A STYLISTIC ANALYSIS OF TRE SONETTI DEL PETRARCA BY ILDEBRANDO PIZZETTI THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfullment of the Requirements For the Degree of MASTER OF MUSIC By Cheryl Huffman Doan, B. M. Denton, Texas December, 1970 /vft ,;,,08
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A STYLISTIC ANALYSIS OF
TRE SONETTI DEL PETRARCA
BY ILDEBRANDO PIZZETTI
THESIS
Presented to the Graduate Council of the
North Texas State University in Partial
Fulfullment of the Requirements
For the Degree of
MASTER OF MUSIC
By
Cheryl Huffman Doan, B. M.
Denton, Texas
December, 1970
/vft
,;,,08
Doan, Cheryl Huffman, Stylistic Analysis of Tre
Sonetti dePetrarca. Master of Music (Voice), December,
1970, 64 pp., 13 illustrations, 37 titles.
The purpose of this study is to examine the songs
Tre Sonetti del Petrarca by Ildebrando Pizzetti. Effort is
made to provide the performer with musical and poetic analyses
to aid him in the preparation and interpretation of the songs.
A consideration of the development of Italian solo song from
1822 to 1950 and brief biographical sketches of both the
composer and the author of the text are included as
background material. It is assumed that a detailed examination
of the music and poetry will lead to a more meaningful
expression in performance.
Petrarch wrote the poems upon hearing of the death of
the woman he loved. They are an expression of his grief and
loneliness. Pizzetti selected the poems and set them to
music following the death of his first wife.
The texts of the first and last songs contain a vision.
In the first song, the poet sees himself as a ship seeking
port in a storm. In the second poem, the poet sees himself
as a nightingale, lamenting its lost loved one. In the text
of the third song, the poet envisions the dead woman he once
loved and. hears her speaking to him, assuring him that they
will soon be together in heaven.
Though all of the songs have some lyrical qualities,
they are all basically declamatory in style, with the first
and last being more so than the second. Pizzetti, in
composing the music, gave careful attention to the natural
inflection of the Italian language.
The three songs are each based on an individual melodic
idea. In the first song, the melodic motive is found in the
first two measures. The second song is constructed around.
the melodic material found in the first line of the song, the
imitation of the call of a nightingale. The third song is
constructed around the contrasting qualities of the vocal
lines of the two characters in the poem.
It is hoped that this analysis till present material
which will be of value to the prospective performer and aid
him in the preparation of the songs. It is not intended to
limit the performer to a given interpretation, but to inspire
him to arrive at his own interpretation, influenced by his
own physical and psychological experiences.
TABLE OF CONTENTS
Page
LIST OF ILLUSTRATIONS ..................................
Chapter
I. INTRODUCTION AND BACKGROUND ................
The Development of Italian Solo Song from1822 to 1950
Biography of Ildebrando PizzettiBiography of Francesco Petrarch
II. ILDEBRANDO PIZZETTI'S MUSICAL STYLE . . . .
III. ANALYSIS OF TRE SONETTI DEL PETRARCA
"La vita fugge e non s'arresta un'ora . ."Quel rosignuol che si soave piagne ."Levommi il mio pensier in parte ov'era .
IV. CONCLUSIONS.................................... 57
APPENDIX...............................59
BIBLIOGRAPHY ................... -.. ... 6
iv
1
16
28
- a 0 0 - a * . 0 0 . 6 2
LIST OF ILLUSTRATIONS
Figure
1. The Declamatory Style of the Vocal Line, Measures 1and 2, "La vita fugge e non s'arresta un'ora...... . . . . 34
2. The Harmonic Motive,; Measures 1 and 2, "La vita fuggee non s'arresta un'ora ....... *........................ 35
3. The Variation of the Melodic Motive Measures 4 and5, "La vita fugge e non s'arresta un'ora..... . . . . 35
4. The Variation of the melodic motive, Measure 8, "Lavita fugge e non s'arresta un'ora . . . ."...#..
5. The Variation of the Melodic Motive, Measures 12 and13, "La vita fugge e non s'arresta un'ora . . . ..
6. The Variation of the Melodic Motive, Measures 14, 15,and 16, "La vita fugge e non s'arresta un'ora . . .
7. The Variation of the Melodic Motive, Measure 17, "Lavita fugge e non s'arresta un'ora . . . .". . ...
35
37
37
.... . . . . . . 37
8. The Variation of the Melodic Motive, Measure 18, "Lavita fugge e non s'arresta un'ora . . . . .......
9. The Variation of the Melodic Motive, Measures 22, 23,and 24, "La vita fugge e non s'arresta un'ora .......
10. The Inversion and Variation of the Melodic Motive, Measures3 and 4, "La vita fugge e non s'arresta un'ora . . .....
11. The Inversion and Variation of the Melodic Motive, Measures8 and 9, "La vita fugge e non s'arresta un'ora . . . ." . .
12. The Inversion and Variation of the Melodic Motive, Measure17, "La vita fugge e non s'arresta un'ora . . . ... . . .
13. The Variation of the Melodic Motive, Measure 12, "La vitafugge e non s'arresta un'ora . . . ." . . . . . . . . . . . .
40
40
iv
. . 38
38
. . . . 39
39
Page
35
."1
Page14. The Inversion and Variation of the Melodic Motive, Measure
19, "La vita fugge e non s'arresta unI'ora... . . . . . . . . . . 41
15. The Variation of the Melodic Motive and its Inversion, Measure25, 26, and 27, "La vita fugge e non s'arresta un'ora . . . .". . . 42
16. The Melodic idea, Measures I and 2, "Quel RosignuolChe Si Soave Piagne . . . .". . . . . . . . . . . . . . . . . . . . . . 47
17. Sixteenth-note Triplet Pattern, Measures 24 thru 27, "QuelRosignuol Che Si Soave Piagne . . . .".............48
involved in the musical life of the city. He collaborated with Consolo in the formation
of the "Society of Music-Lovers," and, in 1914, with Bastianelli, he founded Dissonanza,
a publication of contemporary Italian music.6 6 This magazine published works of many
fine composers who found it difficult to secure publication elsewhere. 67
In November of 1920, Pizzetti's wife died unexpectedly. 6 8 After her death, Pizzetti
wore only dark clothes in memory of the mother of his children. His reason for this
was ". . . fidelity to those ethical and esthetic principles upon which the musician modeled
his life."6 9
Pizzetti and his family left Florence in 1925 to go to Milan, where he had been
appointed director of the Verdi Conservatory. 7 0 In 1930, Pizzetti visited the United States
for the first time when Toscanini conducted his Rondo veneziano with the New York
Philharmonic. Pizzetti went to Buenos Aires in 1931 to direct the performances of his
opera, Fra Gherardo at the Teatro Colon. In 1936, lie succeeded Ottorino Respighi as
professor of composition at the Santa Cecilia Academy in Rome, and in 1948, became
president of the Conservatory. Pizzetti was not only a highly successful composer, but
also a respected educator, whose influence had a great effect on his younger contemporaries.
