Marsilio

Luigi Dallapiccolae le Arti figurative

Mario Ruffini

IL LIBRO: UN OPUS MAGNUM PER LUIGI DALLAPICCOLA

Luigi Dallapiccola e le Arti figurative (Luigi Dallapiccola and the Figurative Arts) is the first and principal project of the “Music and Figurative Arts Projects”, an interdisciplinary research sector of the Kunsthistorisches Institut in Florenz – Max-Planck-Institut established by Max Seidel in 2002 and guided since then by Mario Ruffini.Ruffini’s imposing work in this volume crowns his many years of research on Dallapiccola, evidenced earlier in his Catalogo Ragionato (Milan: Suvini Zerboni, 2002), which furnished scholars with an important and previously unavailable tool for the understanding and study of the composer. The current volume, which marks the completion of this long research project, is an important editorial event, certainly the most noteworthy in the past fifty years, dedicated to the Istrian-Florentine composer.

The first part, Luigi Dallapiccola. L’uomo (The Man), starts with the chapter Musica di luce (Music of Light), that focuses on the interdisciplinary world at the beginning of the twentieth century, especially in the figurative arts. The chapter brings together historic events of the short twentieth century with the personal life of the composer and advances a new interpretation of the composer’s musical development as a veritable theological education in which music represents the driving force behind the most profound inquiries that characterize Dallapiccola’s entire life.This first part then continues with the Genealogia (Genealogy) of Luigi e Laura Dallapiccola that traces Dallapiccola’s family tree back to the eighteenth century and thus offers a new depth sounding on the man. A systematic survey of Portraits of Dallapiccola (Ritratti di Dallapiccola) follows examining the representation of his face in eighty different figurative works dedicated to him. Da Pisino a Firenze (From Pisino to Florence) presents a chronology of events in Dallapiccola’s intense human and artistic experience, touching upon unknown aspects such as his relationship with Henri Matisse. A chapter that reconstructs for the first time the figure of Laura, a fundamental part in the composer’s life, brings this first section to a close.

The second part, Luigi Dallapiccola. Il teatro musicale (The Musical Theatre) examines the staging of his six works from a figurative perspective. Touching upon their musical genesis, their easel painters, technical data sheets, and the catalogue of performances, the chapter retraces the several stagings of his works in theatres between 1940 and 2004 with an innovative inventory of stage illustrations and sketches. It is the real story of an art that shows itself in all its novelty.

The third part/dvd, Luigi Dallapiccola e il cinema (Luigi Dallapiccola and Cinema), retraces the various stages of the composer’s relation to the “tenth muse” through a film and radio inventory that, thanks to a DVD, places side by side the different moments of his musical thought and ties them constantly to images. The silent film L’Odissea di Omero (Homer’s Odyssy), the musical compositions for Piero della Francesca and the “critofilms” of the fifties – Incontri con Roma (Le Accademie straniere) (Encounters with Rome – The Foreign Academies), L’esperienza del Cubismo (The Experience of Cubism) and Il Cenacolo di Leonardo (Leonardo’s “Last Supper”), saw Dallapiccola collaborate on art documentaries of that period.

The thorough Appendices are an invaluable research tool for anyone working on Dallapiccola the musician, musicologist, or music promoter.

SUMMARY DATA

⊳ eur 80,00⊳ format 21,3 x 29 cm⊳ dvd enclosed: luigi dallapiccola e il cinema⊳ hardcover with dust jacket ⊳ pages 696⊳ 1252 images (i part: 437; ii part: 815)⊳ year 2016 / first ed. ⊳ isbn 978-88-317-1283-5⊳ casa zuccari⊳ progetti di musica e arti figurative⊳ research project and publication financed by⊳ ente cassa di risparmio di firenze / fondazione cr firenze⊳ series of the kunsthistorisches institut in florenz – max-planck-institut⊳ marsilio editori

