[이탈리아]Gian Francesco Malipiero

Gian Francesco Malipiero

(18 March 1882 – 1 August 1973) was an Italian composer, musicologist, music teacher and editor.

[작품 모음]

그의 음악에는 근대 기법과 옛 이탈리아 음악의 특징이 섞여 있다.

빈 음악원, 베네치아, 볼로냐에서 공부한 후 파리로 가 당대 프랑스 음악의 영향을 받았다. 1921년 파르마 음악원의 작곡 교수가 되었고, 이후 파도바에 있는 인스티투토 무지칼레 폴리니의 원장이 되었으며, 1939년 베네치아에 있는 베네데토 마르첼로 고등학교의 교장이 되었다. 알프레도 카셀라와 함께 1920년대 이탈리아 음악을 주도했다.

푸치니에게 영향을 준 베리스모 오페라의 사실주의 미학에 반대하여 이탈리아의 초기 낭만주의 음악을 복원했다. 그의 작품에는 17, 18세기 베네치아 음악의 정신이 엿보이며, 특히 오페라에는 몬테베르디의 영향이 나타나 있다. 그의 음악은 대위법적인 성격이 강하고 대위성부들이 이따금 불협화음을 이루며, 온음계적 음을 자유자재로 구사했다.

작품에는 오페라 〈오르페우스의 이야기 L'Orfeide〉(1918~22)·〈사로잡힌 비너스 Venere prigioniera〉(1957), 칸타타(또는 기적극) 〈아시시의 성 프란키스쿠스 San Francesco d'Assisi〉(1922), 오라토리오 〈수난 La Passione〉(1935)이 있다. 이밖에 몇 곡의 피아노 협주곡이 있고, 관현악곡으로는 제1차 세계대전의 영향을 반영한 〈침묵의 휴지 Pause del silenzio〉(1917), 3부작 〈자연의 인상 Impressioni dal vero〉(1910~22), 〈나날의 환상곡 Fantasie di ogni giorni〉(1954), 〈춤과 노래의 야상곡 Notturno di canti e balli〉(1957) 등이 있으며, 교향곡이 9곡 있다.

실내악곡으로 7곡의 현악 4중주곡이 있는데,

이 가운데 첫번째 곡인 〈리스페티 에 스트람보티 Rispetti e strambotti〉(1920)가

특히 잘 알려져 있으며, 그밖에 여러 악기를 위한 독주곡들이 있다.

학술면에도 크게 이바지했는데, 16권에 이르는 몬테베르디 전집을 편집했고(1926~42), 비발디 선집을 만드는 일에도 참여했다. 또 코렐리, 프레스코발디 등의 작품집을 만들었고 여러 학술지에 수많은 논문을 발표했다.[다음백과]

Life

Early years

Born in Venice into an aristocratic family, the grandson of the opera composer Francesco Malipiero, Gian Francesco Malipiero was prevented by family troubles from pursuing his musical education in a consistent manner. His father separated from his mother in 1893 and took Gian Francesco to Trieste, Berlin and eventually to Vienna. The young Malipiero and his father broke up their relationship bitterly, and in 1899 Malipiero returned to his mother's home in Venice, where he entered the Liceo Musicale.^[1]

After stopping counterpoint lessons with the composer, organist and pedagogue Marco Enrico Bossi, Malipiero continued studying on his own by copying out music by such composers as Claudio Monteverdi and Girolamo Frescobaldi from the Biblioteca Marciana, in Venice, thereby beginning a lifelong commitment to Italian music of that period.^[1] In 1904 he went to Bologna and sought out Bossi to continue his studies, at the Bologna Liceo Musicale ("Music High School"). After graduating, Malipiero became an assistant to the blind composer Antonio Smareglia.^[2]

Musical career

In 1905 Malipiero returned to Venice, but from 1906 and 1909 was often in Berlin,^[3] following Max Bruch classes.^[4] Later, in 1913, Malipiero moved to Paris, where he became acquainted with compositions by Ravel, Debussy, Falla, Schoenberg, and Berg. Most importantly, he attended the première of Stravinsky's Le Sacre du Printemps, soon after meeting Alfredo Casella and Gabriele d'Annunzio.^[2][3] He described the experience as an awakening "from a long and dangerous lethargy".^[1][2] After that, he repudiated almost all the compositions he had written up to that time, with the exception of Impressioni dal vero (1910–11).^[1] At that time he won four composition prizes at the Accademia Nazionale di Santa Cecilia in Rome, by entering five compositions under five different pseudonyms^{[citation needed]}.

