. 3 As yet, no one has revived his operas or choral

works for public performance. However, "Il Baccio," his florid vocal waltz for light soprano

was one of his more popular song achievements. Another important song was "Parla"

for coloratura soprano. 4

'William S. Mann, "Song," Grove's Dictionary of Music and Musicians, VII (London,1954). ~~~_~~~~

2 George Grove, "Luigi Arditi," Grove's Dictionary of Music and Musicians. I (London,1954).

3 Nicolas Slonimsky. "Luigi Arditi," Baker's Biographical Dictionary of Musicians,(New York, 1958).

4lbid.

1

2

The melodies of Stefano Donaudy (1879-1925) passed for the canzoni of the

eighteenth century. Many of his songs are found in a collection called XXXVI Arie di

Stile Antico. His songs varied in texture, tempo, and choice of voice. 5 An example of

his animated songs is "Spirate pur, spirate." "0 del mio amato ben" is typical of his

songs in a more sustained style. 6

Luigi Denza (1846-1922) was another romantic who, unlike the others, devoted his

entire effort to song composition. He wrote a great many songs in the Neapolitan dialect

and added about six hundred songs to the Italian literature. 7 Of all his songs in French,

English and Italian, he is best known for his "Funiculi-funicula" (1880).' Copies of this

popular song were printed in many languages. Richard Strauss mistook the song for a

folk melody and used it in his orchestral piece, "Aus Italien."9

Francesco Paolo Tosti's (1846-1916) talent was first recognized by Giovanni Sgambati

when the young composer went to study in Rome in 1858. Sgambati sponsored a concert

of Tosti's compositions. 1 0 Tosti selected texts for his songs in French and English as

well as his native language.' I Some of his most popular songs were "Vorrei morire,"

"Forever," "Mother," "At Vespers," "Goodbye," and "Matinata." He was a versatile

composer who could set English texts with the same ease as Italian. 12 His Vocal Albums

and his fifteen duets, Canti populari abruzzesi, show a style inspired with an ease and

simplicity appropriate to vocal solo chamber music.

During the nineteenth century, the development of solo song in Italy had been

overshadowed by the popularity of Italian opera. 1 3 Furthermore, there was little Italian

s Sergius Kagen, Music for the Voice (Bloomington, Indiana, 1968), p. 552.

6 James Husst Hall, The Art Song (Norman, Oklahoma, 1969), pp. 18-19.

7Slonimsky, "Luigi Denza," Baker's Biographical Dictionary of Musicians.

I Edwin Evans, "Luigi Denza," Grove's Dictionary of Music and Musicians, II (London,1955).

9Ibid.

I 0 Giannandrea Mazzucato, "Francesco Paolo Tosti," Grove's Dictionary of Music andMusicians, VIII (London, 1955).

" Slonimsky, "Francesco Paolo Tosti," p. 1659.

12 Hall, p. 18.

1 3 Willi Apel, "Song," Harvard Dictionary of Music, (Cambridge, Massachusetts, 1966).

3

folk music to inspire the cultivation of song.14 It was not until 1910 that composers

and men of letters began to concern themselves with the vapidity of song writing in Italy.

During this year, the National Music Collection was founded by Gabriele d'Annunzio for

the purpose of giving composers the opportunity of studying the Italian music of the

early Renaissance. 1 The composers of this period were seeking new ways of writing songs.

Pick-Mangiagalli and Castelnuovo-Tedesco wrote in a folk song style based on what little

Italian folk music was available to them. Sgambati, Martucci, and Sinigaglia followed in

the Bralhmsian tradition. Alfano was influenced by the works of Puccini, and Busoni

wavered between the German and Italian influences of his parentage.

Riccardo Pick-Mangiagalli was born in Stradonice, Bohemia in 1882. His ancestry

was Italian and Bohemian.'6 He attended the Giuseppi Verdi Conservatory in Milan, and

began his career as a concert pianist. Later he turned his efforts to composition, and

finally became the director of the Guiseppi Verdi Conservatory in 1936, following

Ildebrando Pizzetti. He held this position until his death in 1949. Most of his important

musical accomplishments were for orchestra."7 His compositions for the voice consisted

largely of arrangements of folk songs.'8

Mario Castelnuovo-Tedesco, an Italian composer with a Jewish heritage, was born

in Florence, Italy in 1895.1 At an early age, he entered the Cherubini Royal Institute

in Florence, and began his study of composition under Ildebrando Pizzetti. Although

Pizzetti continually strove to allow his students to develop their own creative and individual

style, 2 0 he did have an influence on the melodic and harmonic structure of the music

of the young Castelnuovo-Tedesco which proved to be longlasting. 2 1 Like Pizzetti,

' 4 Denis Stevens, editor, A History of Song (New York, 1961), p. 297.

"sIbid., p. 299.

16 Slonimsky, "Riccardo Pick-Mangiagalli," Baker's Biographical Dictionary of Musicand Musicians.

' 7 Guido M. Gatti, "Riccardo Pick-Mangiagalli," Grove's Dictionary of Music andMusicians, VI (London, 1955).

"Kagen, p. 545.

' 9 Eric Bloom, "Mario Castelnuovo-Tedesco," Grove's Dictionary of Music andMusicians, 11 (London, 1955).

2 0 Ibid.

2I'David Ewen, The World of Twentieth Century Music (Englewood Cliffs, New Jersey,1969), p. 153. ~~~~-~

4

Castelnuovo-Tedesco turned to the sonnets of Petrarch for subject material. In 1933 he

wrote a setting of Petrarch's Sonnet LXI, Benedeto sia 'I giorno in which the poet expresses

his gratitude for having received a favorable gesture from Laura, his beloved.2 2

Another composer in this group was Giovanni Sgambati (1841-1914) who holds an

important place in the development of Italian vocal music because of his influence on

the Italian composers of the early twentieth century. These composers found in his works

the models on which they based their music. He was an outstanding teacher. In 1868,

he taught a free piano class affiliated with the Accademia de Santo Cecilia in Rome.

Then in 1877, he helped found the Liceo Musicale which became the principal music

school in Rome. In addition to the original songs he wrote, he also transcribed a number

of Italian folk songs. One of these, "Separagione" (Parting) is from the collection of

Guillaume Cottrau (1,797-1847). Sgambati also composed works for the piano and was

a successful concert pianist. His familiarity with the technical possibilities of this instrument

enabled him to compose accompaniments for his songs and folk song transcriptions which

effectively support the melodies and emphasize the texts.2 I In addition to his interest

in folk music, he also had a great interest in the music of Johannes Brahms. The influence

of this German composer is most evident in his instrumental works, but it can also be

heard in the harmonies and melodic lines of his songs.

Another composer who was highly influenced by the music of Brahms, but who

had less interest in folk music was Guiseppe Martucci (1856-1908). This Italian pianist,

conductor, and composer gave his first public piano recital at the age of seven, and later

studied at the Conservatorio di San Pietro a Maiella in Naples. 2 4 In the early years of

his study, he developed a deep appreciation and respect for the compositional techniques

of the German composers of the late nineteenth century. He had a special interest in

the music of Robert Schumann, Johannes Brahms, and Richard Wagner. The compositional

ideas of the German school and the characteristics of German music are quite evident

in his music. His songs include a cycle, Pagine sparse, Op. 68, and "Due sogne," Op.

68a.2 s2 2 Hall, p. 24.

2 'George Grove, "Giovanni Sgambati," Grove's Dictionary of Music and Musicians.VII (London, 1955).

24 Slonimsky, "Guiseppe Martucci," p. 1039.

2s Guido M. Gatti, "Guiseppe Martucci," Grove's Dictionary of Music and Musicians,V (London, 1955).

5

Leone Sinigaglia (1868-1944), whose compositions were greatly influenced by Brahms

and Anton Dvorak, 2 6 was recognized as a song composer for his collection of songs Vecchie

canzoni popolari del Piemonte. The collection, containing six albums, was written for solo

voice and piano. Sinigaglia took the melodies of his native Piedmont and composed free

accompaniments for the transcriptions, inserting his own musical ideas at will. 2 7

Franco Alfano (1876-1954) was more famous for his completion of the final duet

and finale of the third act of Puccini's last opera Turandot than for his own works. Of

his own works, his opera Resurrection has been the most popular.2 ' The composer received

wide acclaim following performances in the United States, Germany, and France. This

musical drama is a fine example of the traditional Italian realistic opera.2 "9 His best known

songs are the settings of three poems of Rabindranath Tagore for voice and chamber

orchestra. The songs, "Perchi allo spuntar del giorno," "Finisci l'ultimo canto," and

"Giorno per giorno," were composed in 1928. In these songs, his vocal style demonstrates

a restraint of lyrical outpouring which distinguishes him from the other Italian composers

of the time. An earlier song cycle, 11 giardiniere, also on poems by Tagore, was composed

during a period in which the composer showed a great interest in extreme chromaticism. 3 0

In 1922, he wrote a cycle of three songs on poems by Lodovico Lipparini. His

continued search for an individual style shows itself largely in the use of altered song

forms. The orchestrations, harmony, and general mood of his songs also revealed his desire

to express himself in a modern idiom. However, in these songs, as in his later operas,

can be seen a creative spirit which remains tied to the old romanticism in its melodic

and dramatic essence. This tie to the past was so strong that in his later years, Alfano

took a reactionary stand against twentieth century compositional devices. 31

Ferruccio Benenuto Busoni (1866-1924) received much of his musical training from

his parents. His father was a clarinetist and his mother, a pianist. When the young musician

26Slonimsky, "Leone Sinigaglia," Baker's Biographical Dictionary of Music andMusicians.

2 7 Guido M. Gatti, "Leone Sinigaglia," Grove's Dictionary of Music and Musicians,VII (London, 1955).

2Slonimsky, "Franco Alfano," Baker's Biographical Dictionary of Music andMusicians.

2 9 Guido M. Gatti, "Franco Alfano," Grove's Dictionary of Music and Musicians, I(London, 1955).

30 Ibid. 3 1 Ibid.

6

was fifteen, he made a concert tour of Italy. It was during this tour, in 1881, that he

decided to attend the Philharmonic Academy of Bologna. A short time later, the city

of Florence had a gold medal struck in his honor. He was the youngest man to receive

such an honor since Wolfgang Amadeus Mozart.2 In 1866 he began studying composition

in Leipzig. Three years later in 1889, he became a professor of piano at the Conservatory

of Helsingfors in Helsinki. 3 3 It was while he was teaching at the conservatory in 1890

that he met and married Gerda Sjostrand, the daughter of a Swedish sculptor. 34 During

this time he taught Jean Sibelius. Busoni became famous as a concert pianist and made

several tours of Europe. He became interested in the music of Liszt. Busoni saw in Liszt's

music a combination of Italian lyricism and German romanticism which looked to the

music of the twentieth century. Busoni wrote his songs on texts in English, German, and

Italian. The songs were composed throughout his life. He also wrote many songs on religious

texts. Busoni never fully developed a style which was entirely individual. He was considered

to be a neo-classicist, but he called his own style "classicism of youth."3 s He experimented

with many compositional techniques, devised new scales, and worked out harmonic schemes

growing from them. ie experimented with quarter-tone techniques, and tried to arrive

at a new system of notation for his music. As a result, his music is often an exercise

in creativity, avoiding a definite form or any display of emotion. Busoni's music does

not have the qualities which create wide appeal, and is therefore not often heard. That

his music has exerted great influence upon the development of song can be seen in the

works of Alfred Casella, Gian Francesco Malipiero, Ildebrando Pizzetti, and Paul Hindemith.

Until the late nineteenth century, opera had been such a strong influence on the

composers and their styles, that a distinctive Italian song style had not developed. However,

toward the end of the nineteenth century, a new generation of composers actively

attempted to develop new means of expression in the form and sever themselves from

the old operatic style.

One of the foremost Italian song composers of the early twentieth century was

Ottorino Respighi (1879-1936). At the age of twelve years, he began his study of music

32Edward J. Dent, "Ferruccio Benenuto Busoni," Grove's Dictionary of Music and

Musicians, I (London, 1955). ~-

33Slonimsky, "Ferruccio Benenuto Busoni," Baker's Biographical Dictionary of Musicand Musicians.

3 4 Ewen, p. 130. 3 sIbid., p. 129.

7

with lessons in violin and viola at the Liceo Musicale of Bologna. It was during this time

that he also started his study of composition with Giuseppe Martucci, who was a great

admirer of the late nineteenth century music of the German composers Robert Schumann,

Johannes Brahms, and Richard Wagner, and was highly influenced by them. In 1900, he

accepted a position as first violinist in the Philharmonic Orchestra of St. Petersburg. It

was while in St. Petersburg that he studied with Nikolay Andreyevitch Rimsky-Korsakov,

whose influence was evident in shaping the composer's musical personality. 3 6 In 1902,

he began work on a composer's diploma and studied with Max Bruch. Through his studies

with these two men, he developed the belief that the "Romanticism of yesterday will

again be the romanticism of tomorrow."37

From 1906 until 1933, Respighi composed over fifty songs. His first song "Nebbie"

(1906) is perhaps still one of his most famous compositions in this form. The poem,

written by Ada Negri, creates a picturesque mood which Respighi reflects in his musical

setting.

After the first few years of the twentieth century, Respighi devoted his time solely

to composing. The Conservatorio di Santa Cecilia in Rome appointed him teacher of

composition in 1913. Respighi wrote in the sensuous and hedonistic style of the late

romantic composers. 3 8 The basic trend of this composer and his contemporaries was to

write in a style based on a study of the simplicity of the old Italian song style of the

seventeenth century, adapted to the compositional techniques of romanticism. He also

labored to preserve older Italian musical forms through transcriptions and editions of early

music. Respighi's song style is a pleasing combination of melodic vocal lines and sonorous

harmonies. 3 9 His songs are the best examples of the endeavors of the new generation

of composers to sever themselves from the style based on the old operatic techniques

of the preceding century. 4 0

3 6 Guido M. Gatti, "Ottorino Respighi," Grove's Dictionary of Music and Musicians,VII (London, 1955).