THE WORKA MAJOR WORK FOR LUIGI DALLAPICCOLA

INDEX

Umberto Tombari, Premessa Max Seidel, Prefazione Mario Ruffini, Introduzione Ringraziamenti Abbreviazioni archivistiche

LUIGI DALLAPICCOLA. L’UOMO

MUSICA DI LUCE 1. Musica e Arti figurative 2. La luce di Webern 3. Luce fiamminga 4. Luce letteraria 5. Luce didattica 6. La luce di Ulisse 7. Lux cinematografica 8. Lux biblica 9. L’eco di Darmstadt 10. Lux mystica: la croce 11. Il buio. Dalla «Firenze fascistissima» di Ugo Ojetti all’antifascismo Luigi Dallapiccola alle cene del Salviatino Lavori ed eventi di marca Ojetti 12. Il travagliato fascismo di Dallapiccola 13. Dodecafonia: quarta dimensione 14. La Firenze dei Caffè 15. Cittadino del mondo 16. Dodecafonia: luce dello spirito 17. La luce di Laura

GENEALOGIA 1. Nel nome del padre: Pio Dallapiccola 2. Nel nome della madre: Domitilla Alberti Quadro A - Dallapiccola Quadro B - Alberti 3. Nel nome della fratello “dilettissimo” Giovanni 4. Nel nome di Laura: ramo Coen Luzzatto Quadro C - Coen Luzzatto Quadro D - Fano 5. Nel nome di Laura: ramo Fano 6. Luigi e Laura Le abitazioni di Luigi e Laura

I RITRATTI DI LUIGI DALLAPICCOLA. L’IDEA DEL vOLTO L’idea del volto Corpus dei Ritratti di Luigi Dallapiccola

DA PISINO A FIRENzE. BIOGRAFIA CRONOLOGICA 3 febbraio 1904 - 1923 I 6000 passi di Luigi Dallapiccola 1° aprile 1924 - 1941 Matisse - Dallapiccola Artémis ou Diane Diane 1942-1943 - 1951 Dallapiccola-Schönberg 1952-1953 - 2016

LAURA COEN LUzzATTO DALLAPICCOLA Laura Le traduzioni di Laura Dallapiccola Le dediche di Luigi a Laura. Cronologia affettiva

Guido Peyron Portrait of Luigi Dallapiccola 1929

Mippia FuciniLuigi Dallapiccola

1952

Fernando Farulli

Portrait of Luigi Dallapiccola1968

Jannina Vait TeutenPortrait of Laura Dallapiccola2005

Lisetta Carmi

Photographic portrait of Luigi Dallapiccola

1962

Luigi and Laura DallapiccolaA Great Story of the Twentieth

Century

Ulysses’ return homeThe nostos, Homer’s epic of return

MarsyasThe struggle between man and god, in the humanlonging to draw close to the divine

Flight by nightThe struggle betweenindividual happiness and collective interest in the face of scientific progress

LUIGI DALLAPICCOLA. IL TEATRO MUSICALE

vOLO DI NOTTE 1. Genesi musicale 2. I pittori da cavalletto sulla scena 3. Scheda tecnica 4. Catalogo degli allestimenti Baccio Maria Bacci, Firenze 1940 Alfredo Furiga, Roma 1942 Rolf Christiansen, Friburgo 1952 Heinz Beisker, Düsseldorf 1954 Alfred Siercke, Amburgo 1954 Heinrich Wendel, Wuppertal 1956 Ludwig Dörrer / Ernst Rufer, Hannover 1956 Saulo Benavente, Buenos Aires 1959 Georges Douking, Parigi 1960 Fernando Farulli, Firenze 1964 Hein Heckroth, Francoforte 1967 Luis Diego Pedreira, Buenos Aires 1969 Jacques Rapp, Lione 1969 Claude Perrier, Tolosa 1972 Ferruccio Villagrossi, Treviso 1972 Virgilio Puecher, Venezia 1973 Lamberto Puggelli / Vera Bertinetti, Genova 1975-1984 Louis Désiré, Montpellier 1990 Olivier Hébert, Tolosa 2000 Luciana Fornasari / Elisa Melloncelli, Cesena 2004 Kaspar Glarner / Nicky Shaw, Francoforte 2004 Gianni Carluccio / Nanà Cecchi, Firenze 2004 5. Allestimenti: 1940-2004 6. Prima rappresentazione assoluta

