Un progetto di ricerca storico-musicale: la Celeste di Francesco Pisano
This study starts from a research on the composer Francesco Pisano (1873-1961), a Mascagni’s pupi... more This study starts from a research on the composer Francesco Pisano (1873-1961), a Mascagni’s pupil, at the beginning in Cerignola and then at the Pesaro’s Conservatory. During the lessons of the Course of historic and musical research methodology, the Act I’s third scene of Celeste‘s pastoral Idyll, based on Leopoldo Marenco’s drama, was analyzed. This is a romantic comedy with a happy ending and it’s narrated with a dramatic style and with dialogues full of emphasis. Pisano created the first part of this work for his composing essay in 1901. Then he developed a piano version (in 1902), but only in 1905 he set to music the whole work. In 1906 the first performance was staged in S. Miniato, with an Agostino Bachi’s libretto. The dramaturgical analysis of the Celeste’s scenes (the Romance of Celeste and the final duet with Fernando and Celeste), edited by Grazia Vetritto, highlights the inner conflict of the two main characters, that is made musically with a language full of seventh chords. So the emotional climax follows the melodic and harmonic changes. The study takes into account the score’s analysis of the Celeste’s Prelude. The comparison between the unpublished manuscripts, edited by Michele Gravino, shows a musical language studied in detail. In this early work, Pisano already had clear ideas and his own style. The Prelude’s recurring theme was already present in the Romance of his composing essay. On that occasion, as told by «La Cronaca musicale» in 1901, the great lyricism of his writing achieved a great favor of the public and even moved his teacher Mascagni.
Sciamboli, un repertorio musicale ormai disperso e insieme l’altalena su cui venivano eseguiti i ... more Sciamboli, un repertorio musicale ormai disperso e insieme l’altalena su cui venivano eseguiti i canti: questa pubblicazione raccoglie e studia le ultime testimonianze di una tradizione diffusa in alcuni paesi del Sub-Appennino Dauno. Un lavoro in cui si ricercano i nessi che legano questi canti alla cultura locale e in cui si valutano comparazioni con altri canti all’altalena diffusi in aree geografiche limitrofe. Il volume fornisce anche accurate indicazioni metodologiche nei riguardi dell’analisi etnomusicologica con trascrizioni musicali dei canti e schede, unitamente ad una chiave di lettura per la comprensione dell’analisi musicale elettroacustica con esempi di tracciati sonografici.
New Mascagni manuscript sources: art songs and more While sojourning in Cerignola, and mostly fro... more New Mascagni manuscript sources: art songs and more While sojourning in Cerignola, and mostly from spring 1887 to early 1890, Pietro Mascagni wrote many art songs and piano pieces to please his many admirers who attended the soirees at the Circolo Ofanto, a club for noblemen and wealthy landowners. Some of these manuscripts are located in private collections and remained unknown and unissued for Mascagni gave them away either to his patrons or to his favorite pupil, Francesco Pisano. There are ten of them: six art songs, four of which written in Cerignola by 1887-88 and two more in Bellevue by 1912; two sacred songs; and two piano waltzes. Three songs from Cerignola — Sei troppo bella e non ti posso odiare , La verginella e simile alla rosa , and Deh non fuggir si rapida — were likely written for Venturina Palieri, a regular piano student of Mascagni’s (incidentally, he also used to spend time composing at her instrument). The fourth one, Astro immortal risplende , is dedicated...
La storiografia musicale meridionale nei secoli XVIII-XX. Atti del Convegno internazionale di studi (Avellino 24-26 ottobre 2019), a cura di Antonio Caroccia, ilCimarosa, 2020
Un progetto di ricerca storico-musicale: la Celeste di Francesco Pisano
This study starts from a research on the composer Francesco Pisano (1873-1961), a Mascagni’s pupi... more This study starts from a research on the composer Francesco Pisano (1873-1961), a Mascagni’s pupil, at the beginning in Cerignola and then at the Pesaro’s Conservatory. During the lessons of the Course of historic and musical research methodology, the Act I’s third scene of Celeste‘s pastoral Idyll, based on Leopoldo Marenco’s drama, was analyzed. This is a romantic comedy with a happy ending and it’s narrated with a dramatic style and with dialogues full of emphasis. Pisano created the first part of this work for his composing essay in 1901. Then he developed a piano version (in 1902), but only in 1905 he set to music the whole work. In 1906 the first performance was staged in S. Miniato, with an Agostino Bachi’s libretto. The dramaturgical analysis of the Celeste’s scenes (the Romance of Celeste and the final duet with Fernando and Celeste), edited by Grazia Vetritto, highlights the inner conflict of the two main characters, that is made musically with a language full of seventh chords. So the emotional climax follows the melodic and harmonic changes. The study takes into account the score’s analysis of the Celeste’s Prelude. The comparison between the unpublished manuscripts, edited by Michele Gravino, shows a musical language studied in detail. In this early work, Pisano already had clear ideas and his own style. The Prelude’s recurring theme was already present in the Romance of his composing essay. On that occasion, as told by «La Cronaca musicale» in 1901, the great lyricism of his writing achieved a great favor of the public and even moved his teacher Mascagni.