The Italia Prize, an international award, was given to Pizzetti in 1950 for his one-act
opera, Ifigenia. It was on September 18, 1950, that the Turin Radio carried the opera's
first performance. Pizzetti resigned from the Verdi Conservatory in 1952, and subsequently
held memberships in the London Royal Academy of Music and the Academie des
Beaux-Arts in France. He became president of the Italian Society of Composers and Authors
in 1960. At the age of eighty-seven, he died on February 13, 1968, in Rome. 7 1
6 6 Slonimsky, "Ildebrando Pizzetti," p. 1255.
6 7 Gatti, Ildebrando Pizzetti, p. 13.6 8 Ewen, The New Book of Modern Composers, p. 278.
6 9Ibid., p. 279.
" 0 Slonimsky, "Ildebrando Pizzetti," p. 1255.
71 John W. Freeman, "Ildebrando Pizzetti," Opera News, XXXII (March 16, 1968),33.
12
Biography of Francesco Petrarch
Francesco Petrarch lived almost six centuries before Pizzetti. This Italian poet was
born July 20, 1304, in Arrezzo, an ancient city of Tuscany. 72 His father, Ser Pietro
di Ser Parenzo of Incisa in Valdarno, was a notary. 7 3 In the year 1312, his father became
known as Petrarca. His mother was Eletta Canigiani, a lady from a prominent family in
Florence. 7 4 Petrarca, the father, was banished from Florence on October 20, 1302. It
is suspected that his banishment resulted from personal differences with Albizzo Franzesi,
rather than from political reasons as insinuated by his son Francesco.71
During his early childhood, his family was transient. In 1305, they moved to Incisa
and remained there until 1310. Shortly thereafter, they moved to Pisa where he became
acquainted with Dante. They moved to Avignon in 1311, to search for adequate
employment for his father. However, proper housing was not available in Avignon so they
settled in Carpentras. 7 6 There, Francesco Petrarch began his schooling with Convenevole
da Prato.
There are several parallels in the biographies of Pizzetti and Petrarch. Both began
their studies in their hometowns. In the absence of his father, Petrarch's early training
was a result of his mother's supervision. At the ages of fifteen, both boys were sent away
for further study.
In Petrarch's time, the study of law was the only profession that led to socio-economic
advancement. Thus in 1316, Petrarch's father was anxious for him to study law at the
University of Montpellier. While Petrarch attended lectures at the university, his true
interest in literature was indicated by the way he used his meager allowance to purchase
copies of the works of Cicero, Virgil, and other authors. 7 7
' 2 Thomas Campbell and others, The Sonnets, Triumphs, and Other Poems of Petrarch.(London, 1859), p. ix.
7~Vittore Branca, "Francesco Petrarch," Encyclopaedia Britannica, XVII (Chicago,1968).
7 4 Campbell, p. ix.
sVittore Branca, "Francesco Petrarch," p. 752.
76 Thomas Campbell, Life of Pctrarch, I (London, 1841), 35: Carpentras was a small,quiet town outside Avignon.
77 Campbell, The Sonnets, Trium-tphs, and Other Poems of Petrarch, p. xii.
13
Much to his father's disappointment, Petrarch could not suppress his thirst for poetry.
In 1320, to encourage the study of law, he was sent to Bologna, where there was a famous
law school which centered its curriculum around the classics. Petracco, the elder, was
very anxious to see that his son made progress in the new school. He made a surprise
visit to Bologna to check on Francesco, his brother, Gherardo, and their young friend,
Guido Settima. He found his son more and more determined to become a poet and not
a lawyer. Francesco had added to his knowledge and love of the classics and had begun
to develop his ability to write poetry in the vernacular.
It was the sad news of his mother's death that caused him to write the thirty-eight
verse Epistolae metricae, each verse representing a year of her life. 7 8 As mentioned earlier,
his mother had a strong influence upon Petrarch's early life. Petrarch lost both of his
parents. His father survived his mother's death only a short while. 7
Since their inheritance was small, Francesco and his brother, Gherardo, returned to
Avignon,where he ceased his legal studies. In 1326, the two sons took refuge in the monastic
life of the church. Francesco, however, took only minor orders so that he could still
write. No longer having to worry about the necessities of life, he enjoyed all the comforts
of monastic seclusion without the ecclesiastical duties.
Before the birth of this poet, Italy was one of the richest countries in Europe.8 0
It had been a -center of science and literature since the thirteenth century. From this
time, universities and public schools of Italy began to stress the concept of knowledge
for knowledge's sake. However, few concrete accomplishments were made in any art or
science because educators stressed learning by theory rather than experience. By the time
of the poet's birth, the people of Italy had begun to make wide use of Italian instead
of ecclesiastical Latin. They had become acquainted with the tradition of the Minnesingers
of Germany who helped to originate their metrical poetry.'
Historical writings were few. Literary writing was almost at a standstill because of
the widespread ignorance of classical and foreign languages.8 2 The medical profession was
7 8 Vittore Branca, "Francesco Petrarch," p. 752.
" 9 Campbell, The Sonnets, Triumphs, and Other Poems of Petrarch, p. xiii.
8 0 Campbell, Life of Petrarch, p. 10. "iIbid., p. 11.
" 2 Ibid., p. 13.
14
merely a way to earn money. There was no medical research, only a continuation of
the medical heritage they had received from the Arabs 3 Astrology had attracted the
finest geniuses of the day. Every high official felt the need for a personal astrologer.