IL RITORNO DI ULISSE IN PATRIA 1. Genesi musicale 2. I pittori da cavalletto sulla scena 3. Scheda tecnica 4. Catalogo degli allestimenti Gino Carlo Sensani, Firenze 1942 Sven Erik Skawonius, Amsterdam 1962 Piero Zuffi, Milano 1964 5. Allestimenti: 1942-2004 6. Prima rappresentazione assoluta

MARSIA 1. Genesi musicale 2. I pittori da cavalletto sulla scena 3. Scheda tecnica 4. Catalogo degli allestimenti Toti Scialoja, Venezia 1948 Harald Garmland, Stoccolma 1949 Gianni Ratto, Milano 1951 Heinrich Wendel, Wuppertal 1956 Thierry Bosquet, Bruxelles 1963 Corrado Cagli, Roma 1969 Fabrizio Clerici, Palermo 1973 Antonio Mastromattei, Trieste 1986 5. Allestimenti: 1948-2004 6. Prima rappresentazione assoluta 7. Dallapiccola e Milloss: un sodalizio per Marsia 8. Il Quaderno Milloss

Baccio Maria BacciVolo di notteFirenze, 1940

Saulo BenaventeVolo di notte

Buenos Aires, 1959

Corrado CagliMarsia

Roma, 1969

Pietro ZuffiIl ritorno di Ulisse in patria

Milano, 1964

Dallapiccola’s theatre brings to the stageMan’s struggle against forces

much greater than him

Baccio Maria BacciVolo di notte

Firenze, 1940

The PrisonerThe struggle for freedomin the vain illusion that it is attainable

JobGood and evil.A furious Job asksGod the most difficultquestion of all: why does evil exist.

IL PRIGIONIERO 1. Genesi musicale 2. I pittori da cavalletto sulla scena 3. Scheda tecnica 4. Catalogo degli allestimenti Felice Casorati, Torino 1949 Enzo Rossi, Firenze 1950 Frederick Kiesler, New York 1951 Walter Gondolf, Essen 1954 Armando Chiesa, Buenos Aires 1954 Manfred Miller, Brema 1954 Ita Maximovna, Berlino 1955 Heinz-Gerhard Zircher, Augsburg 1958 Heinrich Wendel, Wuppertal 1959 Erik Nordgreen, Copenhagen 1960 Donald Oenslager, New York 1960 René Allio, Strasburgo 1961 Fabius von Gugel, Darmstadt 1961 Pedrag Goll, Osijek 1963 Tadeusz Kantor, Varsavia 1963 Gianni Polidori, Roma 1964 Max Röthlisberger, Zurigo 1965 Roger Bernard, Parigi 1968 Emanuele Luzzati, Firenze 1969 Silviu Ionita, Bucarest 1970 Ferruccio Villagrossi, Treviso 1972 Leni Bauer-Ecsy, Stoccarda 1973 Hans Georg Schäfer, Basilea 1974 Tina Sestini Palli, Catania 1976 Yorgos Patsas, Atene 1977 David Antón, Città del Messico 1982 Monika von Zallinger, Monaco di Baviera 1984 Kirsten Dephoff, Darmstadt 1992 Titina Maselli, Parigi 1992 Hanna Wartenegg, Dresda 1993 Marianne Mettler, Vienna 1997 Marcelo Perusso, Buenos Aires 2000 Giorgio Ricchelli / Alessandra Torella, Torino 2002 Bernard Quesniaux / Pascaline Duron-Farge, Nancy 2003 Werner Hutterli / Ingrid Erb, Vienna 2003 Kaspar Glarner / Nicky Shaw, Francoforte sul Meno 2004 Gianni Carluccio / Nanà Cecchi, Firenze 2004 5. Allestimenti: 1949-2004 6. Prima rappresentazione assoluta