3 7 Hall, p. 19. 3 8 Apel, "Song."

3 9 Slonimsky, "Ottorino Respighi," Baker's Biographical Dictionary of Music andMusicians.

40 Guido M. Gatti, "Ottorino Respighi," Grove's Dictionary of Music and Musicians,

VII (London, 1955).

8

Alfred Casella (1883-1947), the outstanding neo-classical Italian composer, was sent,

upon the advice of Martucci, to the Paris Conservatory in 1896.41 In 1900, he had the

opportunity to audit one of Gabriel Faure's classes. 4 2 Until 1914, all of his compositions

had been influenced by Gustav Mahler and Claude Debussy. But from this time forward,

he began to create his own style. 43 New trends developing in contemporary music were

exciting to Casella. He was also interested in supporting the cause of Italian music whether

old or new. Because of his eclecticism, his music has been criticized for lacking originality,

although he wrote with ease and proficiency. 44 Casella is usually considered a neo-classicist

because it was in this style that his most successful music was composed. He began his

composing career as a romanticist, but later progressed to impressionism, polytonality,

and finally experimented with the twelve-tone system.4 He is considered the most

important advocate of the anti-romantic and the anti-verismo movement.4 6 As a teacher,

he had a great influence upon his piano students and the young composers who studied

with him. 47 ' He organized concerts and musical festivals, promoted musical societies, and

edited periodicals, all of which were designed to create new interests in the minds of

the young. "Il bove" (1903), a sustained hymn, praising the virtues of an ox, and Tre

Canzone Trecentesche (1923), three songs for high soprano, are his most popular vocal

compositions.4 8

Gian Francesco Malipiero (1882- ) is a well-known Italian composer and

musicologist. He edited the compositions of Monteverdi, Vivaldi, and many other early

composers. 4 His work as an editor of early music had a great effect on his own musical

compositions.5 0 Malipiero's training in music began at the Vienna Conservatory in 1898.1 1

After remaining in Vienna for a single year, Malipiero continued his studies in Venice

4 'Guido M. Gatti, "Alfred Casella," Grove's Dictionary of Music and Musicians, II(London, 1955).

4 2 1bid. 4 3 Ibid. 4 4 Ewen, p. 150. 4 5Ibid.4 6Hugh Milton Miller, History of Music, 3rd ed. (New York, 1964), p. 211.

4 7 Guido M. Gatti, "Alfred Casella," p. 107.

4'Ewen, p. 150. 4 9 Miller, p. 210. 5 0 Ewen, p. 461.

s Slonimsky, "Gian Francesco Malipiero," p. 1015.

9

and Bologna. In 1913 he moved to Paris, where lie came in contact with the innovations

of twentieth century French music.5 2 He assumed many of the new techniques without

deserting the basic principles of tonal writing. This association with French music and

his study of the old Italian music led him to develop his own compositional style. His

melodic lines reflect sixteenth-century Italian song and Gregorian chant. They are often

modal and many times waver between vague forms of the major and minor modes. His

syllabic treatment is much like that of Gregorian chant. His music is characterized by

rhythmic freedom and a lack of thematic development. His melodies usually have no form

other than a continuing chain of melodic ideas held together only by their general mood.s I

At times they take on the qualities of a powerfully dramatic recitative. He was also one

of the first Italian composers of this century to emphasize the use of counterpoint.

Malipiero's music always exhibits great vitality and originality. He described himself as

one who loved his art and sought ". . . to defend the music of the past out of sheer

love for it." 514

Biography of Ildebrando Pizzetti

Ildebrando Pizzetti was born in Borgo Strinato, Parma, on September 20, 1880. He

was the son of a piano teacher with whom he later studied. When Ildebrando was two,

Odoardo Pizzetti, the father, moved his family to Reggio Emilia. It was here that Odoardo

became a teacher of solfeggio in the Scuola Comunale di Musica. 5 I Ildebrando received

his elementary schooling in Reggio Emilia.'6 Although music dominated his environment,

it was not enough to change his love for the theater. His greatest ambition was to become

a famous dramatist. 57l He wrote numerous plays for performances by his classmates. 5

At the age of fifteen, lie returned to his native'Parma to study. Telesforo Righi,

teacher of harmony and counterpoint at the conservatory, guided Pizzetti for six years

s 2 Guido M. Gatti, "Gian Francesco Malipiero," Grove's Dictionary of Music andMusicians, V (London, 1955).

5 3 lbid. 5 4 Hall, p. 18.

s s Guido M. Gatti, Ildebrando Pizzetti, translated by David Moore (London, 1951),p. 9.

6sIbid. 5 7Ibid.

s 'Guido M. Gatti, "Ildebrando Pizzetti," Grove's Dictionary of Music and Musicians,VI (London, 1955).

10

in mastering the techniques of composition. Through Giovanni Tebaldini, director of the

institution, he learned the principles of Italian instrumental and choral music of the

fifteenth and sixteenth centuries. 5 Because his parents remained in Reggio Emilia, he

spent several years commuting to Parma. Later, he decided to move into the city and

live with his grandfather, Innocenzo Pizzetti. From 1895 to 1901, Pizzetti spent six years

experimenting in an effort to perfect his own musical style.6 0

Pizzetti's first meeting with Giuseppe Verdi was a most memorable moment for the

young composer. Tebaldini, the director of Parma Conservatory, had arranged a concert

in Busseto to be given in honor of Verdi's eighty-seventh birthday. The young students

were waiting on the grounds around the villa when Verdi appeared with his other guests.

He seemed so tall to Pizzetti; he towered above them all. Thirteen years later Pizzetti

wrote, "I had the impression that a complete silence had suddenly descended on the scene.

Very rarely, either before or since, have I had such an impression of universal religious

awe." 6

In 1901, he graduated with honors from Parma Conservatory with a diploma in

composition.6 2 In 1907, he was appointed to the faculty of this institution as a teacher

of composition.6 3 He competed successfully, in the fall of 1908, for a position as professor

of harmony and counterpoint of the Instituto Musicale "L. Cherubini" of Florence, and

in 1917, became director of the institution.6 4

He remained in Florence until 1925. These years were undoubtedly his most musically

creative. The favorable atmosphere of the city and the surrounding countryside provided

a congenial environment for the writing of his first three operas, two sonatas, songs,

incidental music and choral works including the Messa di Requiem. 6 He was actively

9_ p. 807.

6 0 David Ewen, Composers of Today (New York, 1936), p. 2.

61Gatti, Ildebrando Pizzetti, p. 11.

6 2 David Ewen, The New Book of Modern Composers, 3rd ed. (New York, 1964),p. 278.

6 3 Gatti, Ildebrando Pizzetti, p. 13.6 4 Ibid 6 5Ibid.

11

involved in the musical life of the city. He collaborated with Consolo in the formation

of the "Society of Music-Lovers," and, in 1914, with Bastianelli, he founded Dissonanza,

a publication of contemporary Italian music.6 6 This magazine published works of many

fine composers who found it difficult to secure publication elsewhere. 67

In November of 1920, Pizzetti's wife died unexpectedly. 6 8 After her death, Pizzetti

wore only dark clothes in memory of the mother of his children. His reason for this

was ". . . fidelity to those ethical and esthetic principles upon which the musician modeled

his life."6 9

Pizzetti and his family left Florence in 1925 to go to Milan, where he had been

appointed director of the Verdi Conservatory. 7 0 In 1930, Pizzetti visited the United States

for the first time when Toscanini conducted his Rondo veneziano with the New York

Philharmonic. Pizzetti went to Buenos Aires in 1931 to direct the performances of his

opera, Fra Gherardo at the Teatro Colon. In 1936, lie succeeded Ottorino Respighi as

professor of composition at the Santa Cecilia Academy in Rome, and in 1948, became

president of the Conservatory. Pizzetti was not only a highly successful composer, but

also a respected educator, whose influence had a great effect on his younger contemporaries.

The Italia Prize, an international award, was given to Pizzetti in 1950 for his one-act

opera, Ifigenia. It was on September 18, 1950, that the Turin Radio carried the opera's

first performance. Pizzetti resigned from the Verdi Conservatory in 1952, and subsequently

held memberships in the London Royal Academy of Music and the Academie des

Beaux-Arts in France. He became president of the Italian Society of Composers and Authors

in 1960. At the age of eighty-seven, he died on February 13, 1968, in Rome. 7 1

6 6 Slonimsky, "Ildebrando Pizzetti," p. 1255.

6 7 Gatti, Ildebrando Pizzetti, p. 13.6 8 Ewen, The New Book of Modern Composers, p. 278.

6 9Ibid., p. 279.

" 0 Slonimsky, "Ildebrando Pizzetti," p. 1255.

71 John W. Freeman, "Ildebrando Pizzetti," Opera News, XXXII (March 16, 1968),33.

12

Biography of Francesco Petrarch

Francesco Petrarch lived almost six centuries before Pizzetti. This Italian poet was

born July 20, 1304, in Arrezzo, an ancient city of Tuscany. 72 His father, Ser Pietro

di Ser Parenzo of Incisa in Valdarno, was a notary. 7 3 In the year 1312, his father became

known as Petrarca. His mother was Eletta Canigiani, a lady from a prominent family in

Florence. 7 4 Petrarca, the father, was banished from Florence on October 20, 1302. It

is suspected that his banishment resulted from personal differences with Albizzo Franzesi,

rather than from political reasons as insinuated by his son Francesco.71

During his early childhood, his family was transient. In 1305, they moved to Incisa

and remained there until 1310. Shortly thereafter, they moved to Pisa where he became

acquainted with Dante. They moved to Avignon in 1311, to search for adequate

employment for his father. However, proper housing was not available in Avignon so they

settled in Carpentras. 7 6 There, Francesco Petrarch began his schooling with Convenevole

da Prato.

There are several parallels in the biographies of Pizzetti and Petrarch. Both began

their studies in their hometowns. In the absence of his father, Petrarch's early training

was a result of his mother's supervision. At the ages of fifteen, both boys were sent away

for further study.

In Petrarch's time, the study of law was the only profession that led to socio-economic

advancement. Thus in 1316, Petrarch's father was anxious for him to study law at the

University of Montpellier. While Petrarch attended lectures at the university, his true

interest in literature was indicated by the way he used his meager allowance to purchase

copies of the works of Cicero, Virgil, and other authors. 7 7

' 2 Thomas Campbell and others, The Sonnets, Triumphs, and Other Poems of Petrarch.(London, 1859), p. ix.

7~Vittore Branca, "Francesco Petrarch," Encyclopaedia Britannica, XVII (Chicago,1968).

7 4 Campbell, p. ix.

sVittore Branca, "Francesco Petrarch," p. 752.

76 Thomas Campbell, Life of Pctrarch, I (London, 1841), 35: Carpentras was a small,quiet town outside Avignon.

77 Campbell, The Sonnets, Trium-tphs, and Other Poems of Petrarch, p. xii.

13

Much to his father's disappointment, Petrarch could not suppress his thirst for poetry.

In 1320, to encourage the study of law, he was sent to Bologna, where there was a famous

law school which centered its curriculum around the classics. Petracco, the elder, was

very anxious to see that his son made progress in the new school. He made a surprise

visit to Bologna to check on Francesco, his brother, Gherardo, and their young friend,

Guido Settima. He found his son more and more determined to become a poet and not

a lawyer. Francesco had added to his knowledge and love of the classics and had begun

to develop his ability to write poetry in the vernacular.

It was the sad news of his mother's death that caused him to write the thirty-eight

verse Epistolae metricae, each verse representing a year of her life. 7 8 As mentioned earlier,

his mother had a strong influence upon Petrarch's early life. Petrarch lost both of his

parents. His father survived his mother's death only a short while. 7

Since their inheritance was small, Francesco and his brother, Gherardo, returned to

Avignon,where he ceased his legal studies. In 1326, the two sons took refuge in the monastic

life of the church. Francesco, however, took only minor orders so that he could still

write. No longer having to worry about the necessities of life, he enjoyed all the comforts

of monastic seclusion without the ecclesiastical duties.

Before the birth of this poet, Italy was one of the richest countries in Europe.8 0

It had been a -center of science and literature since the thirteenth century. From this

time, universities and public schools of Italy began to stress the concept of knowledge

for knowledge's sake. However, few concrete accomplishments were made in any art or

science because educators stressed learning by theory rather than experience. By the time

of the poet's birth, the people of Italy had begun to make wide use of Italian instead

of ecclesiastical Latin. They had become acquainted with the tradition of the Minnesingers

of Germany who helped to originate their metrical poetry.'

Historical writings were few. Literary writing was almost at a standstill because of

the widespread ignorance of classical and foreign languages.8 2 The medical profession was

7 8 Vittore Branca, "Francesco Petrarch," p. 752.

" 9 Campbell, The Sonnets, Triumphs, and Other Poems of Petrarch, p. xiii.

8 0 Campbell, Life of Petrarch, p. 10. "iIbid., p. 11.

" 2 Ibid., p. 13.

14

merely a way to earn money. There was no medical research, only a continuation of

the medical heritage they had received from the Arabs 3 Astrology had attracted the

finest geniuses of the day. Every high official felt the need for a personal astrologer.