After becoming well acquainted with an official astrologer of the court of Visconti, Petrarch
questioned him freely in confidence about his training for the profession, and the man
admitted that it was poverty that had made him turn to astrology. 8 4
Petrarch had restored many ancient copies of the classics. Many days and nights were
devoted to copying these writings, thus preserving them for future generations.' s Petrarch
had many friends among the aristocracy. The associations were not of his own choosing;
his counsel was sought by these people. He was respected and admired by all classes of
society. 8 6
In the church of Saint Clara of Avignon, on April 6, 1327, Petrarch saw, for the
first time, the woman he was to love the rest of his life. She was to be the inspiration
for much of his poetry.8 7 As Petrarch looked at this lovely lady, his heart was stricken
with a love that survived long after her death." 8 From his writings, it is obvious that
Laura rejected his love whenever it went beyond the bounds of friendship. 8 9 The plague
of 1348 caused many deaths in Avignon, including Laura's. Her husband eased his sadness
by remarrying in seven months after her death. Petrarch wrote many love poems concerning
Laura. At the time he was informed of her death, he wrote:
Laura, illustrious for her virtues, and for a long time celebrated in my verses,
for the first time appeared to my eyes on the 6th of April, 1327, in the church
of St. Clara, at the first hour of the day. I was then in my youth. In the same
city, and at the same hour, in the year 1348, this luminary disappeared from
our world. I was then at Verona, ignorant of my wretched situation. Her chaste
and beautiful body was buried the same day, after vespers, in the church of
the Cordeliers. Her soul returned to its native mansion in heaven. I have written
"'Ibid., p. 16. 84 Ibid., pp. 16-17. 8 5Ibid., p. 7.
86Ibid. 8 Ibid., pp. 56-57. 8"Ibid., pp. 55-56.
89 Ibid.: Campbell feels that the creative inspiration which resulted from this
relationship between Laura and Petrarch had a profound effect on the poet's outlook.
His poems concerning Laura are in two parts. The first section, called in vita Laura. contains
263 poems. The second section, called in morte Laura, contains 103 poems.
15
this with a pleasure mixed with bitterness, to retrace the melancholyremembrance of 'MY GREAT LOSS.' This loss convinces me that I have nothingleft worth living for, since the strongest cord of my life is broken. By the graceof God, I shall easily renounce a world where my hopes have been vain andperishing. It is time for me to fly from Babylon when the knot that boundme to it is untied. 9 0
Petrarch never married. However, it is obvious that he had human desires for women
as he had two illegitimate children. In 1337, a boy was born and christened John. The
death of his son in 1361 was a great relief to Petrarch because the boy had caused the
poet great worry. His daughter, Francesca, born earlier in 1334 to the same woman, married
Francesco di Brossano, a gentleman of Milan in 1361. A son was born to the couple
in 1366. This grandson brought many hours of joy to Petrarch. 9 1 "This child," he said,
"had a singular resemblance to me in so much that any one who had seen its mother
would have taken me for its father." 9 2 The child died at the age of two and a half
years. The grieving Petrarch had a marble mausoleum erected over the child's grave. Twelve
Latin lines of his own composition were engraved upon it. 9 3
Petrarch died in 1374 in the night of July eighteenth. He was found on the morning
of July nineteenth, in his study with his head resting on a book of Virgil. 9'
9 0 Campbell, The Sonnets, Triumphs, and Other Poems of Petrarch, p. lxviii.
9 1 Ibid., p. cxviii.
9 2 Campbell, Life of Petrarch, p. 266.
9 3 Campbell, The Sonnets, Triumphs, and Other Poems of Petrarch, p. cxx.
9 4 Vittore Branca, "Francesco Petrarch," p. 753.
CHAPTER II
ILDEBRANDO PIZZETTI'S MUSICAL STYLE
The first phase of Pizzetti's musical compositions was greatly influenced by the poet
Gabriele d'Annunzio. Pizzetti chose many of this poet's dramas and poems to set to music.
ie began his orchestral writing with Tre Preludi Sinfonici per l'Edipo Re. These unpublished
preludes were composed in 1904 for the tragedy Oedipus Rex by Sophocles. Even in
this early orchestral work, Pizzetti managed to blend the styles of the many men he had
studied into a distinctive personal expression of his own.' Two years later, in 1905, he
composed the incidental music for the play La Nave by d'Annunzio. The music for the
tragedy consists of religious choruses and a secular instrumental dance entitled "Danza
die' sette candelabri." Another instrumental section is "Antifona amatorio di Basiliola."
Both of these instrumental pieces were published by Schmidt. 2 In 1911 he composed
the Ouverture per una farsa tragica which is still unpublished, his string quartet, number
one, in A Major and, three piano pieces, Da una Antuno gia lontano. 3 The incidental
music to La Pisanella was written in 1913 for the drama by d'Annunzio. 4 The first
performance of this work was given in the Thatre du Ch^1telet of Paris on June 11.
Pizzetti arranged an orchestral suite from the music consisting of five sections. Arturo
Toscanini introduced three of the five sections of the suite. 6
Pizzetti, with his strong religious sense, has an inborn feeling for vocal writing. For
him the most intimate form of musical expression was his song. It was during his study
at the conservatory that he became aware of the great masters of classical polyphony,
2 Guido M. Gatti, "Ildebrando Pizzetti," Grove's Dictionary of Music and Musicians,VI (London, 1955).
3 Ibid., p. 808. 4 Ibid., p. 809. 5Ibid. 6Ibid.
16
17
and the wide range of discovery that vocal counterpoint held. It was his desire to revive
this technique through a modern approach, using the vocal and symphonic resources, but
without using the formulas of the past.7
Pizzetti's earliest choral compositions composed at the age of seventeen (1897) were
an offertory, Ave Maria for three-part mixed chorus with organ accompaniment; Tantum
ergo, for three-part men's chorus with organ accompaniment; and Tenebrae factae sunt,
a six-part mixed chorus which was a response for Good Friday. All of these works were
published by Marcello Capra.' Even though these works were written at an early age
and reveal little of his true musical personality, his love for choral composition is quite
evident. 9
Pizzetti's study at Parma Conservatory under Giovanni Tebaldini drew his interest
to Gregorian Chant. 1'0 This study of the ecclesiastical modes lead him to the Greek modes
and with the combination of the two, his new musical personality began to shape itself.
The choral music "Coro dei claecumeni de delle cucitrici" from d'Annunzio's La Nave
of 1905, showed the composer's style being enriched by the ancient modalities. The choral
pieces were of a liturgical nature. Pizzetti, himself, has commented on the melodies of
these choruses.
So I have composed the melodies for the choruses in La Nave in the forgottenmodes of primitive liturgical music, that is to say, in tEie ioTes of Greco-Latinmusic. And for each chorus I chose that mode, for composing the melody, whichpossessed the "ethos" most responsive to the significance, the expression, ofthe poetical test. And I did not wish to consider the "ethos" established inthe definitions of the ancient Greek or Latin theorists, of the philosophers, orof the first musicologists of the Church, but I desired to feel it profoundlyin myself. Sometimes it has happened to me that a given "mode" acquired,in my music, a richer and more varied expressive character, not seldom fardifferent from that ascribed to it by one or another ancient writer. This wasbrought about by polyphony, which, by a various lighting of the musical motivesand a varying distribution of the shadows, threw into relief some one of theexpressive characteristics of the mode or diminished its potency.'1
7Ibid., p. 808.
