Pizzetti, Ildebrando. (1880-1968). Autograph Music Manuscript. Nine systems on 3 pages, in black ink. A reduction/arrangment for solo harp from "Abramo e Isacco." 9.4 X 13 inches, inscribed in pencil on the front. Marked "Quasi Adagio" at the head of the music. In very fine condition with a few minor creases. From the estate of the conductor Gianandrea Gavazzeni (1905 - 1996). Autograph music from Pizzetti is scarce.
Feo Belcari's "La sacra rappresentazione di Abram e d’Isaac" with incidental music by Pizzetti was first performed in Florence in 1917, under the direction of Luigi Rasi. "After the preliminary gropings of his unpublished juvenilia he formulated, about 1908, a basic set of musico-dramatic principles (first alluded to in his article on Dukas’ Ariane et Barbe-bleue which thereafter, to a greater or lesser degree, conditioned his entire operatic output. The exception is La sacra rappresentazione di Abram e d’Isaac, whose uncharacteristically self-contained lyrical ‘numbers’ reflect the work’s origin in incidental music to a play." (Guido Gatti, Grove Online)
The important Italian composer was part of the "Generation of 1880" along with Respighi and Malipiero, and was a prolific composer of much orchestral and incidental music as well as over a dozen dramatic operas. He succeeded Respighi at the Academy of St. Cecllia in Rome in 1936 and his students included Castelnuovo-Tedesco and Donatoni. Closely associated with the poet/playwright Gabriele D'Annunzio, Pizzetti wrote incidental music to his plays and later an opera based on D'Annunzio's "La Figlia Di Jorio."
Feo Belcari's "La sacra rappresentazione di Abram e d’Isaac" with incidental music by Pizzetti was first performed in Florence in 1917, under the direction of Luigi Rasi. "After the preliminary gropings of his unpublished juvenilia he formulated, about 1908, a basic set of musico-dramatic principles (first alluded to in his article on Dukas’ Ariane et Barbe-bleue which thereafter, to a greater or lesser degree, conditioned his entire operatic output. The exception is La sacra rappresentazione di Abram e d’Isaac, whose uncharacteristically self-contained lyrical ‘numbers’ reflect the work’s origin in incidental music to a play." (Guido Gatti, Grove Online)
The important Italian composer was part of the "Generation of 1880" along with Respighi and Malipiero, and was a prolific composer of much orchestral and incidental music as well as over a dozen dramatic operas. He succeeded Respighi at the Academy of St. Cecllia in Rome in 1936 and his students included Castelnuovo-Tedesco and Donatoni. Closely associated with the poet/playwright Gabriele D'Annunzio, Pizzetti wrote incidental music to his plays and later an opera based on D'Annunzio's "La Figlia Di Jorio."
Pizzetti, Ildebrando. (1880-1968). Autograph Music Manuscript. Nine systems on 3 pages, in black ink. A reduction/arrangment for solo harp from "Abramo e Isacco." 9.4 X 13 inches, inscribed in pencil on the front. Marked "Quasi Adagio" at the head of the music. In very fine condition with a few minor creases. From the estate of the conductor Gianandrea Gavazzeni (1905 - 1996). Autograph music from Pizzetti is scarce.
Feo Belcari's "La sacra rappresentazione di Abram e d’Isaac" with incidental music by Pizzetti was first performed in Florence in 1917, under the direction of Luigi Rasi. "After the preliminary gropings of his unpublished juvenilia he formulated, about 1908, a basic set of musico-dramatic principles (first alluded to in his article on Dukas’ Ariane et Barbe-bleue which thereafter, to a greater or lesser degree, conditioned his entire operatic output. The exception is La sacra rappresentazione di Abram e d’Isaac, whose uncharacteristically self-contained lyrical ‘numbers’ reflect the work’s origin in incidental music to a play." (Guido Gatti, Grove Online)
The important Italian composer was part of the "Generation of 1880" along with Respighi and Malipiero, and was a prolific composer of much orchestral and incidental music as well as over a dozen dramatic operas. He succeeded Respighi at the Academy of St. Cecllia in Rome in 1936 and his students included Castelnuovo-Tedesco and Donatoni. Closely associated with the poet/playwright Gabriele D'Annunzio, Pizzetti wrote incidental music to his plays and later an opera based on D'Annunzio's "La Figlia Di Jorio."
Feo Belcari's "La sacra rappresentazione di Abram e d’Isaac" with incidental music by Pizzetti was first performed in Florence in 1917, under the direction of Luigi Rasi. "After the preliminary gropings of his unpublished juvenilia he formulated, about 1908, a basic set of musico-dramatic principles (first alluded to in his article on Dukas’ Ariane et Barbe-bleue which thereafter, to a greater or lesser degree, conditioned his entire operatic output. The exception is La sacra rappresentazione di Abram e d’Isaac, whose uncharacteristically self-contained lyrical ‘numbers’ reflect the work’s origin in incidental music to a play." (Guido Gatti, Grove Online)
The important Italian composer was part of the "Generation of 1880" along with Respighi and Malipiero, and was a prolific composer of much orchestral and incidental music as well as over a dozen dramatic operas. He succeeded Respighi at the Academy of St. Cecllia in Rome in 1936 and his students included Castelnuovo-Tedesco and Donatoni. Closely associated with the poet/playwright Gabriele D'Annunzio, Pizzetti wrote incidental music to his plays and later an opera based on D'Annunzio's "La Figlia Di Jorio."