JOB 1. Genesi musicale 2. I pittori da cavalletto sulla scena 3. Scheda tecnica 4. Catalogo degli allestimenti Jacob Epstein, Londra 1933 Felice Casorati, Roma 1950 Lieselotte Schwarzer, Darmstadt 1952 Heinrich Wendel, Wuppertal 1956 Emanuele Luzzati, Firenze 1958 Tseng Yu-Ho, New York 1958 Paul Walter, Buenos Aires 1964 Dario Dalla Corte, Torino 1972 Lorenzo Ghiglia, Venezia 1976 Monika von Zallinger, Monaco di Baviera 1976 Giorgio Ricchelli / Alessandra Torella, Catania 2004 5. Allestimenti: 1950-2004 6. Prima rappresentazione assoluta

Felice CasoratiIl PrigionieroTorino 1949

Manfred MillerIl PrigionieroBrema 1954

Emanuele LuzzatiJobFirenze 1958

Emanuele LuzzatiJob

Firenze

Enzo RossiIl PrigionieroFirenze 1950

Ita MaximovnaIl PrigionieroBerlino 1955

ULISSE 1. Genesi musicale 2. I pittori da cavalletto sulla scena 3. Scheda tecnica 4. Catalogo degli allestimenti Fernando Farulli, Berlino 1968 Heinrich Wendel, Düsseldorf 1970 Sylvano Bussotti, Torino 1986 5. Allestimenti: 1968-2004 6. Prima rappresentazione assoluta

Fernando FarulliLa barca di Ulisse: partenza «Son soli, un’altra volta, il tuo cuore e il mare»Berlino 1968

Fernando FarulliLa barca di Ulisse: epilogo

«Non più soli il miocuore e il mare»

Berlino 1968

UlyssesModern man andhis thirst for knowledge.No longer Homer’s nostos,but a new departure, with Dante, towards ultimate knowledge.The pagan hero discovers God

«To look, wonder, and go back to looking...»

Sylvano BussottiIl volto di UlisseTorino 1986

apparati

Casa Zuccari: Progetti di Musica e Arti figurative Luigi Dallapiccola: Catalogo generale delle composizioni Luigi Dallapiccola e il Conservatorio “Luigi Cherubini” di Firenze Luigi Dallapiccola e il Maggio Musicale Fiorentino Archivio Contemporaneo “Alessandro Bonsanti” Gabinetto Scientifico Letterario G.P. Vieusseux Fondo Luigi Dallapiccola /1 Biblioteca Nazionale Centrale di Firenze Sala Musica - Fondo Luigi Dallapiccola /2 Dallapiccola in Italia e all’estero: Riconoscimenti I Ritratti di Luigi Dallapiccola Luigi Dallapiccola: Scritti editi Mario Ruffini: Scritti su Luigi Dallapiccola 1980-2016 Bibliografia generale Indice degli artisti Indice delle immagini Indice dei nomi e delle opere Indice dei luoghi e delle istituzioni Referenze fotografiche

The history of culture is but an index, a catalogue. First data and dates, then words.