After becoming well acquainted with an official astrologer of the court of Visconti, Petrarch

questioned him freely in confidence about his training for the profession, and the man

admitted that it was poverty that had made him turn to astrology. 8 4

Petrarch had restored many ancient copies of the classics. Many days and nights were

devoted to copying these writings, thus preserving them for future generations.' s Petrarch

had many friends among the aristocracy. The associations were not of his own choosing;

his counsel was sought by these people. He was respected and admired by all classes of

society. 8 6

In the church of Saint Clara of Avignon, on April 6, 1327, Petrarch saw, for the

first time, the woman he was to love the rest of his life. She was to be the inspiration

for much of his poetry.8 7 As Petrarch looked at this lovely lady, his heart was stricken

with a love that survived long after her death." 8 From his writings, it is obvious that

Laura rejected his love whenever it went beyond the bounds of friendship. 8 9 The plague

of 1348 caused many deaths in Avignon, including Laura's. Her husband eased his sadness

by remarrying in seven months after her death. Petrarch wrote many love poems concerning

Laura. At the time he was informed of her death, he wrote:

Laura, illustrious for her virtues, and for a long time celebrated in my verses,

for the first time appeared to my eyes on the 6th of April, 1327, in the church

of St. Clara, at the first hour of the day. I was then in my youth. In the same

city, and at the same hour, in the year 1348, this luminary disappeared from

our world. I was then at Verona, ignorant of my wretched situation. Her chaste

and beautiful body was buried the same day, after vespers, in the church of

the Cordeliers. Her soul returned to its native mansion in heaven. I have written

"'Ibid., p. 16. 84 Ibid., pp. 16-17. 8 5Ibid., p. 7.

86Ibid. 8 Ibid., pp. 56-57. 8"Ibid., pp. 55-56.

89 Ibid.: Campbell feels that the creative inspiration which resulted from this

relationship between Laura and Petrarch had a profound effect on the poet's outlook.

His poems concerning Laura are in two parts. The first section, called in vita Laura. contains

263 poems. The second section, called in morte Laura, contains 103 poems.

15

this with a pleasure mixed with bitterness, to retrace the melancholyremembrance of 'MY GREAT LOSS.' This loss convinces me that I have nothingleft worth living for, since the strongest cord of my life is broken. By the graceof God, I shall easily renounce a world where my hopes have been vain andperishing. It is time for me to fly from Babylon when the knot that boundme to it is untied. 9 0

Petrarch never married. However, it is obvious that he had human desires for women

as he had two illegitimate children. In 1337, a boy was born and christened John. The

death of his son in 1361 was a great relief to Petrarch because the boy had caused the

poet great worry. His daughter, Francesca, born earlier in 1334 to the same woman, married

Francesco di Brossano, a gentleman of Milan in 1361. A son was born to the couple

in 1366. This grandson brought many hours of joy to Petrarch. 9 1 "This child," he said,

"had a singular resemblance to me in so much that any one who had seen its mother

would have taken me for its father." 9 2 The child died at the age of two and a half

years. The grieving Petrarch had a marble mausoleum erected over the child's grave. Twelve

Latin lines of his own composition were engraved upon it. 9 3

Petrarch died in 1374 in the night of July eighteenth. He was found on the morning

of July nineteenth, in his study with his head resting on a book of Virgil. 9'

9 0 Campbell, The Sonnets, Triumphs, and Other Poems of Petrarch, p. lxviii.

9 1 Ibid., p. cxviii.

9 2 Campbell, Life of Petrarch, p. 266.

9 3 Campbell, The Sonnets, Triumphs, and Other Poems of Petrarch, p. cxx.

9 4 Vittore Branca, "Francesco Petrarch," p. 753.

CHAPTER II

ILDEBRANDO PIZZETTI'S MUSICAL STYLE

The first phase of Pizzetti's musical compositions was greatly influenced by the poet

Gabriele d'Annunzio. Pizzetti chose many of this poet's dramas and poems to set to music.

ie began his orchestral writing with Tre Preludi Sinfonici per l'Edipo Re. These unpublished

preludes were composed in 1904 for the tragedy Oedipus Rex by Sophocles. Even in

this early orchestral work, Pizzetti managed to blend the styles of the many men he had

studied into a distinctive personal expression of his own.' Two years later, in 1905, he

composed the incidental music for the play La Nave by d'Annunzio. The music for the

tragedy consists of religious choruses and a secular instrumental dance entitled "Danza

die' sette candelabri." Another instrumental section is "Antifona amatorio di Basiliola."

Both of these instrumental pieces were published by Schmidt. 2 In 1911 he composed

the Ouverture per una farsa tragica which is still unpublished, his string quartet, number

one, in A Major and, three piano pieces, Da una Antuno gia lontano. 3 The incidental

music to La Pisanella was written in 1913 for the drama by d'Annunzio. 4 The first

performance of this work was given in the Thatre du Ch^1telet of Paris on June 11.

Pizzetti arranged an orchestral suite from the music consisting of five sections. Arturo

Toscanini introduced three of the five sections of the suite. 6

Pizzetti, with his strong religious sense, has an inborn feeling for vocal writing. For

him the most intimate form of musical expression was his song. It was during his study

at the conservatory that he became aware of the great masters of classical polyphony,

'J. C. Waterhouse, "Ildebrando Pizzetti," Musical Times, 109 (April, 1968), 362.

2 Guido M. Gatti, "Ildebrando Pizzetti," Grove's Dictionary of Music and Musicians,VI (London, 1955).

3 Ibid., p. 808. 4 Ibid., p. 809. 5Ibid. 6Ibid.

16

17

and the wide range of discovery that vocal counterpoint held. It was his desire to revive

this technique through a modern approach, using the vocal and symphonic resources, but

without using the formulas of the past.7

Pizzetti's earliest choral compositions composed at the age of seventeen (1897) were

an offertory, Ave Maria for three-part mixed chorus with organ accompaniment; Tantum

ergo, for three-part men's chorus with organ accompaniment; and Tenebrae factae sunt,

a six-part mixed chorus which was a response for Good Friday. All of these works were

published by Marcello Capra.' Even though these works were written at an early age

and reveal little of his true musical personality, his love for choral composition is quite

evident. 9

Pizzetti's study at Parma Conservatory under Giovanni Tebaldini drew his interest

to Gregorian Chant. 1'0 This study of the ecclesiastical modes lead him to the Greek modes

and with the combination of the two, his new musical personality began to shape itself.

The choral music "Coro dei claecumeni de delle cucitrici" from d'Annunzio's La Nave

of 1905, showed the composer's style being enriched by the ancient modalities. The choral

pieces were of a liturgical nature. Pizzetti, himself, has commented on the melodies of

these choruses.

So I have composed the melodies for the choruses in La Nave in the forgottenmodes of primitive liturgical music, that is to say, in tEie ioTes of Greco-Latinmusic. And for each chorus I chose that mode, for composing the melody, whichpossessed the "ethos" most responsive to the significance, the expression, ofthe poetical test. And I did not wish to consider the "ethos" established inthe definitions of the ancient Greek or Latin theorists, of the philosophers, orof the first musicologists of the Church, but I desired to feel it profoundlyin myself. Sometimes it has happened to me that a given "mode" acquired,in my music, a richer and more varied expressive character, not seldom fardifferent from that ascribed to it by one or another ancient writer. This wasbrought about by polyphony, which, by a various lighting of the musical motivesand a varying distribution of the shadows, threw into relief some one of theexpressive characteristics of the mode or diminished its potency.'1

7Ibid., p. 808.

"Guido M. Gatti, "Ildebrando Pizzetti," Musical Quarterly, 9 (January-April, 1923),284.

1 0 1bid. 'IIbid., p. 103.91 i . p. 1 1

18

Pizzetti's vocal settings are syllabic adapting a sentence to fit the melody.1 "2 There

is a small chorus part in Pizzetti's first opera Fedra. His static treatment of the chorus,

expressing deep feelings of grief, is contrasted to the more dramatic and active treatment

of the chorus in his next opera, Debora e_ Jaela (1915). Between these two operas, in

1913, he composed the Canzoni Corali. It consisted of Per un Morto, a four-part men's

chorus and La Rondine, a six-part mixed chorus. The first chorus is a reverent but intensely

expressive song of death. In this chorus, Pizzetti makes a definite move toward a more

dramatic compositional style."1 This chorus is a dramatic contrast to the lyrical and spirited

La Rondine, a lively welcome to spring. In the second piece, La Rondine, the swallow

brings the news of spring's arrival and the chorus expresses a joyous outpouring of happiness

for being alive. 1 4

Pizzetti composed his Canto d'amore in 1914 for a four-part men's chorus. Six years

later, he selected "Lamento," a poem by Shelley. This choral work for solo tenor and

unaccompanied chorus was composed in 1920 after the death of his wife, Maria. It is

an electrifying tragedy, with the inconsolable lines of Shelley being delivered by the solo

tenor as the chorus repeats the inflexible words of Fate, "No more! -- Nevermore! "I I

Monteverdi, over three centuries before, also wrote a "Lamento" at the death of his wife.1 6

The most exceptional facet of Pizzetti's early choral writing is his interest in and

employment of the subtleties of vocal polyphony. This aspect of the choral art had been

almost entirely dormant in eighteenth and nineteenth century Italian choral music. Even

the powerful choruses of Verdi lack the detailed refinement found in the polyphony of

Palestrina and Monteverdi. It was this attention to polyphonic detail which Pizzetti

attempted to revive in the early choruses.'"

At the age of seventeen Pizzetti composed his first complete opera, Sabina. Although

unpublished, this work showed evidence of his study of the earlier operas of Bellini, Rossini,

and Verdi. It was saturated with the inventiveness and emotional outpourings of the opera

of the late nineteenth century.

2 Ibid., p. 105. "3.Ibid., p. 117. 4Ibid., p. 107.

"Ibid., p. 119. 16 Ibid: "Ibid., p. 101.

19

Two years later, lie composed Giulietta e Romeo and in 1902, lie entered a short

opera on Pierre Corneille's Le Cid in a one-act opera competition arranged by the publisher

Sonzogno. Disappointed with the results of this contest, Pizzetti made other attempts

to compose in the form, but all were unsuccessful. As a result, his interests turned to

chamber and symphonic music. 1

Pizzetti's interest in tragedy drew his attention to Hippolytus by Euripides which

inspired him to think of composing opera again. D'Annunzio learned of Pizzetti's interest

in Greek tragedy and his struggle to write a libretto on Hippolytus."1le offered the

composer his text on the Greek drama, Phaedra. In a long, sacrifying struggle of three

years, Pizzetti completed Fedra, and it became one of his most outstanding compositions. 2

The premiere of the opera took place at La Scala, Milan, under the direction of Gino

Marinuzzi, on March 20, 1915,21 the day before Italy entered World War 1.22

Pizzetti's earliest songs, written in 1904 at the age of twenty-four were Tre Liriche

for voice and piano. 23 The poems were by Ildebrando Cocconi.24 The trilogy, consisting

of "Vigilia nuziale," "Remember," and "Incontro di marzo," was published by Schmidl.

Two years later in 1906 the song, "Sera d'Inverno" on a poem by Mario Silvani was

also published by Schmidl. 2 s These four songs show little development of an individual

style. Nevertheless, traces of certain characteristics can be heard in them, especially the

"Incontro di marzo" and the "Sera d'Inverno," which later become significant elements

of Pizzetti's own musical personality. 2 6 This is especially true of the broad triplet theme

of "Incontro di marzo," which Pizzetti uses in his later songs.

' 'Ibid., pp. 274-275. 1' 9 Ibid., p. 96.

2 0 Ewen, Composers of 'Today, p. 195.

21Guido M. Gatti, "The music-drama of Ildebrando Pizzetti," translated by GwynMorris, Opera-Annual 7 (1960), 96.

2 2 Gatti, "Ildebrando Pizzetti," Musical Quarterly, p. 285.

2 3Ibid. 2 4 Ibid., p. 109.

2 sIbid., p. 285. 26 Ibid., p. 109.

20

One of his most famous songs is "I Pastori," written in 1908. The poetry of this

song is by d'Annunzio, and is taken from his Sogni di terre lontane found in Book III,

of the Laudi. 2 7 This composition was published by Forlivesi. 2 The simplicity of this

song, its rhythm, harmony, and melodic line, make it an excellent example of the lyric

quality of Pizzetti's early creations. Pizzetti presents the entire pastoral theme of nine

measures in the introduction and constructs the song upon it. The pastoral theme is

presented in its entirety in the introduction. He found all the elements he required to

express himself within the limits of tonality. The plaintive theme in A minor creates a

somewhat moody atmosphere and is repeated throughout the song, sometimes in its

entirety, sometimes barely suggesting itself. 2 The song and the text are so strongly unified

that they seem to have been created concurrently, but the unity remains flexible and

creates a valid expression of each episode without destroying the original lyric idea.3 0

The "La Madre al figlio lontano" for voice and piano was written in 1910 and

published by Forlivesi. This song is divided into two sections. In the first section the

piano plays a slow melodic line in octaves with tremolando indicated for the left hand.

The accompaniment for the second half of the song consists entirely of triplet chords

that strengthen the mood of desolation implied by the text. The time signature of this

song is a combination of six-eight and three-four. This unusual metrical configuration

sometimes occurs within a single measure; however, the melodic interest and Pizzetti's

effective musical expression never fails.3 1 In 1911 Pizzetti composed a melody to the

poem, "Erotica," by d'Annunizo, which was published by Pizzi.3 2

Niccolo Tomaseo's translations of two Greek folk poems were set to music by Pizzetti

in 1912 and published by Forlivesi. The first of the two songs was "San Basilio." The

text relates the legend of St. Basil, Bishop of Caesarea and a founder of the early Christian

2 7 Ibid. 2 8IIbid., p. 285.

2 9Jbid., p. 110. 3 0 Ibid.