"Guido M. Gatti, "Ildebrando Pizzetti," Musical Quarterly, 9 (January-April, 1923),284.
1 0 1bid. 'IIbid., p. 103.91 i . p. 1 1
18
Pizzetti's vocal settings are syllabic adapting a sentence to fit the melody.1 "2 There
is a small chorus part in Pizzetti's first opera Fedra. His static treatment of the chorus,
expressing deep feelings of grief, is contrasted to the more dramatic and active treatment
of the chorus in his next opera, Debora e_ Jaela (1915). Between these two operas, in
1913, he composed the Canzoni Corali. It consisted of Per un Morto, a four-part men's
chorus and La Rondine, a six-part mixed chorus. The first chorus is a reverent but intensely
expressive song of death. In this chorus, Pizzetti makes a definite move toward a more
dramatic compositional style."1 This chorus is a dramatic contrast to the lyrical and spirited
La Rondine, a lively welcome to spring. In the second piece, La Rondine, the swallow
brings the news of spring's arrival and the chorus expresses a joyous outpouring of happiness
for being alive. 1 4
Pizzetti composed his Canto d'amore in 1914 for a four-part men's chorus. Six years
later, he selected "Lamento," a poem by Shelley. This choral work for solo tenor and
unaccompanied chorus was composed in 1920 after the death of his wife, Maria. It is
an electrifying tragedy, with the inconsolable lines of Shelley being delivered by the solo
tenor as the chorus repeats the inflexible words of Fate, "No more! -- Nevermore! "I I
Monteverdi, over three centuries before, also wrote a "Lamento" at the death of his wife.1 6
The most exceptional facet of Pizzetti's early choral writing is his interest in and
employment of the subtleties of vocal polyphony. This aspect of the choral art had been
almost entirely dormant in eighteenth and nineteenth century Italian choral music. Even
the powerful choruses of Verdi lack the detailed refinement found in the polyphony of
Palestrina and Monteverdi. It was this attention to polyphonic detail which Pizzetti
attempted to revive in the early choruses.'"
At the age of seventeen Pizzetti composed his first complete opera, Sabina. Although
unpublished, this work showed evidence of his study of the earlier operas of Bellini, Rossini,
and Verdi. It was saturated with the inventiveness and emotional outpourings of the opera
of the late nineteenth century.
2 Ibid., p. 105. "3.Ibid., p. 117. 4Ibid., p. 107.
"Ibid., p. 119. 16 Ibid: "Ibid., p. 101.
19
Two years later, lie composed Giulietta e Romeo and in 1902, lie entered a short
opera on Pierre Corneille's Le Cid in a one-act opera competition arranged by the publisher
Sonzogno. Disappointed with the results of this contest, Pizzetti made other attempts
to compose in the form, but all were unsuccessful. As a result, his interests turned to
chamber and symphonic music. 1
Pizzetti's interest in tragedy drew his attention to Hippolytus by Euripides which
inspired him to think of composing opera again. D'Annunzio learned of Pizzetti's interest
in Greek tragedy and his struggle to write a libretto on Hippolytus."1le offered the
composer his text on the Greek drama, Phaedra. In a long, sacrifying struggle of three
years, Pizzetti completed Fedra, and it became one of his most outstanding compositions. 2
The premiere of the opera took place at La Scala, Milan, under the direction of Gino
Marinuzzi, on March 20, 1915,21 the day before Italy entered World War 1.22
Pizzetti's earliest songs, written in 1904 at the age of twenty-four were Tre Liriche
for voice and piano. 23 The poems were by Ildebrando Cocconi.24 The trilogy, consisting
of "Vigilia nuziale," "Remember," and "Incontro di marzo," was published by Schmidl.
Two years later in 1906 the song, "Sera d'Inverno" on a poem by Mario Silvani was
also published by Schmidl. 2 s These four songs show little development of an individual
style. Nevertheless, traces of certain characteristics can be heard in them, especially the
"Incontro di marzo" and the "Sera d'Inverno," which later become significant elements
of Pizzetti's own musical personality. 2 6 This is especially true of the broad triplet theme
of "Incontro di marzo," which Pizzetti uses in his later songs.
' 'Ibid., pp. 274-275. 1' 9 Ibid., p. 96.
2 0 Ewen, Composers of 'Today, p. 195.
21Guido M. Gatti, "The music-drama of Ildebrando Pizzetti," translated by GwynMorris, Opera-Annual 7 (1960), 96.
2 2 Gatti, "Ildebrando Pizzetti," Musical Quarterly, p. 285.
2 3Ibid. 2 4 Ibid., p. 109.
2 sIbid., p. 285. 26 Ibid., p. 109.
20
One of his most famous songs is "I Pastori," written in 1908. The poetry of this
song is by d'Annunzio, and is taken from his Sogni di terre lontane found in Book III,
of the Laudi. 2 7 This composition was published by Forlivesi. 2 The simplicity of this
song, its rhythm, harmony, and melodic line, make it an excellent example of the lyric
quality of Pizzetti's early creations. Pizzetti presents the entire pastoral theme of nine
measures in the introduction and constructs the song upon it. The pastoral theme is
presented in its entirety in the introduction. He found all the elements he required to
express himself within the limits of tonality. The plaintive theme in A minor creates a
somewhat moody atmosphere and is repeated throughout the song, sometimes in its
entirety, sometimes barely suggesting itself. 2 The song and the text are so strongly unified
that they seem to have been created concurrently, but the unity remains flexible and
creates a valid expression of each episode without destroying the original lyric idea.3 0
The "La Madre al figlio lontano" for voice and piano was written in 1910 and
published by Forlivesi. This song is divided into two sections. In the first section the
piano plays a slow melodic line in octaves with tremolando indicated for the left hand.
The accompaniment for the second half of the song consists entirely of triplet chords
that strengthen the mood of desolation implied by the text. The time signature of this
song is a combination of six-eight and three-four. This unusual metrical configuration
sometimes occurs within a single measure; however, the melodic interest and Pizzetti's
effective musical expression never fails.3 1 In 1911 Pizzetti composed a melody to the
poem, "Erotica," by d'Annunizo, which was published by Pizzi.3 2
Niccolo Tomaseo's translations of two Greek folk poems were set to music by Pizzetti
in 1912 and published by Forlivesi. The first of the two songs was "San Basilio." The
text relates the legend of St. Basil, Bishop of Caesarea and a founder of the early Christian
2 7 Ibid. 2 8IIbid., p. 285.