LAURA DALLAPICCOLA

luigi dallapiccola and cinemadvd enclosed

L’Odissea di Omero Due Studi / Due Pezzi per Orchestra per Piero della Francesca Incontri con Roma (Le Accademie straniere) L’esperienza del Cubismo Il Cenacolo di Leonardo Variazioni per Orchestra rai - Centenario di Hector Berlioz rai - Centenario di Luigi Dallapiccola Firenze dodecafonica. Seimila passi in città con Luigi Dallapiccola

LUIGI DALLAPICCOLA

He is one of the major composers of the twentieth century and a leading figure for an entire generation from Luigi Nono and Luciano Berio to American and European composers. He brings together the rigour of the dodecaphonic system with the highest values of Italian musical and humanistic traditions. Together with Schönberg, Berg, and Webern, he is, to all effects, one of the four founders of dodecaphony. Dallapiccola was born in Pisino d’Istria on 3 February 1904 and died in Florence on 19 February 1975. In his life, he directly experienced the suffering caused by the two world wars. During the first, he is interned with his family in Graz, during the second he had to face racial persecution against his wife Laura Coen Luzzato. The great tragedies he experienced inspired his art. His journey in dodecaphonic music, imbued with a profound spiritual search, is marked along the way by important theatrical productions, including two one-act operas (Volo di notte and Il Prigioniero), a ballet (Marsia), a sacred play (Job), and finally Ulisse, which summarizes his musical and spiritual lessons. Ever since his arrival in Florence Dallapiccola was attached to the “Luigi Cherubini” Conservatory where he studied (1923-1932) and then taught (1934-1967). His relationship with the Theatre of the Maggio Musicale Fiorentino was particularly close, so much so that, from its opening in 1933 until 1996, his works were, almost without interruption, on the program. After his death, two Dallapiccola fonds were set up in Florence, one at the Archivio Contemporaneo “Alessandro Bonsanti” of the Gabinetto Vieusseux and another at the National Library. Today, more than a hundred years after his birth, his music is universally recognized as one of the milestones of the twentieth century.

MARIO RUFFINI

Ever since 1980, when his composition teacher, Carlo Prosperi, introduced him to Laura Dallapiccola, he dedicates himself to Luigi Dallapiccola. From that moment, his understanding of Dallapiccola’s world deepens both in the musical and the private spheres thanks to his constant visits to the Dallapiccola household. This is where he is formed – guided by Laura’s shrewd rigour – both as a scholar and a musician. Thanks to Laura, Ruffini becomes permanent guest director at the National Theatre for Opera and Ballet “M.P. Musorgskij” in Saint Petersburg (1990-1995). As a scholar he publishes L’opera di Luigi Dallapiccola. Catalogo Ragionato (Milano, Edizioni Suvini Zerboni, 2002), followed by other volumes and more than sixty essays on the composer. In 2002, he also brings to light the critofilms of the fifties thus launching the “Luigi Dallapiccola Project” that proved to be a driving force for all research dedicated to “Music and Figurative Arts” promoted in Casa Zuccari by the Kunsthistorisches Institut in Florenz – Max-Planck-Institut. In 2004 he becomes Academic Secretary to the National Committee for the “Celebrations of the Centennial of Luigi Dallapiccola (1904-2004)” and, together with Fiamma Nicolodi, organizes the international conference “Luigi Dallapiccola nel suo secolo.” On the occasion of the centennial, the RAI broadcasting company entrusts him with a cycle of ten broadcasts for Radio Tre Suite, Vita e opera di Luigi Dallapiccola. In 2005 he discovers a previously unknown 1940 transcription by Dallapiccola of Barbara Strozzi’s seventeenth-century musical compositions. As orchestra director he produces the first recordings of Tre Laudi and Piccola musica notturna/b (Diapason 1989) and stages the first performance in Russia of Due Pezzi per Orchestra and of Variazioni per Orchestra at the Leningrad Philharmonic Orchestra (Saint Petersburg, 1994).

Quando Dallapiccola era al pianoscattava oltre l’intelligente aspettativaalcunché stranoche sfuggiva alla mia presacome sfugge ora alla mia mano

mario luzi

When Dallapiccola was at the pianothere sprung aside from intelligent expectationsomething strangethat escaped my graspas it now escapes my hand

mario luzi