3 Herbert Antcliffe, "Pizzetti as a song writer," Chesterian,XX (London, 1922), 109.

3 2 Gatti, "Ildebrando Pizzetti," Musical Quarterly, p. 285.

21

schools. The man was renovned as a worker of miracles. Pizzetti illustrates the supernatural

feeling by using a pattern of four eighth-notes throughout.

The second of these two songs is "Clefta Prigione," which reveals elements indicative

of the approaching change to a more dramatic expression which occurs in the second

phase of Pizzetti's music. The singable vocal line maintains its range within the scope

of the middle register. This song, unlike his chamber music, is dramatically and expressively

effective throughout. The climax in the last six measures of the song becomes even more

impressive as the voice suddenly moves through the interval of an augmented ninth. 3

This effective song would be ideal for a dramatic baritone.

Giovanni Papini translated the Greek folk-poetry, "Passeggiata" which Pizzetti set

to music in 1915. These ironical and vagabond lyrics of Papini's have received Pizzetti's

technical and emotional abilities to provide the atmospheric elements that are needed to

illustrate the text. With a rhythmic irregularity and freer tonality which are predictive

of Pizzetti's late work, the song's difficulties lie in the interpretation, and the ensemble

of the voice and piano. Even though the settings of the two poems by Salvatore di Giacomo

were written in different stylistic periods of Pizzetti 's composition, they will be discussed

together in the second phase to permit comparison of their styles.

The incidental music for the mystery play, La sacra rappresentazione di Abram e

d'Issac on a text by Feo Belcari was presented in 1917 in Florence. 3 4 The play was

a combination of a Biblical story and a Florentine poem from the fourteenth century.3

The "Concerto Dell'Estate" for orchestra was composed in 1928. The premier

performance of this music was given by Arturo for Toscanini conducting the New York

3 3Antcliff, p. 110.

34Gatti, "Ildebrando Pizzetti," Musical Quarterly, p. 271.

3s David Ewen, The Book of Modern Composers (New York, 1950), p. 204.

22

Philharmonic Symphony Orchestra in 1929. Pizzetti admitted that he patterned his concerti

after the concerti grossi of Vivaldi. 3 6 There are three sections to the concerto. The first,

"mattutino," is a robust movement as is the last, "Gagliarda e finale." The second section,

"Notturne," is lyrical, with unaccompanied violins expressing poetic emotion throughout

the section. 37 The concerto centers around five themes that reappear through the piece.

Arturo Toscanini, conducting the New York Philharmonic Symphony Orchestra in 1930,

gave the world premiere of Pizzetti's Rondo Veneziano, composed in 1929.31 Pizzetti's

own analysis of this was:

This composition consists of three "strophes," preceded and followed by a lessextensive musical period in the guise of a "ritornello" (refrain); whence the titleRondo. But just as there are, in Italian poetry, songs and odes in rondo formwhosestrophes differ in content as well as in expression, so the three "strophes"of this rondo differ not only in thematic material, but in movement andcharacter. If the musical period that serves as a ritornello (opening and closingthe composition) be regarded as an expression of the fundamental and immutabletraits of the Adriatic city, the first strophe might be considered an expressionof aristocratic Venice, luxurious and pompous (but without particular referenceto any specific period of the past) and the third strophe as an expression ofplebeian Venice. The middle strophe is a sort of intermezzo, both idyllic andimpassioned. 3 9

Pizzetti's contributions to the chamber music literature consist of a "Trio in A Major"

for violin, cello and piano, a "Sonata in A major" for violin and piano, and a "Sonata

in F major"4 6 for violin and piano. The two sonatas were written during times of deep

grief. The destruction inflicted upon Italy during World War I inspired the first sonata.

The second work was written during a period of sorrow which followed the death of

the composer's first wife, Maria.41

6David Ewen, The Complete Book of 20th Century Music (Englewood Cliffs, NewJersey, 1959), p. 275.

3 7 Ibid., p. 274. 3 Ibid., p. 275. 3 9Ibid.

4 0 Gatti, "Ildebrando Pizzetti," Grove's Dictionary of Music and Musicians.

4 1 Ewen, The Book of' Modern Composers, p. 206.

23

The Sonata in A Major was composed in the years 1918 and 1919. In Tempestoso,

the first of three movements, the piano introduces an inflexible theme representing the

world in turbulence, while the violin repeats a moaning theme of fear. 4 2 The second

movement is an emotional prayer. With rhythmic freedom and thematic imitation, this

movement becomes an instrumental declamation shared by the violin and piano. 4 The

second movement is an excellent example of the vocal quality found in the lines of the

composer's instrumental music. His ability to compose instrumental music in a vocal style

makes him one of the most important composers of the late nineteenth and early twentieth

centuries.

Of his choral compositions in the second period, possibly the mass for small chorus,

organ, and orchestra, composed in 1922,was the most important. Entitled Messa di Requiem,

the work was written for the Cathedral of Cremona, and is for four to twelve solo voices.

During this period he also wrote L'ultima caccia di Sant' Umberto for chorus and

orchestra.44

There were two operas during the period of Biblical influence, D6bora e Jele and

Lo straniero. Debora e Jaele was the first opera for which Pizzetti wrote both the music

and the libretto. The story of the opera is adapted from the Bible, and is Pizzetti's version

of the incident related in the Book of Judges.4 5 The characteristic element of this opera

is the composer's ability to blend the lyric and dramatic elements of the music-drama

into a homogeneous unit. 4 6 For him it is neither the lyric opera nor the dramatic opera

which can fully relate the common incidents of life or provide an atmosphere allowing

the characters to respond naturally. Instead, it is a combination of lyric and dramatic

elements. Pizzetti's vocal lines are not employed for their inherent musical value alone.

They state the situation with all its involvements, and carry the story to the climax and

42Gatti, "Ildebrando Pizzetti," Musical Quarterly, p. 117.

43Ibid., p. 118.

4 4 Gatti, "Ildebrando Pizzetti," Grove's Dictionary of Music and Musicians,

4 5sIbid., p. 807. 4 6 Antcliffe, p. 97.

24

then resolve it.4 I Once the drama begins, driving its way to the climax, the calm, lyric

elements must never be allowed to bring the drama to a halt. The entire opera must

be a continuous, forward movement toward a climatic point. Pizzetti disliked the sectional

opera, filled with arias during which the dramatic motion slows to a standstill. "The lyrical

element in the opera written between 1700 and 1800 was so fatal and led to so many

absurdities, because it was introduced not for the sake of the drama but for the sake

of the singers." 4" Pizzetti's "sung recitative" is a union of words and melody in which

the melody is rhythmically disciplined and the text is syllabic. The melody is not controlled

by the text but is combined with it, extending its dramatic power.4 9

Dramatic music should express life in action conflicts of matter and mind, ofinstincts and aspirations, of egoism and moral duty; and lyrical music shouldexpress the transcendence, the overcoming of these conflicts. There is no musicother than these two types, not even outside the music for the stage. Thereis no true or great art, which is not the expression of a conflict and its resolution,of a drama in which individuals, or sentiments, or ideas are involved, and itscatharsis. Symphonic music obeys the same laws, even though it be withoutwords: it must have dramatic life to be music at all, that is, it must have acontent born of conflict, lest it be a mere juggling with sound and noise. 5 0

The songs composed in this period were "Angeleca" and "Assunta." Both poems

are of the Neapolitan dialect and are by Salvatore di Giacomo. They are for tenor and

orchestra; however, the composer made an excellent piano reduction of the

accompaniment. 5 I Many of the changes in Pizzetti's style take place between the writing

of these two songs. "Angeleca" was composed just after he completed the poem for Debora

e Jele; however, "Assunta" was not written until after he had begun to compose the

music for the same opera a year later.5 2

4 7 Ibid., p. 97.

4 8 Gatti, "The music-drama of Ildebrando Pizzetti," p. 425.

4 91Antcliffe, p. 98.

s 0 lldebrando Pizzetti, "Music and Drama," Musical Quarterly, XVII (October, 1931),425.

5 1 Antcliffe, p.. 11.

s 2 Gatti, "Ildebrando Pizzetti," Musical Quarterly, p. 112.

25

The two poems are both dramatic. "Angeleca" is a monologue of a drunk man who

is singing a tavern song as he wanders home. In passing his lover's home, he notices that

there is no light in her chamber. Doubts of his lover's fidelity fill his mind. He questions

the doorman who replies that she is dead. Grieved, the drunkard moans and mumbles

to himself as he staggers down the street. The story of "Assunta" is the narration of

a man who relates his story of love and death to a court of judges.s I The subject text

matter of "Angeleca," a man who sings, lends itself to a lyrical interpretation, whereas

the narrative qualities of "Assunta" adapt themselves well to the sung recitative which

Pizzetti was perfecting as he wrote Dbora e J ele. 4

Pizzetti's third phase of compositions took place because of this interest in Italian

history. The incidental music for the tragedy, Agamemnon by Aeschylus, was composed

in 1930. Two years later in 1932, the music for another tragedy, Trachiniae, by Sophocles,

was written. On a sixteenth century play adapted by Corrado d'Errico entitled, La

rappresentazione di Santa Uliva, Pizzetti composed its incidental music. More incidental

music was composed for Oedipus Coloneus, a tragedy by Sophocles in 1936, La festa

delle Panatenec, containing three pieces for orchestra, in 1937, and, in the next year,

for a comedy, "As you Like It," by Shakespeare.

Pizzetti's chamber music contributions during this period were the String Quartet

No. 2 in D major, in 1932-1933.5 Toscanini gave this composition its first audition.

This Italian quartet literature contains lyricism, dramatic power, emotion, and instrumental

speech. 5 6

s3~bid.,pp. 112-113. 5 4 Ibid., p. 112.

s s Gatti, "Ildebrando Pizzetti," Grove's Dictionary of Music and Musicians, VI.

s6 Ewen, Composers of Today, p. 195.

26

jis vocal chamber music contribution was in 1926, the Tre Canzoni for string

quartet.i7 In 1935 he composed "Due poesie di Ungaretti" for baritone and piano. 5

He wrote a cantata "Oritur sol it occidit" for bass in 1943.5 9

Pizzetti wrote a part for chorus and orchestra in the introduction to the Agememnon

of Aeschylus. There are two Greek Hymns from La festa delle Panatenec for soprano,

chorus and orchestra, written in 1937. The De profundis for a seven-part chorus was written

in 1938. From the words of the Carmina of Catullus, "Epithalamium" was composed

in 1939. This piece is for soprano, tenor, baritone, small chorus and small orchestra. In

1942-1943 three choral compositions were written. They are "Cade la sera", with text

by Gabriele d'Annunzio, "Ululate, quia prope est dies Domini", text from Isaiah and

"Recordare, Domine" with text from Jeremiah. The Cantico di gloria, written in 1948,

is for a eleven-part treble chorus, twenty-four wind instruments, two pianos and percussion.

During this period influenced by Italian History, Pizzetti composed two operas Fra

Gherardo, written in 1926 and Orseolo written in 1935. Pizzetti adapted the text for

Fra Gherardo frorn the thirteenth century Chronicles of Salimbene de Parma. Pizzetti's

operas do not contain any formal arias. 6 0 Pizzetti's melodic lines depict the natural

inflections of the Italian language. The text is always the more important element.6 1 These

works were followed by four other operas. They are Orseolo (1931), L'oro (1938-1942),

Vanna Lupa (1947-49), and Ifigenia (1950).

Pizzetti composed in 1926 Tre Canzoni for string quartet and voice. The Tre Canzoni

consists of "Donna Lombarda", "La prigioniera", and "La pesca dell'anello". This music

is published by Ricordi. In "Donna Lombarda", the music continues to show the

composer's ability to paint images. 6 2 In 1932-1933 he wrote Altre cinque liriche, also

S 7 Gatti, "Ildebrando Pizzetti," Grove's Dictionary of Music and Musicians, VI. Thisincluded three songs entitled "Donna Lombarda," "La prigioniera," and "La pescadell'anello.

5 Ibid. 5 9 Ibid.

6 0 Gatti, Ildebrando Pizzetti, p. 274.

6 1Ewen, The Complete Book of 20th Century Music, p. 274.

6 2 Gatti, Ildebrando Pizzetti, pp. 81-82.

27

published by Ricordi for voice and piano.6 3 Due poesie di Ungaretti was composed in

1935 for baritone, violin, viola, violoncello and piano. It consists of "La Pieta" and

"Transfigurazione." Pizzetti, in continuing to portray the characteristics of the language

and the inter-relationship of the poems is still inspired by an open expression of human

feeling.6 4 "E il mio dolore io canto" was written in 1940 for voice and piano and published

by Forlivesi. Tre Liriche per canto e pianoforte was composed in 1944. His artistic ability

reveals the spiritual and tranquil moods of the text.6 s

63Ibid., p. 118. 6 4Ibid., p. 82. 6 5 Ibid.

CHAPTER III

ANALYSIS OF TRE SONETTI DEL PETRARCA

In Pizzetti's songs there is a unifying factor which gives each song an individual quality.

This unity is achieved by a rhythmic figure, a melodic theme, a declamatory vocal style,

or even a single word. Although the unifying element varies in each song, its presence

is always clearly evident.

Pizzetti's settings of Tre Sonetti del Petrarca were composed in 1922, following the

death of his first wife, Maria. 1 His choice of these somber poems by Petrarch was

undoubtedly motivated by his own distress. The form of the poems is so perfect that

Pizzetti found it difficult to add anything to them through music. As a result, his

imagination yielded to his intellect, and his settings remain faithful to the text at the

expense of the emotional qualities of the music.2

"La vita fugge, e non s'arresta un'ora . .