2 9Jbid., p. 110. 3 0 Ibid.
3 Herbert Antcliffe, "Pizzetti as a song writer," Chesterian,XX (London, 1922), 109.
3 2 Gatti, "Ildebrando Pizzetti," Musical Quarterly, p. 285.
21
schools. The man was renovned as a worker of miracles. Pizzetti illustrates the supernatural
feeling by using a pattern of four eighth-notes throughout.
The second of these two songs is "Clefta Prigione," which reveals elements indicative
of the approaching change to a more dramatic expression which occurs in the second
phase of Pizzetti's music. The singable vocal line maintains its range within the scope
of the middle register. This song, unlike his chamber music, is dramatically and expressively
effective throughout. The climax in the last six measures of the song becomes even more
impressive as the voice suddenly moves through the interval of an augmented ninth. 3
This effective song would be ideal for a dramatic baritone.
Giovanni Papini translated the Greek folk-poetry, "Passeggiata" which Pizzetti set
to music in 1915. These ironical and vagabond lyrics of Papini's have received Pizzetti's
technical and emotional abilities to provide the atmospheric elements that are needed to
illustrate the text. With a rhythmic irregularity and freer tonality which are predictive
of Pizzetti's late work, the song's difficulties lie in the interpretation, and the ensemble
of the voice and piano. Even though the settings of the two poems by Salvatore di Giacomo
were written in different stylistic periods of Pizzetti 's composition, they will be discussed
together in the second phase to permit comparison of their styles.
The incidental music for the mystery play, La sacra rappresentazione di Abram e
d'Issac on a text by Feo Belcari was presented in 1917 in Florence. 3 4 The play was
a combination of a Biblical story and a Florentine poem from the fourteenth century.3
The "Concerto Dell'Estate" for orchestra was composed in 1928. The premier
performance of this music was given by Arturo for Toscanini conducting the New York
3 3Antcliff, p. 110.
34Gatti, "Ildebrando Pizzetti," Musical Quarterly, p. 271.
3s David Ewen, The Book of Modern Composers (New York, 1950), p. 204.
22
Philharmonic Symphony Orchestra in 1929. Pizzetti admitted that he patterned his concerti
after the concerti grossi of Vivaldi. 3 6 There are three sections to the concerto. The first,
"mattutino," is a robust movement as is the last, "Gagliarda e finale." The second section,
"Notturne," is lyrical, with unaccompanied violins expressing poetic emotion throughout
the section. 37 The concerto centers around five themes that reappear through the piece.
Arturo Toscanini, conducting the New York Philharmonic Symphony Orchestra in 1930,
gave the world premiere of Pizzetti's Rondo Veneziano, composed in 1929.31 Pizzetti's
own analysis of this was:
This composition consists of three "strophes," preceded and followed by a lessextensive musical period in the guise of a "ritornello" (refrain); whence the titleRondo. But just as there are, in Italian poetry, songs and odes in rondo formwhosestrophes differ in content as well as in expression, so the three "strophes"of this rondo differ not only in thematic material, but in movement andcharacter. If the musical period that serves as a ritornello (opening and closingthe composition) be regarded as an expression of the fundamental and immutabletraits of the Adriatic city, the first strophe might be considered an expressionof aristocratic Venice, luxurious and pompous (but without particular referenceto any specific period of the past) and the third strophe as an expression ofplebeian Venice. The middle strophe is a sort of intermezzo, both idyllic andimpassioned. 3 9
Pizzetti's contributions to the chamber music literature consist of a "Trio in A Major"
for violin, cello and piano, a "Sonata in A major" for violin and piano, and a "Sonata
in F major"4 6 for violin and piano. The two sonatas were written during times of deep
grief. The destruction inflicted upon Italy during World War I inspired the first sonata.
The second work was written during a period of sorrow which followed the death of
the composer's first wife, Maria.41
6David Ewen, The Complete Book of 20th Century Music (Englewood Cliffs, NewJersey, 1959), p. 275.
3 7 Ibid., p. 274. 3 Ibid., p. 275. 3 9Ibid.
4 0 Gatti, "Ildebrando Pizzetti," Grove's Dictionary of Music and Musicians.
4 1 Ewen, The Book of' Modern Composers, p. 206.
23
The Sonata in A Major was composed in the years 1918 and 1919. In Tempestoso,
the first of three movements, the piano introduces an inflexible theme representing the
world in turbulence, while the violin repeats a moaning theme of fear. 4 2 The second
movement is an emotional prayer. With rhythmic freedom and thematic imitation, this
movement becomes an instrumental declamation shared by the violin and piano. 4 The
second movement is an excellent example of the vocal quality found in the lines of the
composer's instrumental music. His ability to compose instrumental music in a vocal style
makes him one of the most important composers of the late nineteenth and early twentieth
centuries.
Of his choral compositions in the second period, possibly the mass for small chorus,
organ, and orchestra, composed in 1922,was the most important. Entitled Messa di Requiem,
the work was written for the Cathedral of Cremona, and is for four to twelve solo voices.
During this period he also wrote L'ultima caccia di Sant' Umberto for chorus and
orchestra.44
There were two operas during the period of Biblical influence, D6bora e Jele and
Lo straniero. Debora e Jaele was the first opera for which Pizzetti wrote both the music
and the libretto. The story of the opera is adapted from the Bible, and is Pizzetti's version
of the incident related in the Book of Judges.4 5 The characteristic element of this opera
is the composer's ability to blend the lyric and dramatic elements of the music-drama
into a homogeneous unit. 4 6 For him it is neither the lyric opera nor the dramatic opera
which can fully relate the common incidents of life or provide an atmosphere allowing
the characters to respond naturally. Instead, it is a combination of lyric and dramatic
elements. Pizzetti's vocal lines are not employed for their inherent musical value alone.
They state the situation with all its involvements, and carry the story to the climax and
42Gatti, "Ildebrando Pizzetti," Musical Quarterly, p. 117.
43Ibid., p. 118.
4 4 Gatti, "Ildebrando Pizzetti," Grove's Dictionary of Music and Musicians,
4 5sIbid., p. 807. 4 6 Antcliffe, p. 97.