Sciamboli, un repertorio musicale ormai disperso e insieme l’altalena su cui venivano eseguiti i ... more Sciamboli, un repertorio musicale ormai disperso e insieme l’altalena su cui venivano eseguiti i canti: questa pubblicazione raccoglie e studia le ultime testimonianze di una tradizione diffusa in alcuni paesi del Sub-Appennino Dauno. Un lavoro in cui si ricercano i nessi che legano questi canti alla cultura locale e in cui si valutano comparazioni con altri canti all’altalena diffusi in aree geografiche limitrofe. Il volume fornisce anche accurate indicazioni metodologiche nei riguardi dell’analisi etnomusicologica con trascrizioni musicali dei canti e schede, unitamente ad una chiave di lettura per la comprensione dell’analisi musicale elettroacustica con esempi di tracciati sonografici.
New Mascagni manuscript sources: art songs and more While sojourning in Cerignola, and mostly fro... more New Mascagni manuscript sources: art songs and more While sojourning in Cerignola, and mostly from spring 1887 to early 1890, Pietro Mascagni wrote many art songs and piano pieces to please his many admirers who attended the soirees at the Circolo Ofanto, a club for noblemen and wealthy landowners. Some of these manuscripts are located in private collections and remained unknown and unissued for Mascagni gave them away either to his patrons or to his favorite pupil, Francesco Pisano. There are ten of them: six art songs, four of which written in Cerignola by 1887-88 and two more in Bellevue by 1912; two sacred songs; and two piano waltzes. Three songs from Cerignola — Sei troppo bella e non ti posso odiare , La verginella e simile alla rosa , and Deh non fuggir si rapida — were likely written for Venturina Palieri, a regular piano student of Mascagni’s (incidentally, he also used to spend time composing at her instrument). The fourth one, Astro immortal risplende , is dedicated...
La storiografia musicale meridionale nei secoli XVIII-XX. Atti del Convegno internazionale di studi (Avellino 24-26 ottobre 2019), a cura di Antonio Caroccia, ilCimarosa, 2020
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During the lessons of the Course of historic and musical research methodology, the Act I’s third scene of Celeste‘s pastoral Idyll, based on Leopoldo Marenco’s drama, was analyzed. This is a romantic comedy with a happy ending and it’s narrated with a dramatic style and with dialogues full of emphasis. Pisano created the first part of this work for his composing essay in 1901. Then he developed a piano version (in 1902), but only in 1905 he set to music the whole work. In 1906 the first performance was staged in S. Miniato, with an Agostino Bachi’s libretto.
The dramaturgical analysis of the Celeste’s scenes (the Romance of Celeste and the final duet with Fernando and Celeste), edited by Grazia Vetritto, highlights the inner conflict of the two main characters, that is made musically with a language full of seventh chords. So the emotional climax follows the melodic and harmonic changes.
The study takes into account the score’s analysis of the Celeste’s Prelude. The comparison between the unpublished manuscripts, edited by Michele Gravino, shows a musical language studied in detail. In this early work, Pisano already had clear ideas and his own style. The Prelude’s recurring theme was already present in the Romance of his composing essay. On that occasion, as told by «La Cronaca musicale» in 1901, the great lyricism of his writing achieved a great favor of the public and even moved his teacher Mascagni.
During the lessons of the Course of historic and musical research methodology, the Act I’s third scene of Celeste‘s pastoral Idyll, based on Leopoldo Marenco’s drama, was analyzed. This is a romantic comedy with a happy ending and it’s narrated with a dramatic style and with dialogues full of emphasis. Pisano created the first part of this work for his composing essay in 1901. Then he developed a piano version (in 1902), but only in 1905 he set to music the whole work. In 1906 the first performance was staged in S. Miniato, with an Agostino Bachi’s libretto.
The dramaturgical analysis of the Celeste’s scenes (the Romance of Celeste and the final duet with Fernando and Celeste), edited by Grazia Vetritto, highlights the inner conflict of the two main characters, that is made musically with a language full of seventh chords. So the emotional climax follows the melodic and harmonic changes.
The study takes into account the score’s analysis of the Celeste’s Prelude. The comparison between the unpublished manuscripts, edited by Michele Gravino, shows a musical language studied in detail. In this early work, Pisano already had clear ideas and his own style. The Prelude’s recurring theme was already present in the Romance of his composing essay. On that occasion, as told by «La Cronaca musicale» in 1901, the great lyricism of his writing achieved a great favor of the public and even moved his teacher Mascagni.