The poem, "La vita fugge, e non s'arresta un'ora . . . ," is divided into two sections;

the first portion consisting of eight lines, and the last part consisting of six lines. The

first section, or octave,3 is separated into quatrains of four lines each. Both quatrains

have a rhyme scheme of atba..

The metrical organization of the octave centers around the patterns established in

the first two lines. Scansion of the first line reveals that it consists of three trochaic

feet, two dactylic feet, and a trochee. In this line the first strong accent is silent. The

'Guido M. Gatti, Ildebrando Pizzetti, translated by David Moore, (London, 1951),p. 80.

2 Ibid., p. 81.

3 C. F. Main and Peter J. Seng, editors, Poems (Belmont, California, 1963), p. 238.

28

29

second line is constructed of four dactylic feet followed by a trochee. The first strong

accent in this line is also silent. It will be seen that Pizzetti set these feminine beginnings

with special care. Each of the eight lines of the octave is constructed in one of these

two metrical patterns. These units are organized in the following manner: abba, abab.

The two patterns are not strictly observed in all lines, however, the differences do not

change the basic metrical form.

The last section of "La vita fugge, e non s'arresta un'ora . . ." is constructed of

six lines, a sestet. 4 The sestet is divided into two tercets of three lines each. The sestet

has a rhyme scheme of cde, cde. The sestet is unified by the metrical organization of

the first and last lines. Scansion of these two lines reveals two iambic feet, an anapaest,

and two trochaic feet. There seems to be no distinct metrical pattern to this section of

the poem with the exception of the first and last lines. However, a degree of unity is

achieved by ending each line with a trochaic foot.

The basic structure of this poem has become known as the Italian or Petrarchan

sonnet, a fourteen line poem consisting of two sections, the octave and the sestet. 5 The

octave contains two quatrains of four lines each. The sestet, the last six lines, contains

two tercets of three lines each. The rhyme scheme of the octave is usually abba, abba

and that of the sestet is cde, cde. However, both sections may have varying rhyme schemes.

In each of these sonnets the organization of the content is highly consistent. The

first quatrain presents the theme. The second quatrain developes the theme. The first

tercet continues the development. The second tercet brings the development to a

conclusion.

In the first quatrain of "La vita fugge, e non s'arresta un'ora . . . ," the poet speaks

of the transitory nature of life, the certainty of death, and the anxiety of his thoughts

of his beloved Laura in the past, present and future. In the second quatrain, he develops

these thoughts even further, and ends the octave with the suggestion that it is only through

his own self pity that he frees himself from painful memories.

sIbid.

30

In the sestet, the poet admits that if the memories of Laura return to him, he will

again be saddened. He envisions himself as a ship in a stormy sea, seeking refuge in port.

The port symbolizes the woman whose love he has always sought in life. He never reaches

port, but grows old and weary until finally the lights of the port are extinguished.

The music suggests the key of e minor, but these songs defy traditional harmonic

analysis. The initial tempo is assai sostenuto.

The basic structure of the song is a broad symmetrical arch. This symmetrical concept

is further reflected in several of the internal structural elements of the song. The most

obvious symmetric device is the metrical organization of the song. The two halves of

the song are perfectly symmetrical and are connected by a single measure of three-four

meter. Each half consists of four measures of four-four meter, followed by one measure

of three-four meter, linking to eight measures of four-four meter. The mid-point of the

song coincides with the end of the octave. The three single measures of three-four meter

are placed at important points in the text. The first measure of three-four occurs at the

beginning of the third line of poetry which is the first instance of textual intensity. The

second measure of three-four meter occurs at the vocal climax which coincides with the

end of the octave. This is the most highly dramatic passage in the text. As will be seen,

both the musical and poetic intensities build toward this measure. The third measure of

three-four meter occurs after the break in the meaning of the text found in the middle

of the second line of the sestet. It is at this point that the poet begins to see himself

as a ship in the stormy sea.

Another way the song is symmetrical is in relation to the poetic intensity. Although

there are variations in the intensity as the poem progresses, in general, it builds to the

last line of the octave. The first quatrain becomes poetically more intense as it progresses

toward the end of the third line, ". . . presenti e le passate . . ." (". . . present and

the past . . ."). The intensity then lessens until the last line of the second quatrain. "I'

sarei gi'a di questi pensier fora." ("I would always be withdrawn in my thoughts.") Thus,

the first half of the song consists of two arches of poetic intensity, the second being

more dramatic than the first. From this midpoint, the poetic intensity gradually decreases

31

to the end of the song. While the arch of intensity is not perfectly symmetrical, it rises

to a peak in intensity which corresponds with the peak in the metrical arch previously

examined.

The musical form of the octave conforms to the poetic structure. The first musical

section of the song comes to a definite close at the end of the first quatrain. Pizzetti

uses a single descending melodic line to form the cadence. Likewise, the second musical

section cadences at the end of the second quatrain. Thus the first two sections of the

musical form make up the first half of the metrical form of the song. Also, the two

sections correspond to the two arches in the poetic intensity and add to the symmetrical

organization of the song.

While the musical form of the octave conforms to the poetic form, the musical form

of the sestet follows the meaning of the text. In the middle of the second line of the

first tercet, a definite change in thought occurs in the poetry. It is at this point that

the poet changes his abstract expressions of self pity and becomes more concrete as he

pictures himself as a ship in a stormy sea. Pizzetti divides the musical form of the sestet

at this point with a fermata, a decrease in the thickness of the texture, and a decrease

in the agitation of the accompaniment, all of which will be examined in detail later.

In the musical form of the octave, two basic sections may be seen, conforming to

the symmetrical form of the poetry. The sestet gives the appearance of being treated

as one basic section; however, examination shows that the music is divided into two sections

according to the meaning of the poetry.

The musical division of the octave occurs four measures before the single three-four

measure which connects the two symmetrical halves of the metric structure of the song.

Likewise, the musical division of the sestet occurs four measures after this connecting

measure of three-four meter, thus relating the musical form symmetrically to the metrical

structure of the song.

The rate of declamation of the text is another factor which reinforces the symmetric

structure of the song. The first quatrain is presented in seven and one-half measures while

the second quatrain is presented in five and one-half measures. Thus the rate of declamation

in the second quatrain is considerably faster than in the first and builds the musical intensity

toward the climax at the end of the octave. In the second quatrain there is considerably

more use of eighth-note triplets and sixteenth-notes than anywhere else in the song.

32

Another factor which reinforces the symmetric organization of the song is the rise

and fall in the pitch of the vocal line. In the first four measures, the vocal line forms

an arch beginning on c , rising slightly to e', and descending to b. This arching line

coincides with the first four measures of four-four meter, the first two lines of the first

quatrain. The next two lines also form a single, broad arch, rising to the point of highest

poetic intensity in the first quatrain.

In the second quatrain, the vocal line also consists of a series of arches. The first

arch ascends and descends through the first line of poetry. The next arch ascends through

the second line of poetry and descends through the third line. The final arch covers the

last poetic line in the octave. Thus the second quatrain is symmetrical within itself.

After the midpoint of the song, the first one and one-half lines of the sestet form

an arch in the vocal line. The end of this arch corresponds to the break in the musical

structure resulting from the change in poetic meaning. It also corresponds to the metrical

symmetry of the music, ending four measures after the midpoint of the song. The last

nine measures of the song consist of a series of descending arches which are the symmetrical

equivalent to the rising arches found in the beginning of the song.

It may be seen that the rise and fall of pitch level contains a degree of symmetry

within itself. This is most obvious in the second quatrain. It also reinforces the broad

arch on which the entire song is based.

Another symmetrical aspect of the song is the one change in tempo (pj mosso)

which occurs on the downbeat of measure twelve, two measures before the central,

connecting measure of three-four meter previously mentioned. It continues to the fourth

beat of measure sixteen, two measures after the central measure of three-four meter. This

increase in tempo corresponds to the poetic climax, the end of the octave, the middle

five measures of the metrical organization, and the end of the second quatrain in which

the vocal declamation is most intense.

Another less important aspect of the music which emphasizes the symmetry and

meaning of the text is the increase in dynamic intensity. The first increase in dynamic

level occurs in the third line of the first quatrain which has been established as an important

point in the text and music. The second increase in dynamics occurs through the second

quatrain, rising from piano gradually to forte. It has been seen that in this quatrain many

33

musical and poetic elements have been combined to build to the climax. While the dynamics

are not exactly symmetric, they are used to emphasize important structural points and

thus add to the symmetric idea and contribute to the arch effect.

Another less important aspect of the music which adds to the symmetry of the song

is the accompanimental texture which tends to tie the recitative-like melodic fragments

together and occasionally intensifies the dramatic expression. The piece begins light in

texture, with only the root and third of the chords present. Other chord tones are added

as the phrase continues in preparation for the thickened texture in measure six which

is related to the increased agitation of the text. As has been shown, this is the most

intense poetic and musical phrase in the first quatrain. The accompaniment in this measure

is less contrapuntal and definitely more chordal, thus increasing the expressive intensity.

The first and second quatrains are divided when the texture is reduced to a single melodic

line in the accompaniment. As the second quatrain builds toward the climax, the texture

becomes thicker and more agitated, thus further emphasizing the section of the song which

is poetically and musically most intense. The most texturally complex measures of the

song occur two measures before the central measure of three-four meter and continue

two measures after the central measure. Thus, these measures are the exact center of

the song. In the last nine measures of the song, the points of textural complexity are

used to tie the recitative-like fragments of the vocal line together.

It is stressed that formal units are an important aspect of Pizzetti's musical style.

He is aware of the formal structure of the poetry and takes advantage of it in his musical

settings. This characteristic of his style distinguishes him among Italian composers of the

early twentieth century.

In Pizzetti's style, many expressive techniques may be seen. Each of these expressive

aspects will be considered separately. The most important aspect of the vocal line is its

declamatory style. The recitative-like line imitates the natural inflection of the language.

Its character lacks lyrical qualities and does not use melodic or textual repetition. The

inflection of the text is transferred to the melodic material in three ways. Attention is

drawn to the stressed syllables by musical accent, level of pitch and duration of pitch.

For example, in measure one and two, the syllable vi of the word vita (life) is stressed

by the duration of the pitch. The syllable is sung on a clotted quarter-note which is found

34

in a phrase of shorter note values. Also, the syllable fug in the word fugge (flies) is on

a pitch which is a major third higher than the surrounding pitches. This syllable also

falls on a strong musical beat (see Figure 1). Pizzetti makes no attempt to preserve in

La vi -ia fiig.g'e

Fig. 1--The declamatory style of the vocal line,measures I and 2, "La vita fugge e non s'arrestaun'ora . . .

his music the regular rhythmic accent of the poem, but sets the text so that the words

are stressed as they would be in prose.

The feminine beginnings which occur in the poetry at the first of each line in the

first quatrain are musically unaccented. In the first three instances the piano plays the

strong beat and the vocal line begins on the off-beat. In the last line the first word falls

on an unaccented beat in the middle of the musical phrase.

The rhythmic elements of the song are based on the eighth-, sixteenth-, and triplet-note

patterns. As the intensity of the poetry builds in the second quatrain, there is greater

use of sixteenth-note patterns. This is the result of Pizzetti's desire to preserve the natural

rhythm of the language and his desire to increase the speed of declamation as an expressive

device building the climax.

Another expressive device is found in the harmonic structure of the songs. The

harmony of the accompaniment is triadic in nature but the chords are not used functionally.

There is some parallel chordal movement, and there is occasional use of seventh and ninth

chords. These chords are used in expressing the intense words found in the third line

of the first quatrain, and at the end of the octave. These two points have been seen

to be phrases of intense musical and poetic expression. Seventh chords are also used in

the sestet to link the recitative-like lines of the melodic material.

The harmonic texture is kept simple in the first two phrases, using only triads. In

some instances only two pitches are sounded. Pizzetti uses this type of textural and

35

harmonic device when there is a fall in the intensity of the poetry and a feeling of

depression and loneliness is desired. This type of expression can be observed in the first

quatrain and in the last half of the sestet.

Complexity of harmonic texture is also an important expressive device in these songs.

The more complex passages in the accompaniment occur at points in the text which are

most dramatically expressive. The chordal texture is thickened in measure six which

corresponds to, the rise in intensity on the first quatrain already mentioned. The most

agitated texture occurs as the second quatrain is building toward the climax at the middle

of the song.

Another important aspect of "La vita fugge . . ." is the way in which Pizzetti used

a single musical idea as a unifying factor for the entire song. This musical idea will be

considered for both harmonic and melodic elements as they function as unifying factors.

The motive appears in its original form in the first four beats of the song (see Figure

2). Harmonically it consists of a minor third sustained for two beats (f a-flat). On the

7-1

Fig. 2--The harmonic motive, measures 1 and 2"La vita fugge e non s'arresta un'ora .

last half of the second beat there is an eighth-note passing tone (b b-flat) leading to a

minor triad (e g b-natural) sustained for a beat and a half. This harmonic motive also

appears in measures ten and eleven in double form, sounded in both the right and left

hands, thus giving the beginnings of the first and second quatrains a similar musical setting.

The intensity at the beginning of the second quatrain is kept at a higher level by doubling

the pattern. This relates to the slightly higher degree of poetic tension at this point.

36

- An even more important unifying factor is the melodic material of this musical idea.