In 1917, due to the Italian defeat at Caporetto, he was forced to flee from Venice and settled in Rome.

In 1923, he joined with Alfredo Casella and Gabriele D'Annunzio in creating the Corporazione delle Nuove Musiche. Malipiero was on good terms with Benito Mussolini until he set Pirandello's libretto La favola del figlio cambiato, earning the condemnation of the fascists. Malipiero dedicated his next opera, Giulio Cesare, to Mussolini, but this did not help him.

He was a professor of composition at the Parma Conservatory from 1921 to 1924. In 1932 he became professor of composition at the then Venice Liceo Musicale, which he directed from 1939 to 1952. Among others, he taught Luigi Nono and his own nephew Riccardo Malipiero. See: List of music students by teacher: K to M#Gian Francesco Malipiero.

After permanently settling in the little town of Asolo in 1923,^[5] Malipiero began the editorial work for which he would become best known, a complete edition of all of Claudio Monteverdi's oeuvre, from 1926 to 1942, and after 1952, editing much of Vivaldi's concerti at the Istituto Italiano Antonio Vivaldi.

Composition

Malipiero had an ambivalent attitude towards the musical tradition dominated by Austro-German composers, and instead insisted on the rediscovery of pre-19th-century Italian music.^[1]

His orchestral works include seventeen compositions he called symphonies, of which however only eleven are numbered. The first was composed in 1933, when Malipiero was already over fifty years old. Prior to that, Malipiero had written several important orchestral pieces but avoided the word

"sinfonia" (symphony) almost completely. This was due to his rejection of the Austro-German symphonic tradition.^[5] The only exceptions to that are the three compositions Sinfonia degli eroi (1905), Sinfonia del mare (1906) and Sinfonie del silenzio e della morte (1909–1910). In such early works,

the label "symphony" should not, however, be interpreted as indicating works in the Beethovenian

or Brahmsian symphonic style, but more as symphonic poems.^[5]

When asked in the mid-1950s by the British encyclopedia The World of Music, Malipiero listed as

his most important compositions the following pieces^{[citation needed]}:

• Pause del Silenzio for the orchestra, composed in 1917
• Rispetti e Strambotti for string quartet, composed in 1920
• L'Orfeide for the stage, composed between 1918 and 1922, and first performed in 1924
• La Passione, a mystery play composed in 1935
• his nine symphonies, composed between 1933 and 1955 (he would compose additional symphonies in the years after this list was made)

He regarded Impressioni dal vero, for orchestra, as his earliest work of lasting importance.^[5]

Musical theory and style

Malipiero was strongly critical of sonata form and, in general, of standard thematic development in composition. He declared:

“

As a matter of fact I rejected the easy game of thematic development because I was fed up with it and it bored me to death. once one finds a theme, turns it around, dismembers it and blows it up, it is not very difficult to assemble the first movement of a symphony (or a sonata) that will be amusing for amateurs and also satisfy the lack of sensitivity of the knowledgeable.[6]

”

Malipiero's musical language is characterized by an extreme formal freedom; he always renounced the academic discipline of variation, preferring the more anarchic ｅxpression of song, and he avoided falling into program music descriptivism. Until the first half of the 1950s, Malipiero remained tied to diatonism, maintaining a connection with the pre-19th-century Italian instrumental music and Gregorian chant, moving then slowly to increasingly eerie and tense territories that put him closer to total chromaticism. He did not abandon his previous style but he reinvented it. In his latest pages, it is possible to recognize suggestions from his pupils Luigi Nono and Bruno Maderna.^{[citation needed]}

His compositions are based on free, non-thematic passages as much as in thematic composition,

and seldom do movements end in the keys in which they started.^[1]

When Malipiero approached the symphony, he did not do so in the so-called post-Beethovenian sense, and for this reason authors rather described his works as "sinfonias" (the Italian term), to emphasize Malipiero's fundamentally Italian, anti-Germanic approach.^[1] He remarked:

“

The Italian symphony is a free kind of poem in several parts which follow one another capriciously, obeying only those mysterious laws that instinct recognizes[1]

”

As Ernest Ansermet once declared, "these symphonies are not thematic but 'motivic': that is to say Malipiero uses melodic motifs like everyone else [...] they generate other motifs, they reappear, but they do not carry the musical discourse – they are, rather, carried by it".^[1]