24
then resolve it.4 I Once the drama begins, driving its way to the climax, the calm, lyric
elements must never be allowed to bring the drama to a halt. The entire opera must
be a continuous, forward movement toward a climatic point. Pizzetti disliked the sectional
opera, filled with arias during which the dramatic motion slows to a standstill. "The lyrical
element in the opera written between 1700 and 1800 was so fatal and led to so many
absurdities, because it was introduced not for the sake of the drama but for the sake
of the singers." 4" Pizzetti's "sung recitative" is a union of words and melody in which
the melody is rhythmically disciplined and the text is syllabic. The melody is not controlled
by the text but is combined with it, extending its dramatic power.4 9
Dramatic music should express life in action conflicts of matter and mind, ofinstincts and aspirations, of egoism and moral duty; and lyrical music shouldexpress the transcendence, the overcoming of these conflicts. There is no musicother than these two types, not even outside the music for the stage. Thereis no true or great art, which is not the expression of a conflict and its resolution,of a drama in which individuals, or sentiments, or ideas are involved, and itscatharsis. Symphonic music obeys the same laws, even though it be withoutwords: it must have dramatic life to be music at all, that is, it must have acontent born of conflict, lest it be a mere juggling with sound and noise. 5 0
The songs composed in this period were "Angeleca" and "Assunta." Both poems
are of the Neapolitan dialect and are by Salvatore di Giacomo. They are for tenor and
orchestra; however, the composer made an excellent piano reduction of the
accompaniment. 5 I Many of the changes in Pizzetti's style take place between the writing
of these two songs. "Angeleca" was composed just after he completed the poem for Debora
e Jele; however, "Assunta" was not written until after he had begun to compose the
music for the same opera a year later.5 2
4 7 Ibid., p. 97.
4 8 Gatti, "The music-drama of Ildebrando Pizzetti," p. 425.
4 91Antcliffe, p. 98.
s 0 lldebrando Pizzetti, "Music and Drama," Musical Quarterly, XVII (October, 1931),425.
5 1 Antcliffe, p.. 11.
s 2 Gatti, "Ildebrando Pizzetti," Musical Quarterly, p. 112.
25
The two poems are both dramatic. "Angeleca" is a monologue of a drunk man who
is singing a tavern song as he wanders home. In passing his lover's home, he notices that
there is no light in her chamber. Doubts of his lover's fidelity fill his mind. He questions
the doorman who replies that she is dead. Grieved, the drunkard moans and mumbles
to himself as he staggers down the street. The story of "Assunta" is the narration of
a man who relates his story of love and death to a court of judges.s I The subject text
matter of "Angeleca," a man who sings, lends itself to a lyrical interpretation, whereas
the narrative qualities of "Assunta" adapt themselves well to the sung recitative which
Pizzetti was perfecting as he wrote Dbora e J ele. 4
Pizzetti's third phase of compositions took place because of this interest in Italian
history. The incidental music for the tragedy, Agamemnon by Aeschylus, was composed
in 1930. Two years later in 1932, the music for another tragedy, Trachiniae, by Sophocles,
was written. On a sixteenth century play adapted by Corrado d'Errico entitled, La
rappresentazione di Santa Uliva, Pizzetti composed its incidental music. More incidental
music was composed for Oedipus Coloneus, a tragedy by Sophocles in 1936, La festa
delle Panatenec, containing three pieces for orchestra, in 1937, and, in the next year,
for a comedy, "As you Like It," by Shakespeare.
Pizzetti's chamber music contributions during this period were the String Quartet
No. 2 in D major, in 1932-1933.5 Toscanini gave this composition its first audition.
This Italian quartet literature contains lyricism, dramatic power, emotion, and instrumental
speech. 5 6
s3~bid.,pp. 112-113. 5 4 Ibid., p. 112.
s s Gatti, "Ildebrando Pizzetti," Grove's Dictionary of Music and Musicians, VI.
s6 Ewen, Composers of Today, p. 195.
26
jis vocal chamber music contribution was in 1926, the Tre Canzoni for string
quartet.i7 In 1935 he composed "Due poesie di Ungaretti" for baritone and piano. 5
He wrote a cantata "Oritur sol it occidit" for bass in 1943.5 9
Pizzetti wrote a part for chorus and orchestra in the introduction to the Agememnon
of Aeschylus. There are two Greek Hymns from La festa delle Panatenec for soprano,
chorus and orchestra, written in 1937. The De profundis for a seven-part chorus was written
in 1938. From the words of the Carmina of Catullus, "Epithalamium" was composed
in 1939. This piece is for soprano, tenor, baritone, small chorus and small orchestra. In
1942-1943 three choral compositions were written. They are "Cade la sera", with text
by Gabriele d'Annunzio, "Ululate, quia prope est dies Domini", text from Isaiah and
"Recordare, Domine" with text from Jeremiah. The Cantico di gloria, written in 1948,
is for a eleven-part treble chorus, twenty-four wind instruments, two pianos and percussion.
During this period influenced by Italian History, Pizzetti composed two operas Fra
Gherardo, written in 1926 and Orseolo written in 1935. Pizzetti adapted the text for
Fra Gherardo frorn the thirteenth century Chronicles of Salimbene de Parma. Pizzetti's
operas do not contain any formal arias. 6 0 Pizzetti's melodic lines depict the natural
inflections of the Italian language. The text is always the more important element.6 1 These
works were followed by four other operas. They are Orseolo (1931), L'oro (1938-1942),
Vanna Lupa (1947-49), and Ifigenia (1950).
Pizzetti composed in 1926 Tre Canzoni for string quartet and voice. The Tre Canzoni
consists of "Donna Lombarda", "La prigioniera", and "La pesca dell'anello". This music
is published by Ricordi. In "Donna Lombarda", the music continues to show the
composer's ability to paint images. 6 2 In 1932-1933 he wrote Altre cinque liriche, also
S 7 Gatti, "Ildebrando Pizzetti," Grove's Dictionary of Music and Musicians, VI. Thisincluded three songs entitled "Donna Lombarda," "La prigioniera," and "La pescadell'anello.
5 Ibid. 5 9 Ibid.
6 0 Gatti, Ildebrando Pizzetti, p. 274.
6 1Ewen, The Complete Book of 20th Century Music, p. 274.
6 2 Gatti, Ildebrando Pizzetti, pp. 81-82.