It consists of a three-note ascending motive which begins on a-flat for a dotted quarter-note,

ascends to b-flat for an eight1-note, and rises again to b-flat for beat and a half (see

Figure 2). It is this ascending motive and its inversion and variations upon which the

entire structure of the song is based. The motive in its original form is found at varying

pitch levels, in measures one, two, ten and eleven. It is found again in shorter note values

in the last two beats of measure four and the first two beats of measure five in the

left hand of the accompaniment (see Figure 3). The same melodic idea is found in

S-T

Fig. 3--The variation of the melodic motivemeasures 4 and 5, "La vita fugge e non s'arresta un'ora . . . .

eighth-notes in the first two beats of measure eight (see Figure 4). It is found in a slightly

Fig. 4--The variation of the melodic motivemeasure 8, "La vita fugge e non s'arresta un'ora . .

expanded form in measures twelve and thirteen, in the right hand of the accompaniment

(see Figure 5). A much more complex and expanded form of this melodic idea is found

37

Fig. 5-The variation of the melodic motive, measures 12

and 13, "La vita fugge e non s'arresta un'ora . . . .

in measures fourteen, fifteen and sixteen (see Figure 6). It occurs again in seventeen (see

V-,7i

rr

Fig. 6--The variation of melodic motive, measures 14, 15,and 16, "La vita fugge e non s'arresta un'ora . . . .

Figure 7) and again in measure eighteen (see Figure 8). It is also found in triplet eighth-notes

Fig. 7-The variation of the melodic motive, measure 17,

"La vita fugge e non s'arresta un'ora . . . .

38

on the first beat of measures twenty-two, twenty-three and twenty-four (see Figure 9).

Fig. 8--The variation of the melodic motive,measure 18, "La vita fugge e non s'arresta un'ora .

It is found in an inverted variation on the last two beats of measure three and measure

four (see Figure 10). It is used to end the first quatrain in an expanded inversion in

Fig. 9-The variation of the melodic motive, measures22, 23, and 24, "La vita fugge e non s'arresta un'ora . . . .

measures eight and nine (see Figure 11). It occurs in an inversion once again in eighth

notes in the last two beats of measure seventeen (see Figure 12). Its inversion occurs

in triplet eighth notes on the second beats of measures twenty-two, twenty-three and

twenty-four (see Figure 9).

39

Fig. 10-The inversion and variation of the melodicmotive, measures 3 and 4, "La vita fugge e non s'arresta un'ora . .

In the vocal line this motive, its inversion, or variations can be found in measures

one, two, three, four, six, seven, ten, eleven, twelve, thirteen, fourteen, seventeen, twenty,

twenty-one, twenty-two, twenty-three, twenty-four and twenty-five. These instances occur

in triplet eighth-notes or sixteenth-notes most often.

Fig. Il--The inversion and variation of the melodicmotive, measures 8 and 9, "La vita fugge e non s'arresta un'ora . . . .

Even more basic to the construction of this song is the manner in which this motive

functions as the first half of a broad arch, the fundamental constructive element. The

song is made up of a series of broad arches which themselves form an even broader arch.

Even when the melodic motive is not immediately evident, the music can be placed in

either the rising or falling portions of the arch.

The first broad arch can be seen in the accompaniment'in measures one, three and

four. This corresponds to the first two lines of the poem. In measure five begins the

40

second arch in a much thicker chordal texture. This arch extends from the last beat of

measure five through measure eight, and can be most easily observed in the octave bass

notes in the left hand. The first quatrain is ended with another arch found in the soprano

line of measures eight and nine.

Fig. 12-The inversion and variation of themelodic motive, measure 17, "La vita fugge e non s'arresta un'ora . .

In measure ten another arch figure begins at a lower degree of intensity and rises

for six measures, through measure fifteen. Concurrent with this arch and found in the

left hand of measures twelve, thirteen and fourteen is a highly frnamented and syncopated

melodic curve which is centered around the pitch d-sharp (see Figure 13).

Fig. 13-The variation of the melodic motivemeasure 12, "Lavita fugge e non s'arresta un 'ora . . . ."

The sestet begins with the last beat of measure sixteen. in measure seventeen, the

arch motive is found again. In this instance, the rising portion of the motive is separated

from the descending section by an eighth rest (see Figures 7 and 12). The melodic material

41

of the accompaniment and the vocal line moves in free, imitative counterpoint for eight

beats, to the fermata in measure eighteen. This fermata marks a division in the song which

corresponds to the meaning of the text though it does not occur at the end of one of

the sections of the poetic form. The fermata divides the rising portion of the motive

from an altered version of the descending form of the motive (see Figures 8 and 14).

Fig. 14-The inversion and variation of the melodic motive,measure 19, "La vita fugge e non s'arresta un'ora . . . . "

In measure nineteen, the voice is accompanied by a thinly textured adaptation of

the inversion of the original motive (see Figure 14). The figure in measure twenty is more

closely related to the inversion of the original motive. In the first two beats of measures

twenty-two, twenty-three and twenty-four, is found a figure closely related to the original

motive and its inversion (see Figure 9). This figure is used as a punctuation between the

poetic phrases. The last three measures give a vague impression of the upward and

downward curve of the arch motive (see Figure 15).

Thus it is evident that the extensive use of the melodic motive, its altered inversion

and variations give great unity to the melodic lines of the voice part and accompaniment.

It can also be seen that this melodic motive and its inversion form an arch which is

basic to the structure of the song.

As has been observed, the mood of the text is melancholy and reflective. It relates

the poet's attitudes toward the brevity of life and its futility after the death of the woman

he loved. The text is set in a recitative-like musical style which remains true to the natural

42

Fig. 15-The variation of the. melodic motive and its inversion,

measure 25, 26, and 27, "La vita fugge e non sIarresta un'ora . . . .

inflection of the language. The accompaniment is thin in texture and is used more to

punctuate the text than to accompany the vocal line.

"Quel rosignuel che si soave piagne

The poem, "Quel rosignuel che si soave piagne . . . ," can be placed into the formal

divisions of an Italian sonnet. The octave is constructed of two quatrains, both of which

have a rhyme scheme of abab.

The metrical organization of the octave centers around the patterns established in

the first two lines. Scansion of these lines reveals that they both consist of six trochaic

feet. In the first line, however, the accent of the trochee is omitted, giving it a feminine

beginning. In the second line, the initial accent is present, resulting in a masculine beginning.

Although an occasional dactylic foot is used in place of the usual trochaic foot. the basic

organization of the accents of each line of the octave falls into one of these two categories.

If the two first lines are designated by letters, A representing the metrical organization

of the first line, and 13 representing the metrical organization of the second line, the octave

can be expressed: ABBA, A\AAA.

The last six lines of the poem fall into a normal formula for the sestet of an Italian

sonnet. They have a rhyme scheme of cdc, cdc. Scansion of these lines shows that there

is little metrical relation between them. However, unity is created in that they are all

largely constructed of trochaic feet, and that they all have a feminine ending.

19

43

The octave of the sonnet presents the problem: Humanity feels secure from death

when it is not near. The theme of the first quatrain is the lamentation of the death

of a loved one. The second quatrain more closely relates this loss and expresses the false

belief that death could not strike so close. The sestet restates that all of humanity is

subject to this sense of false security and should realize that everything has an end.

In the first quatrain, the poet speaks of the death of a loved one who is close to

him. This idea is related through the nightingale's loss of its loved one. The second quatrain

considers the relationship of the nightingale's loss to the poet's own sorrow. In this section,

as in the first poem, the poet makes more definite reference to his personal grief.

In the first tercet of the sestet, the poet reflects on the thoughts in the second

quatrain. In the activity and happiness of life, man is easily deceived into feeling secure

against the threat of death. Death is a distant and powerless nonentity. In the second

tercet, the writer recognizes that his own fate demands that he learn that nothing is safe

from death and that all must die.

Pizzetti's neo-classic style is also evident in this song as it was in "La vita fugge

." Although less obvious, this song is also organized in an arch form composed of

smaller arches corresponding closely to the poetic structure.

The first of these arches corresponds to the first quatrain. This arch reaches its melodic

climax on the word cielo in measure twelve. The second arch corresponds to the second

quatrain and reaches its melodic climax on the words Ch'altri che me non ho. After a

brief interlude the next arch extends through the first tercet. This arch is broken by

a descending phrase in the vocal line followed by a descending line in the right hand

of the piano which corresponds to the change of thought at the end of the first line

of the first tercet. This arch reaches its melodic climax on the words Sol chia ri. The

final arch extends through the last tercet and reaches its melodic climax on the word

lagrimando.

These four broad arches form the basic structure of the song. They create an even

broader arch, the climax of which is found in the second quatrain.

This symmetric instruction is reinforced in several ways. The first of these is related

to the poetic intensity. In the first quatrain the poetic intensity reaches its highest peak

on the word cielo in the third line. This corresponds to the melodic climax of the first

44

arch. The second quatrain reaches its poetic climax on the words Ch'altri che.me non

ho. This corresponds to the melodic climax of the second arch.

The first quatrain is at a lower level of poetic intensity than the second quatrain.

This is due largely to the fact that the second quatrain is more closely related to the

personal grief of the poet, his self-pity and sorrow, whereas, the first quatrain is the

description of the lament of a bereaved nightingale. This added intensity in the second

quatrain corresponds to the more intense musical climax found in the second arch. Also

the tessitura of the second arch is higher.

In the first tercet there are two basic ideas expressed. In the first line the poet

expresses his feelings that a person who feels secure is easily deceived into feelings of

false security. In the second and third line his thoughts turn to the dead Laura as he

ponders the beauty of her eyes and questions the fact that while they were once as bright

as the sun they are now dark.

It is obvious from Pizzetti's musical setting that he was aware of this shift in meaning.

Although the first tercet must be considered a single arch, Pizzetti chose to break that

arch momentarily with a descending line in the voice followed by a descending line in

the piano in order to remain faithful to the text. The main poetic climax of the first

tercet occurs on the words, Sol chia ri. At this point is also found the melodic climax

of the third arch. The poetic intensity in the second tercet builds toward the word

lagrimando. The poet realizes that his fate demands that he must continue living, but

that in living he will be weeping. Likewise in this section of the poem, the poetic intensity

reaches its highest point concurrent with the melodic climax of the last arch.

Another factor which reinforces the symmetry of the song is the musical form. The

song begins with a five-measure and two-beat introduction which is imitative of the

nightingale and sets the mood of the song. The last four beats of this introduction consist

of a chordal figure which is based on the first two notes of the song. The next section

which can be identified is the musical setting of the first quatrain which forms an arch

constructed of two smaller arches. The next section is the setting of the second quatrain.

Musically, this also falls into an arch form and is constructed of four less easily identified

arches. The midpoint of the song consists of a three-measure interlude musically based

on the first two measures of the introduction. The next section is the musical setting

45

of the first tercet which is constructed of three melodic arches which coincide with the

lines of poetry. The next section is a musical setting of the last tercet and is divided

into two arches. The last section is a two postlude which actually begins a measure

earlier (measure forty-five) and overlaps with the last measure of the preceding section.

This postlude is also a chordal pattern based on the two notes of the introduction.

It can be observed that if the three-measure interlude functions as the midpoint of

the song, the musical structure of the song is symmetrical. The introduction is symmetrical

to the postlude. The setting of the first quatrain is symmetrical to the setting of the

second tercet. The setting of the second quatrain is symmetrical to the setting of the

first tercet. Another musical element reinforcing the symmetry of this song is the metrical

organization. Although there is no scheme in the use of the various meters, there is a

certain symmetry to be found in the number of beats in the various meters, there is

a certain symmetry to be found in the number of beats in the various formal sections

of the song. If the seventeen beats of the introduction and the six beats of the interlude

(disregarding one eighth note) are omitted, the octave and the sestet are exactly equal,

both consisting of fifty-nine beats.

Similar equalities or near equalities can be seen in the musical setting of the two

halves of the octave, the first half consisting of thirty-one beats and the last half consisting

of twenty-eight. The two sections of the sestet are also almost equal in length, the first

half being twenty-eight beats long and the last half being thirty-one beats long.

These observations lead to a further conclusion about the symmetrical organization

of the song. The thirty-one beats of the first quatrain are symmetrical to the thirty-one

beats of the second tercet. The twenty-eight beats of the second quatrain are symmetrical

to the twenty-eight beats of the first tercet.

There are additional musical factors not related to the overall structural pattern, that

contribute to the expression of the text. These include dynamics, texture of the

accompaniment, rate of declamation and pitch. Although there are few dynamic changes

beyond the pianissimo or piano levels at which most of the song is maintained, those

crescendos and diminuendos which do occur, coincide with the increases and decreases

in the poetic intensity. The first such crescendos occur over the words dolcezza empie

il. This crescendo builds to the word cielo which is the musical and poetic climax of

46

the first quatrain. A diminuendo is indicated through the last four eighth-notes of the

piano part in measure twelve; however, it is omitted in the voice line. A further diminuendo

occurs in the second beat of measure sixteen at the end of the first quatrain. In the

second quatrain a crescendo is indicated under the words, E mi rammente. A similar

crescendo is indicated in the piano part two eighth-notes later. These crescendos help

to increase the musical tension leading toward the climax of the second quatrain. Another

crescendo occurs in the vocal line through the last two eighth notes of measure twenty

and the first quarter note of measure twenty-one. This coincides with the climax of

the second quatrain. It is followed by a crescendo in the piano. At the end of measure

twenty-one both the vocal line and accompaniment have a diminuendo. An expressive

crescendo-diminuendo occurs in the accompaniment beneath the words Che'n Dee non

credevio regnasse. This coincides with the brief increase of poetic tension as the poet

speaks of his beloved. In the first tercet a diminuendo found in the vocal line through

the word assecura followed by a diminuendo in the accompaniment on the last beat of

measure thirty-one and three beats of measure thirty-two reinforce the change of thought

which occurs in the poetry between the first and second lines of the first tercet. In the

last tercet the only dynamic indications are a crescendo and a diminuendo in measure

forty-two. This coincides with the peak of poetic intensity which occurs on the word

lagrimando.

