T. Grossi Analysis
After writing short dramatic scenes, just thirteen years composed the opera in a prologue and two acts, Folquet, inspired poem T. Grossi libretto brother Alberto, who in turn was asserting as librettist and playwright. The work, composed in 1892, performed only once private, however, sufficient to reveal the theatrical talent of young composer. D. still left after musical studies to undertake those classics that continue until the beginning university.
Then he returned commit himself to music and after another made in 1899 operates in strong colors dramatic, village, still libretto brother Alberto, also not represented but performed piano in private form, taken seriously studying composition. Internal student who entered the conservatory …show more content…
continued to compose for the theater in 1922 and wrote a one-act, The Flemish, presented the first national opera competition: won first prize and was intended to scenes of San Carlo in Naples, where he was represented successfully in April of the same year under the direction of E. Mascheroni. Although greeted with great enthusiasm by the public, could not cross the threshold of other theaters; was broadcast by radio EIAR in 1931 with success. It concluded that the theatrical career of D. that, disappointed by poor luck enjoyed his work, abandoned the composition and spent the last years of life away from music …show more content…
worked. It is actually 36 compositions between villanelles, songs, songs, madrigals, arias, arias, ballatelle, fibs, maggiolate, texts brother Alberto, whose titles suggest eloquently suggestive tone reminiscent of forms related to a very remote past nevertheless renovated by the composer feels that manifested not be alien to influences of livingroom romances; beyond the nostalgic flavor characterized by certain stylistic traits, D. showed to have assimilated the great Italian melodic tradition, renouncing however to use certain characters typical of romance fin de siècle, represented by certain conventions such as constant linear melodic and 'equally repetitive banality harmonic, which knew not escape sometimes even the most authoritative representatives of the
Then he returned commit himself to music and after another made in 1899 operates in strong colors dramatic, village, still libretto brother Alberto, also not represented but performed piano in private form, taken seriously studying composition. Internal student who entered the conservatory …show more content…
continued to compose for the theater in 1922 and wrote a one-act, The Flemish, presented the first national opera competition: won first prize and was intended to scenes of San Carlo in Naples, where he was represented successfully in April of the same year under the direction of E. Mascheroni. Although greeted with great enthusiasm by the public, could not cross the threshold of other theaters; was broadcast by radio EIAR in 1931 with success. It concluded that the theatrical career of D. that, disappointed by poor luck enjoyed his work, abandoned the composition and spent the last years of life away from music …show more content…
worked. It is actually 36 compositions between villanelles, songs, songs, madrigals, arias, arias, ballatelle, fibs, maggiolate, texts brother Alberto, whose titles suggest eloquently suggestive tone reminiscent of forms related to a very remote past nevertheless renovated by the composer feels that manifested not be alien to influences of livingroom romances; beyond the nostalgic flavor characterized by certain stylistic traits, D. showed to have assimilated the great Italian melodic tradition, renouncing however to use certain characters typical of romance fin de siècle, represented by certain conventions such as constant linear melodic and 'equally repetitive banality harmonic, which knew not escape sometimes even the most authoritative representatives of the