27
published by Ricordi for voice and piano.6 3 Due poesie di Ungaretti was composed in
1935 for baritone, violin, viola, violoncello and piano. It consists of "La Pieta" and
"Transfigurazione." Pizzetti, in continuing to portray the characteristics of the language
and the inter-relationship of the poems is still inspired by an open expression of human
feeling.6 4 "E il mio dolore io canto" was written in 1940 for voice and piano and published
by Forlivesi. Tre Liriche per canto e pianoforte was composed in 1944. His artistic ability
reveals the spiritual and tranquil moods of the text.6 s
63Ibid., p. 118. 6 4Ibid., p. 82. 6 5 Ibid.
CHAPTER III
ANALYSIS OF TRE SONETTI DEL PETRARCA
In Pizzetti's songs there is a unifying factor which gives each song an individual quality.
This unity is achieved by a rhythmic figure, a melodic theme, a declamatory vocal style,
or even a single word. Although the unifying element varies in each song, its presence
is always clearly evident.
Pizzetti's settings of Tre Sonetti del Petrarca were composed in 1922, following the
death of his first wife, Maria. 1 His choice of these somber poems by Petrarch was
undoubtedly motivated by his own distress. The form of the poems is so perfect that
Pizzetti found it difficult to add anything to them through music. As a result, his
imagination yielded to his intellect, and his settings remain faithful to the text at the
expense of the emotional qualities of the music.2
"La vita fugge, e non s'arresta un'ora . .
The poem, "La vita fugge, e non s'arresta un'ora . . . ," is divided into two sections;
the first portion consisting of eight lines, and the last part consisting of six lines. The
first section, or octave,3 is separated into quatrains of four lines each. Both quatrains
have a rhyme scheme of atba..
The metrical organization of the octave centers around the patterns established in
the first two lines. Scansion of the first line reveals that it consists of three trochaic
feet, two dactylic feet, and a trochee. In this line the first strong accent is silent. The
'Guido M. Gatti, Ildebrando Pizzetti, translated by David Moore, (London, 1951),p. 80.
2 Ibid., p. 81.
3 C. F. Main and Peter J. Seng, editors, Poems (Belmont, California, 1963), p. 238.
28
29
second line is constructed of four dactylic feet followed by a trochee. The first strong
accent in this line is also silent. It will be seen that Pizzetti set these feminine beginnings
with special care. Each of the eight lines of the octave is constructed in one of these
two metrical patterns. These units are organized in the following manner: abba, abab.
The two patterns are not strictly observed in all lines, however, the differences do not
change the basic metrical form.
The last section of "La vita fugge, e non s'arresta un'ora . . ." is constructed of
six lines, a sestet. 4 The sestet is divided into two tercets of three lines each. The sestet
has a rhyme scheme of cde, cde. The sestet is unified by the metrical organization of
the first and last lines. Scansion of these two lines reveals two iambic feet, an anapaest,
and two trochaic feet. There seems to be no distinct metrical pattern to this section of
the poem with the exception of the first and last lines. However, a degree of unity is
achieved by ending each line with a trochaic foot.
The basic structure of this poem has become known as the Italian or Petrarchan
sonnet, a fourteen line poem consisting of two sections, the octave and the sestet. 5 The
octave contains two quatrains of four lines each. The sestet, the last six lines, contains
two tercets of three lines each. The rhyme scheme of the octave is usually abba, abba
and that of the sestet is cde, cde. However, both sections may have varying rhyme schemes.
In each of these sonnets the organization of the content is highly consistent. The
first quatrain presents the theme. The second quatrain developes the theme. The first
tercet continues the development. The second tercet brings the development to a
conclusion.
In the first quatrain of "La vita fugge, e non s'arresta un'ora . . . ," the poet speaks
of the transitory nature of life, the certainty of death, and the anxiety of his thoughts
of his beloved Laura in the past, present and future. In the second quatrain, he develops
these thoughts even further, and ends the octave with the suggestion that it is only through
his own self pity that he frees himself from painful memories.
sIbid.
30
In the sestet, the poet admits that if the memories of Laura return to him, he will
again be saddened. He envisions himself as a ship in a stormy sea, seeking refuge in port.
The port symbolizes the woman whose love he has always sought in life. He never reaches
port, but grows old and weary until finally the lights of the port are extinguished.
The music suggests the key of e minor, but these songs defy traditional harmonic
analysis. The initial tempo is assai sostenuto.
The basic structure of the song is a broad symmetrical arch. This symmetrical concept
is further reflected in several of the internal structural elements of the song. The most
obvious symmetric device is the metrical organization of the song. The two halves of
the song are perfectly symmetrical and are connected by a single measure of three-four
meter. Each half consists of four measures of four-four meter, followed by one measure
of three-four meter, linking to eight measures of four-four meter. The mid-point of the
song coincides with the end of the octave. The three single measures of three-four meter
are placed at important points in the text. The first measure of three-four occurs at the
beginning of the third line of poetry which is the first instance of textual intensity. The
second measure of three-four meter occurs at the vocal climax which coincides with the
end of the octave. This is the most highly dramatic passage in the text. As will be seen,
both the musical and poetic intensities build toward this measure. The third measure of
three-four meter occurs after the break in the meaning of the text found in the middle
of the second line of the sestet. It is at this point that the poet begins to see himself
as a ship in the stormy sea.
Another way the song is symmetrical is in relation to the poetic intensity. Although
there are variations in the intensity as the poem progresses, in general, it builds to the
last line of the octave. The first quatrain becomes poetically more intense as it progresses
toward the end of the third line, ". . . presenti e le passate . . ." (". . . present and
the past . . ."). The intensity then lessens until the last line of the second quatrain. "I'
sarei gi'a di questi pensier fora." ("I would always be withdrawn in my thoughts.") Thus,
the first half of the song consists of two arches of poetic intensity, the second being
more dramatic than the first. From this midpoint, the poetic intensity gradually decreases
31
to the end of the song. While the arch of intensity is not perfectly symmetrical, it rises
to a peak in intensity which corresponds with the peak in the metrical arch previously
examined.
The musical form of the octave conforms to the poetic structure. The first musical
section of the song comes to a definite close at the end of the first quatrain. Pizzetti
uses a single descending melodic line to form the cadence. Likewise, the second musical
section cadences at the end of the second quatrain. Thus the first two sections of the
musical form make up the first half of the metrical form of the song. Also, the two
sections correspond to the two arches in the poetic intensity and add to the symmetrical
organization of the song.
While the musical form of the octave conforms to the poetic form, the musical form
of the sestet follows the meaning of the text. In the middle of the second line of the
first tercet, a definite change in thought occurs in the poetry. It is at this point that
the poet changes his abstract expressions of self pity and becomes more concrete as he
pictures himself as a ship in a stormy sea. Pizzetti divides the musical form of the sestet
at this point with a fermata, a decrease in the thickness of the texture, and a decrease
in the agitation of the accompaniment, all of which will be examined in detail later.