Although the texture remains thin throughout most of the song and consists of chords

in most cases, there is some thickening of the accompaniment at the more intense points

in the text. This is most easily observed in the last four and a half measures of the musical

setting of the first quatrain in which, as has been established, occurs the climax to the

first section of the poem. Beyond this there seems to be no important correlation between

the points of poetic and textural intensity.

The rate of declamation remains fairly steady throughout the piece. In the first half

of the song the setting of the text of the octave covers fifty-nine beats, in which there

is the equivalent of only three beats of rests. Whereas, in the fifty-nine beats of the sestet,

there is the equivalent of almost twenty-three beats of rests, thus compensating for the

shorter text of the last half of the poem. The rest in the last half of the poem effectively

spread the phrases of the poetry without significantly slowing the rate of declamation.

47

This gives the sestet a more thoughtful and melancholy mood in which the phrases of

poetry seem to come from the poet with more difficulty and depth of thought.

Another factor emphasizing the points of poetic intensity in each section of the poetry

is the duration and level of pitch. In the first two phrases of the poetry the most important

word is piagne (laments). It is at this point that the melodic line reaches its highest point,

(d-sharp 1 ), for the longest period. of time, a dotted quarter note. In the next two phrases

the point of highest poetic intensity occurs on the word cielo (heaven). Although this

is not the highest pitch in the two phrases, an e-sharp' occurs in the next beat for an

eighth-note. It is the highest note sustained for any significant length of time. In the

next two phrases, the occurrence of high notes increases as the poetic tension increases.

This can be observed in measures nineteen, twenty and twenty-one. In the first phrase

of the sestet which expresses a separate thought from the rest of the first tercet, the

most important word is inannar. It is at this point that an e-flat is repeated through

one and one-half beats thus giving melodic stress to this word. In the remaining two phrases

of the first tercet, the highest pitch, e-naturall, occurs on the word sol chiari which have

already been established as the most intense words in this section of poetry. In the last

tercet the highest pitch, f-sharp , occurs in the word Lagrimando which has also been

established as the most important word in the last three lines of the poem.

As in the first song, "Quel Rosignuol Che Si," is also constructed on a single melodic

idea. The entire melodic material of the song is based on the figure in the first two measures

which functions a the unifying factor for the song (see Figure 16). This phrase is divided

Fig. 16--The melodic idea, measures 1 and 2,

"Quel Rosignuol Che S1 Soave Piagne . .

into two distinct melodic figures. The first figure consists of an eighth-note followed by

a dotted quarter-note tied to an eighth-note. The two pitches are awhole step apart (see

48

Figure 16). This figure is used in many varied forms throughout the song (measures three,

five, six, seven, eight, nine, ten, eleven, fourteen, fifteen, seventeen, eighteen, nineteen,

twenty, twenty-nine, thirty, thirty-six, forty, forty-one, forty-five and forty-six). In almost

every instance, the first pitch is an eighth-note. The second pitch varies in length; however,

it is usually longer in duration than the first pitch. The interval between these two pitches

is not consistently a whole step, but it invariably descends.

The second half of the first phrase is very closely related to the first half. This pattern

consists of three sixteenth-notes followed by a dotted quarter-note. The first two notes

of this second pattern are a whole step apart. The second pair of pitches are also a whole

step apart but are a minor third higher (see Figure 16).

The various forms of this motive, found throughout the song, (measures four, thirteen,

fifteen and twenty-two), do not always contain these exact interval relationships. However,

the direction of the intervals always remains the same. More remotely related to this pattern

is the sixteenth-note triplet pattern found in measures twenty-four through twenty-seven

(see Figure 17). The influence of this figure can also be seen in the pattern found in

(33

Fig. 17--Sixteenth-none triplet pattern, measures 24

thru 27, "Quel Rosignuol Che Si Soave Piagne .

measures forty-three and forty-four (see Figure 18).

Thus, the most important aspect of the melodic material of the accompaniment is

the imitative characteristic of the piano as it portrays the call of the nightingale. These

varied melodic figures occur most frequently in the first and second quatrains.

The vocal line is declamatory in style, but is more lyrical than the first song. The

imitative melodic ideas are picturesque of the plaintive mood of the text. In the octave,

many of the phrases begin with the same melodic material which consists of three

eighth-notes followed by a quarter-note. The first interval is an ascending minor third.

49

Fig. 18-Sixteenth-none pattern, measures 24thru 27, "Quel Rosignuol Che Si Soave Piagne . . . .

This is followed by two ascending whole steps. In measures six, sixteen, and eighteen,

this figure can be seen (see Figure 19). A variation of the idea is used in measure eleven

(see Figure 20).

Fig. 19--The melodic idea, measures 6, 16, and 18,"Quel Rosignuol Che Si Soave Piagne . .

The second part of each of these phrases iL based on the rhythmic inversion of the

opening melodic idea of the first measure of the accompaniment. This segment consists

Di dol.cezzaempic il

Fig. 20-The variation of the melodic idea, measure11, "Quel Rosignuol Che Si Soave Piagne . . .

of a quarter-note followed by an eighth-note. This pattern is repeated and followed by

a dotted quarter-note and then a dotted half-note. The interval between the first and

50

second, third and fourth notes is a descending half step. The two pitches of longer duration

which follow, form a descending whole step (see Figure 21).

_ _ _ _ __ _ _ ____ _ _____

Fig. 21-The second half of the melodic phrases, measures 6,

16, and 18, "Quel Rosignuol Che Si Soave Piagne . .

Although the phrases of the sestet have little melodic similarity, they form a series

of broad arches, consisting largely of step-wise movement. These phrases contain a larger

number of duple rhythmic patterns, breaking away from the established accent of the

compound triple meter.

The poetry of this song is a philosophical and melancholic expression of the poet's

realization that nothing lasts forever. The text is set in *a style which is imitative of the

song of the nightingale. Although it makes use of melodic repetition and thematic

development, Pizzetti's tendency to write in a declamatory style is still preserved. The

accompaniment creates a quiet and pensive atmosphere conducive to the meaningful

expression of the poem.

"Levommi il mio pensier in parte&ov'era .

"Levommi il mio pensier in parte ov'era . . . ," follows the formal outline of the

Italian sonnet. Both quatrains have a rhyme scheme of abba.

The first line consists of one trochee followed by four dactylic feet followed by

another trochee. The initial strong accent is omitted.

The second and third lines are constructed of two dactylic feet followed by three

trochaic feet. These lines begin with a strong beat. The fourth line of the quatrain is

constructed of four dactylic feet and one trochee. The first strong accent is also silent.

51

The first three lines of the second quatrain are constructed entirely of trochaic feet.

In each line, the initial strong accent is omitted, and the line begins with a feminine

beat. The fourth line of this quatrain is constructed of three dactylic feet and two trochaic

feet. The first strong accent in this line is also omitted.

The sestet of the sonnet, "Levommi il mio p9nsier in parte ov'era . . . ," has a

rhyme scheme of cde, cde. Scansion of the sestet reveals little relationship between the

lines except that they are all constructed of dactylic and trochaic feet. Each line ends

with a trochee, providing a certain sense of unit to the six lines.

The octave of the sonnet presents the problem: a man envisioning the woman he

loves. The first quatrain presents the theme: picturing the woman he loves in heaven.

In the second quatrain he hears her voice and what she says to him. The sestet makes

the situation more personal to his life.

In the first quatrain, the poet speaks of the woman he loves who has gone to heaven.

In the second quatrain he lets these thoughts develop further through her speaking to

him, revealing her identity and assuring him that they will soon be together in heaven.

The sestet presents his personal reactions to the vision). In the first tercet, Laura's

spirit continues to speak, saying that she is waiting in heaven only for him. In the second

tercet, he expresses his grief over her sudden disappearance. The vision is broken and

he bemoans her leaving him because he was so close to being with her in heaven.

The music suggests the key of F major. The musical organization of "Levommi il

mio pensier" is structured much more freely than in the two preceding songs. Although

the arch form is absent, the musical structure does reflect some symmetrical characteristics.

This symmetry is contained primarily in the length of the various sections. The first section

ends in the middle of measure nine, a total of thirty-four beats. The second section extends

from the third beat of measure nine to the second beat of measure eighteen, a total

of twenty-eight beats. The midpoint of the song is reached in measure eighteen. The second

half of the song mirrors the first in terms of the lengths of the final two sections. The

third section of the song begins on the third beat of measure eighteen and concludes

on the second beat of measure twenty-six, twenty-six beats. The fina section is introduced

after the third beat of measure twenty-six and extends for thirty-four beats. The symmetry

52

of this song appears to be limited to the lengths of these clearly defined musical sections.

Neither the content of the poetry, nor the melodic structure reflects any type of arch

design. The form of the poetic structure falls into the sections of a Petrarchan sonnet.

However, the points of the poetic tension follow a slightly different pattern. The structure

of the meaning of the text is divided into three sections, each of which has a climactic

point. In the first and last sections the poet speaks and in the center section Laura's

spirit speaks. The first section overlaps into the first line of the second quatrain. The

musical and poetic climax of this section occurs in the last line of the first quatrain in

the word bella. The middle section, in which Laura is speaking, extends from the middle

of the first line of the second quatrain through the first tercet. The musical and poetic

climax of this section does not occur until after the midpoint of the song, in the second

line of the first tercet on the words Te solo. The last section of the song in which the

poet again speaks coincides exactly with the last tercet. The musical and poetic climax

of this section occurs on the word cielo which is the last word of the poem.

Pizzetti's vocal style is declamatory in nature in this song as it was in the first song.

There is an absence of the melodic repetition and thematic development which was observed

in the second song. Emphasis is again placed on the natural inflection of the language

as it would occur in speech. There are, however, several aspects of the music which add

to the expressive qualities of the text.

Although harmony is not used primarily for an expressive purpose and the chords

are not employed functionally, there is a degree of relationship between the harmony

and the text. At the points of greatest intensity the chords which are used in the

accompaniment are spread over a greater pitch range than at points in which the poetic

intensity is at a low level. For example, this can be observed in measure fourteen on

the syllable lei in the word colei. It is at this point that the spirit of Laura identifies

herself. This same expressive technique can be seen in measure twenty and twenty-one

on the words Te solo aspetto which has already been established as the climax of the

middle section of the song.

The dynamic level remains soft throughout the entire song, the indications being

n and pianissimo in both the piano and vocal parts. The only exception to this low

dynamic level occurs in measures twenty and twenty-one. In measure twenty-one a

crescendo occurs in the vocal line in the first two and a half beats up to mezzo forte.

53

This coincides with a crescendo in the left hand of the piano. The crescendo in the right

hand of the piano is delayed one beat, beginning on the second beat of the measure

and continuing through the last two beats. Decrescendos are indicated in the piano parts

in the second and third beats of measure twenty-one. The vocal line is reduced to mezzo

piano on the anacrusis to measure twenty-two. It is further reduced to pianissimo in

measure twenty-three. This single dynamic increase occurs at the climax of the song found

in the middle section.

The most important aspect related to expressive techniques is Pizzetti's treatment

of the vocal line. It is necessary that the singer understand the difference in the way

Pizzetti treats the vocal line when the poet is speaking and the manner in which he treats

Laura's spirit. The basic difference between the two types of vocal line found in this

song is that the phrases of the first and last sections in which the poet is speaking usually

form broad arches while the phrases of the middle section form descending lines in the

first section; the first such arch extends through the first two lines of poetry. It begins

on c, rises to d' and descends to a1. The next arch also extends through two poetic

lines, begins on c 1 , rises to g2 , and descends to e2 . The final arch in the first section

of the song forms the musical setting for the first half of the first line of the second

quatrain. It quickly rises from a-flat to d-flat 2 and falls to el.

In the middle section of the song, the vocal lines tend to make a quick leap to

a high pitch and then descend step-wise or nearly step-wise to a low pitch. The most

significant exception occurs in measures twenty-one and twenty-two which have been

established as the climax to the middle section. This phrase is made up of the pitches

of a descending major third from g to e-flat. There is a definite relationship between

this phrase and the last phrase of the section found in measures twenty-four and

twenty-five. In the final section of the poem in which the poet again speaks, the musical

phrase is returned to the arch form. However, the final two phrases form ascending lines

which effectively portray the poet's rising thoughts toward heaven.

A possible interpretation of Pizzetti's vocal setting for the two characters should be

considered. The poet is a mortal whose only reason for living has died and gone to heaven.

His attempts to reach toward heaven are possibly illustrated in the rising portions of the

melodic arches whereas the descending portion of these arches possibly illustrate his

54

inability to succeed in effectively communicating with his beloved in heaven. The

descending lines used to set the words of Laura's spirit can be considered her attempt

to communicate downward to the poet. In the final section, the poet once again attempts

but does not succeed in his efforts to reach his beloved; however, in the last two phrases,

ascending melodic lines possibly indicate that there is hope for him in the future. While

this particular interpretation is not essential to an effective interpretation, it is a possibility

and should be considered.

Also in "Levommi il mio . . ." Pizzetti builds the melodic material around a single

unifying idea. Although this is less obviously an important part of the structure of the

song than similar melodic ideas were to the structure of the first two sings. It is,

nevertheless, a factor which must be considered.

The unifying melodic idea is constructed of two parts. The second half of the melodic

idea will be considered first. It consists of a short anacrusis to a longer pitch. It is this

idea which is first found in the song and can even be*seen in the first two notes of

the vocal line, although in this instance, the second pitch is sustained only in the piano

(see Figure 22). It can be seen more clearly in the accompaniment in the third measure

4-4

Levon-m ii1 mio pen

Fig. 22-The vocal line and accompaniment, measure2, "Levommi il mio pensier . .

