In the past few years, studies regarding Casella's music have concentrated on re-reading his life events, his critical ideas and his compositional style. This new approach has determined the abandon of the personal vision that Casella himself had communicated with his own writings. One essential aspect of this re-evaluation is the analysis of the piano works he composed in his so-called "years of apprenticeship". The analysis gives an in-depth evaluation of the 1916 Piano Sonatina and it is specifically focused on the study of cadential processes, that in those years were one of the composers main interests. While in the conclusions of the three movements the cadences maintain certain typical tonal characteristics, otherwise «inside the movements the sections are separated and articulated by the most innovative processes: the most traditional rhetorical configurations (i.e. the repetition of the same chord during the diminuendo or the depletion of the motivic figuration, or even the abrupt interruption followed by a pause or a progressive rarefaction of the musical discourse) are entwined with experimental cadential figures that use diminished tones in the bass line and semitonal movements in the internal voices.»
Superando la visione personale che Alfredo Casella aveva dato della sua musica in innumerevoli scritti estetici, teorici e critici, negli ultimi anni lo studio dello stile compositivo di questo compositore si è sviluppato nel segno di una rilettura delle sue vicende, delle sue posizioni critiche e infine del suo stesso stile compositivo. Un aspetto essenziale a questa rilettura, anche ai fini di una oggettiva valutazione delle sue affermazioni storico-letterarie, è lo studio analitico delle sue opere pianistiche composte nei cosiddetti “anni di apprendistato”. La descrizione che il compositore dà delle sue opere degli anni Dieci in un suo articolo del 1930 e nei Segreti della giara del 1941 tende ad evidenziare la cautela con la quale erano sperimentate alcune tecniche compositive, fino a mostrare un “pentimento” verso la loro adozione. Diversamente l’analisi dettagliata di queste opere e le valutazioni che Casella suggerì in uno scritto del 1918 mo...
Procedimenti cadenzali atonali e politonali nella Sonatina di Alfredo Casella
POZZI, Egidio
2004-01-01
Abstract
In the past few years, studies regarding Casella's music have concentrated on re-reading his life events, his critical ideas and his compositional style. This new approach has determined the abandon of the personal vision that Casella himself had communicated with his own writings. One essential aspect of this re-evaluation is the analysis of the piano works he composed in his so-called "years of apprenticeship". The analysis gives an in-depth evaluation of the 1916 Piano Sonatina and it is specifically focused on the study of cadential processes, that in those years were one of the composers main interests. While in the conclusions of the three movements the cadences maintain certain typical tonal characteristics, otherwise «inside the movements the sections are separated and articulated by the most innovative processes: the most traditional rhetorical configurations (i.e. the repetition of the same chord during the diminuendo or the depletion of the motivic figuration, or even the abrupt interruption followed by a pause or a progressive rarefaction of the musical discourse) are entwined with experimental cadential figures that use diminished tones in the bass line and semitonal movements in the internal voices.»I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