55

(see Figure 23). The next time it occurs in its original form is in measure twenty in both

Fig. 23-The accompaniment, measure 3,"Levommi il mio pensier . . .

the vocal line and piano part (see Figure 24). It also occurs in measures twenty-one,

twenty-two, twenty-three; twenty-four, thirty-two and thirty-three.

4 _12 -___~JT ~ /---r-

Te so -10a spet to e

Fig. 24-Tle vocal line and accompaniment,measure 20, "Levomi il mio pensier...

A more complete pattern includes the melodic idea. It consists of a rising scale-wise,

or nearly scale-wise which is followed with the anacrusis idea mentioned above. This

unifying factor can 'be seen in measures four and five (see Figure 25), seven, eight, nine,

twelve, thirteen, fourteen, ninteen, twenty, twenty-five, twenty-six and thirty-one. In many

cases this rising line is interrupted with brief rests (see Figure 26).

56

The most important factor that the singer must understand in order to prepare

effectively this song for performance is that there are two distinct personalities involved

in the song and that they both speak. The composer has helped to make the distinction

Fig. 25-The unifying melodic idea, measures 4and 5, "Levommi il mio pensier . .

easier by giving the vocal lines of each speaker a particular quality and direction. It is

also important that the singer understand the backgrounds of the two speakers and make

an attempt to project himself into these personalities.

;o--- I

S ____- ~ ______________

Fig. 26-The variation of the unifying melodicidea, measures 12 and 13, "Levommi il mio pensier . .

_________

7

) -- _________ _____ __________________

CHAPTER IV

CONCLUSIONS

In the consideration of the interpretation of the Tre Sonetti del Petrarca, the main

aspect that the performer should understand is the poetry and its relationship to the poet

and the composer. This knowledge will enable the performer to relate the poetry to himself

and thus facilitate his communication with his audience.

The poet, Francesco Petrarch, wrote these poems upon hearing of the death of the

woman he loved. The poems are expressions of the grief and loneliness which Petrarch

felt at this loss. The woman, Laura, was married to another man and never gave the

poet any indication that his feelings for her could be returned. The composer, Ildebrando

Pizzetti, selected these poems and set them to music following the death of his first wife,

Maria.

In the first song, the most important aspect of the music is the declamatory style.

The recitative-like vocal line is sustained by a thin accompaniment. The performer must

be aware of the value of differentiating the sixteenth- and thirty-second notes, and should

take care to remain faithful to the printed note values. Pizzetti, in composing the music,

gave careful attention to the natural inflection of the Italian language, and he would expect

the performer to give specific attention to the rhythms in order to preserve and

communicate this inflection to the audience. Although the vocal line is declamatory in

style, the performer should strive to maintain a flowing legato to avoid a segmented vocal

line.

The single constructional element which unifies the song is the melodic motive found

in the first two measures. It is this motive around which the entire song is based. The

motive appears at various pitch levels and in many variations. Its original form and inversion

are used to create an arching melodic line which is the basic form for the entire

composition.

57

58

The second song contains a more lyric vocal line than the other two pieces. The

accompaniment is primarily chordal but with some imitation of the voice. The unifying

element of the song is based on the call of the nightingale found in the first two measures.

The performer should realize that the imitation and repetition found in the vocal line

and accompaniment are based on this lyric call. He should strive to create this effect.

The most important aspect of the third song is the continuous rising declamatory

quality of the vocal line. This rising line is accompanied by a thin chordal structure in

the piano. The performer should understand that this song is different from the other

two songs in that it has two speakers in the text which have been given vocal lines with

differing melodic qualities. The melodic lines are also based on a single idea. This idea,

however, is more rhythmic than melodic in nature.

The three songs are all basically declamatory in style, with the first and last being

more so than the second. Although all of the songs have some lyrical qualities, the second

is based on lyricism.

The texts of the first and last songs contain a vision. In the first song, the poet

sees himself as a ship seeking port in a storm. In the text of the third song, the poet

envisions the dead woman he once loved and hears her speaking to him, assuring him

that they will soon be together in heaven.

The three songs are each based on an individual melodic idea. In the first song, the

melodic motive is found in the first two measures. The second song is constructed around

the melodic material found in the first line of the song, the imitation of the call of a

nightingale. The third song is constructed around the contrasting qualities of the vocal

lines of each character in the poem.

It is hoped that this analysis will present material which will be of value to the

prospective performer and aid him in the preparation of the songs. It is not intended

to limit the performer to a given interpretation, but to inspire him to arrive at his own

interpretation, influenced by his own physical and psychological experiences.

APPENDIX

THE TEXT AND TRANSLATIONS OFTRE SONETTI DEL PETRARCA

Sonnet I

La vita fugge e non s'arresta un'ora;E la morte vien dietro a gran giornate;E le cose presenti e le passateMi danno guerra, e le future ancora.

E '1 rimembrar e l'aspettar m'accoraOr quinci or quindi si, che'n veritate,Se non ch'i'ho di me stesso pietate,I' sarei gii di questi pensier fora.

Tornami avanti s'alcun dolce maiEbbe '1 cor tristo; e poi dal l'altra parte

Veggio al mio navigar turbati i venti:

Veggio fortuna in porto, e stanco omaiI mio nocchier, e rotte arbore e sarte,E i lumi bei, che mirar soglio, spenti . . . .

Translation I

Life flees without stopping an hour;And death comes quickly, by great strides;

And things of the present and pastAfflict me, and the thoughts of the future even more.

And the remembering and the waiting pierce my heart

Now from here, now from there, in truth all is the same,

If I did not take pity upon myself,I would always be withdrawn in my thoughts.

If ever sweet thoughts return to me

I have a sad heart; and then from different partsI see my navigation in agitating winds:

'Ildebrando Pizzetti, Tre Sonetti del Petrarca, (Milan, 1923). Translated by CherylHuffman Doan, assisted by~Anthony ILYinico, N. 'T. S. U.

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I see my good fortune in port, and now wearyIs my pilot, and broken my mast, and tattered my sail,

And the beautiful lights which I am accustomed to beholdare extinguished.

Sonnet II

Quel rosignuol che si soave piagne

Forse suoi figlio sua cara consorte,

Di dolcezza empie il cielo e le campagneCon tante note si pietose e scorte;

E tutta notte par che m'accompagneE mi rammente la mia dura sorte:

Ch'altri che me non ho di cui mi lagne:

Che'n Dee non credev'io regnasse Morte

O che lieve e ingannar chi s'assecura!Que' duo bei lumi, assai piu che'l Sol chiariChi penso mai veder far terra oscura? . . .

Or conosch'io che mia fera ventura . . .Vuol che vivendo e lagrimando impari . . .

Come nulla quaggiti diletta e dura

Translation II

That nightingale that gently laments so sweetly,

Perhaps it is his child or his beloved mate,Fills the heaven and earth with sweetness,

With so many, so pitiful notes, and so well chosen:

And every night it seems that each note accompanies me,

And reminds me of my own harsh, cruel fortune:I have no one but myself to blame:

Because I did not believe that death might reign over

a goddess.

O how easy it is to deceive one who considers himself secure!

Those two beautiful eyes, much clearer than the sun,Whoever expected to see them turn dark?

Now I know that my harsh, cruel fateDemands that living and weeping, I should learnThat nothing in this life should last forever.

2 lbid.

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Sonnet III

Levommi il mio pensier in parte ov'eraQuella ch'io cerco e non ritro vo in tera:Ivi, fra lor che'l terzo cerchio serra,La rividi piin bella e meno altera

Per man iri prese e disse: In questa speraSaria ancor meco, se'l desir non erra:I'son colei che ti die' tanta guerraE compie' mia giornata innanzi serra . . .

Mio ben non cape in intelletto umano:Te solo aspetto e quel che tanto amasti,E laggiuso e rimaso, il mio bel velo . . .

Deh... perch tacque \ed allargb al mano?Ch'al suon di dette si pietosi e castiPoco manco chi'io non rima si in cielo . . .

Translation III

My thoughts lifted me to a placeWhere the one I seek was, the one I do not find on earth;There among those who are contained in that third heaven,There I saw her again, more beautiful and less haughty.

By the hand she gripped me and said: In this sphereYou will also be with me, unless my hope proves false.I am she, the one who gave so much war to your heart,And whose day ended before evening fell.

My happiness is inconceivable to the human mind:Thee only I expect, and that which you lived so muchBut which has remained there below, my beautiful veil.

Oh alas, why did she fall silent and withdraw her hand?For at the sound of her words, so compassionate and hallowed,Little remained that I might be in heaven.

lbid.

BIBLIOGRAPHY

Books

Campbell, Thomas, Life of Petrarch, Vol. I & II, London, Henry Colburn, 1841.

Campbell, Thomas and others, The Sonnets, Triumphs, and Other Poems of Petrarch,London, Henry G. Bohn, 1859.

Ewen, David, Composers of Today, New York, H. H. Wilson, 1936.

Ewen, David, The Book of Modern Composers, New York, Alfred A. Knopf, 1950.

Ewen, David, The Complete Book of 20th Century Music, new and rev. ed., EnglewoodCliffs, New Jersey, Prentice-Hall, Inc., 1959.

Ewen, David, The New Book of Modem Composers, 3rd ed., New York, Alfred A. Knopf,1961.

Ewen, David, The World of Twentieth Century Music, Englewood Cliffs, New Jersey,Prentice-Hall, Inc., 1969.

Gatti, Guido M., Ildebrando Pizzetti, translated by David Moore, London, D. Dobson,1951.

Hall, James Husst, The Art Song, Norman, Oklahoma, University of Oklahoma Press, 1969.

Kagen, Sergius, Music for the Voice Bloomington, Indiana, Indiana University Press, 1968.

Main, C. F. and Peter J. Seng, Poems, Belmont, California, Wadsworth Publishing Company,Inc., 1966.

Miller, Hugh Milton, History of Music, New York, Barnes & Noble, 1964.

Stevens, Denis, editor, A History of Song, New York, W. W. Norton & Co., Inc., 1961.

Articles

Antcliffe, Herbert, "Pizzetti as a song writer," Chesterian, XX (1922), 108-111.

Freeman, John W., "Obituary . . . , Ildebrando Pizzetti," Opera News, XXXII (March16, 1968), 33.

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Gatti, Guido M., "The music-drama of Ildebrando Pizzetti," translated by Gwyn Morris,

Opera-Annual, VII (1960), 94-101.

Gatti, Guido M., "Ildebrando Pizzetti," Musical Quarterly, IX (January-April, 1923),

96-121, 271-286.

Pizzetti, Ildebrando, "Music and Drama," Musical Quarterly, XVII (October, 1960),

419-426.

Waterhouse, J. C., "Obituary . . . , Ildebrando Pizzetti," Musical Times, CIX (April, 1968),

362.

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Apel, Willi, "Song," Harvard Dictionary of Music, Cambridge, Massachusetts, Harvard

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Bloom, Eric, additions by Guido M. Gatti, "Mario Castelnuovo-Tedesco," Grove's

Dictionary of Music and Musicians, 5th ed., Vol. I, London, Macmillan TCo.,

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Branca, Vittore, "Francesco Petrarch," Encyclopaedia Britannica, Vol. XVII, Chicago,

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Dent, Edward J., "Ferruccio Benenuto Busoni," Grove's Dictionary of Music and Musicians,

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II, London, Macmillan & Co. Ltd., 1954.

Gatti, Guido M., "Alfred Casella," Grove's Dictionary of Music and Musicians, 5th ed.,

Vol. II, London, Macmillan & Co. Ltd., 1954.

Gatti, Guido M., "Franco Alfano," Grove's Dictionary of Music and Musicians, 5th ed.,

Vol. I, London, Macmillan & Co. Ltd., 1954.

Gatti, Guido M., "Gian Francesco Malipiero," Grove's Dictionary ofMusic and Musicians,

5th ed., Vol. V, London, Macmillan & Co. Ltd., 1954.

Gatti, Guido M., "Guiseppe Martucci," Grove's Dictionary of Music and Musicians, 5th

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Gatti, Guido M., "Ildebrando Pizzetti," Grove's Dictionary of Music and Musicians, 5th

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Gatti, Guido M., "Leone Sinigaglia," Grove's Dictionary of Music and Musicians, 5th ed.,

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Gatti, Guido M., "Riccardo Pick-Mangiagalli," Grove's Dictionary of Music and Musicians,

5th ed., Vol. VI, London, Macmillan &. Co. Ltd., 1954.

Grove, George, "Giovanni Sgambati," Grove's Dictionary of Music and Musicians, 5th ed.,

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Grove, George, "Luigi Arditi," Grove's Dictionary of Music and Musicians, 5th ed., Vol.

1, London, Macmillan & Co. Ltd., 1954.

Mann, William S., "Song," Grove's Dictionary of Music and Musicians, 5th ed., Vol. VII,

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Mazzucato, Giannandrea, "Francesco Paolo Tosti," Grove's Dictionary of Music and

Musicians, 5th ed., Vol. VIII, London, Macmillan & Co. Ltd., 1954.

Slonimsky, Nicolas, "Ferruccio Benenuto Busoni," Baker's Biographical Dictionary of

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, "Francesco Paolo Tosti," Baker's Biographical Dictionary of Musicians,

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"Franco Alfano," Baker's Biographical Dictionary of Musicians, 5th

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, "Gian Francesco Malipiero," Baker's Biographical Dictionary of

Musicians, 5th ed., New York, G. Schirmer, Inc., 1938.

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"Ildebrando Pizzetti," Baker's Biographical Dictionary of Musicians,

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, "Luigi Denza," Baker's Biographical Dictionary of Musicians, 5th ed.,

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"Riccardo Pick-Mangiagalli," Baker's Biographical Dictionary of

Musicians, 5th ed., New York, G. Schirmer, Inc., 1958.