In the musical form of the octave, two basic sections may be seen, conforming to
the symmetrical form of the poetry. The sestet gives the appearance of being treated
as one basic section; however, examination shows that the music is divided into two sections
according to the meaning of the poetry.
The musical division of the octave occurs four measures before the single three-four
measure which connects the two symmetrical halves of the metric structure of the song.
Likewise, the musical division of the sestet occurs four measures after this connecting
measure of three-four meter, thus relating the musical form symmetrically to the metrical
structure of the song.
The rate of declamation of the text is another factor which reinforces the symmetric
structure of the song. The first quatrain is presented in seven and one-half measures while
the second quatrain is presented in five and one-half measures. Thus the rate of declamation
in the second quatrain is considerably faster than in the first and builds the musical intensity
toward the climax at the end of the octave. In the second quatrain there is considerably
more use of eighth-note triplets and sixteenth-notes than anywhere else in the song.
32
Another factor which reinforces the symmetric organization of the song is the rise
and fall in the pitch of the vocal line. In the first four measures, the vocal line forms
an arch beginning on c , rising slightly to e', and descending to b. This arching line
coincides with the first four measures of four-four meter, the first two lines of the first
quatrain. The next two lines also form a single, broad arch, rising to the point of highest
poetic intensity in the first quatrain.
In the second quatrain, the vocal line also consists of a series of arches. The first
arch ascends and descends through the first line of poetry. The next arch ascends through
the second line of poetry and descends through the third line. The final arch covers the
last poetic line in the octave. Thus the second quatrain is symmetrical within itself.
After the midpoint of the song, the first one and one-half lines of the sestet form
an arch in the vocal line. The end of this arch corresponds to the break in the musical
structure resulting from the change in poetic meaning. It also corresponds to the metrical
symmetry of the music, ending four measures after the midpoint of the song. The last
nine measures of the song consist of a series of descending arches which are the symmetrical
equivalent to the rising arches found in the beginning of the song.
It may be seen that the rise and fall of pitch level contains a degree of symmetry
within itself. This is most obvious in the second quatrain. It also reinforces the broad
arch on which the entire song is based.
Another symmetrical aspect of the song is the one change in tempo (pj mosso)
which occurs on the downbeat of measure twelve, two measures before the central,
connecting measure of three-four meter previously mentioned. It continues to the fourth
beat of measure sixteen, two measures after the central measure of three-four meter. This
increase in tempo corresponds to the poetic climax, the end of the octave, the middle
five measures of the metrical organization, and the end of the second quatrain in which
the vocal declamation is most intense.
Another less important aspect of the music which emphasizes the symmetry and
meaning of the text is the increase in dynamic intensity. The first increase in dynamic
level occurs in the third line of the first quatrain which has been established as an important
point in the text and music. The second increase in dynamics occurs through the second
quatrain, rising from piano gradually to forte. It has been seen that in this quatrain many
33
musical and poetic elements have been combined to build to the climax. While the dynamics
are not exactly symmetric, they are used to emphasize important structural points and
thus add to the symmetric idea and contribute to the arch effect.
Another less important aspect of the music which adds to the symmetry of the song
is the accompanimental texture which tends to tie the recitative-like melodic fragments
together and occasionally intensifies the dramatic expression. The piece begins light in
texture, with only the root and third of the chords present. Other chord tones are added
as the phrase continues in preparation for the thickened texture in measure six which
is related to the increased agitation of the text. As has been shown, this is the most
intense poetic and musical phrase in the first quatrain. The accompaniment in this measure
is less contrapuntal and definitely more chordal, thus increasing the expressive intensity.
The first and second quatrains are divided when the texture is reduced to a single melodic
line in the accompaniment. As the second quatrain builds toward the climax, the texture
becomes thicker and more agitated, thus further emphasizing the section of the song which
is poetically and musically most intense. The most texturally complex measures of the
song occur two measures before the central measure of three-four meter and continue
two measures after the central measure. Thus, these measures are the exact center of
the song. In the last nine measures of the song, the points of textural complexity are
used to tie the recitative-like fragments of the vocal line together.
It is stressed that formal units are an important aspect of Pizzetti's musical style.
He is aware of the formal structure of the poetry and takes advantage of it in his musical
settings. This characteristic of his style distinguishes him among Italian composers of the
early twentieth century.
In Pizzetti's style, many expressive techniques may be seen. Each of these expressive
aspects will be considered separately. The most important aspect of the vocal line is its
declamatory style. The recitative-like line imitates the natural inflection of the language.
Its character lacks lyrical qualities and does not use melodic or textual repetition. The
inflection of the text is transferred to the melodic material in three ways. Attention is
drawn to the stressed syllables by musical accent, level of pitch and duration of pitch.
For example, in measure one and two, the syllable vi of the word vita (life) is stressed
by the duration of the pitch. The syllable is sung on a clotted quarter-note which is found
34
in a phrase of shorter note values. Also, the syllable fug in the word fugge (flies) is on
a pitch which is a major third higher than the surrounding pitches. This syllable also
falls on a strong musical beat (see Figure 1). Pizzetti makes no attempt to preserve in
La vi -ia fiig.g'e
Fig. 1--The declamatory style of the vocal line,measures I and 2, "La vita fugge e non s'arrestaun'ora . . .
his music the regular rhythmic accent of the poem, but sets the text so that the words
are stressed as they would be in prose.
The feminine beginnings which occur in the poetry at the first of each line in the
first quatrain are musically unaccented. In the first three instances the piano plays the
strong beat and the vocal line begins on the off-beat. In the last line the first word falls
on an unaccented beat in the middle of the musical phrase.
The rhythmic elements of the song are based on the eighth-, sixteenth-, and triplet-note
patterns. As the intensity of the poetry builds in the second quatrain, there is greater
use of sixteenth-note patterns. This is the result of Pizzetti's desire to preserve the natural
rhythm of the language and his desire to increase the speed of declamation as an expressive
device building the climax.
Another expressive device is found in the harmonic structure of the songs. The
harmony of the accompaniment is triadic in nature but the chords are not used functionally.
There is some parallel chordal movement, and there is occasional use of seventh and ninth
chords. These chords are used in expressing the intense words found in the third line
of the first quatrain, and at the end of the octave. These two points have been seen
to be phrases of intense musical and poetic expression. Seventh chords are also used in
the sestet to link the recitative-like lines of the melodic material.
The harmonic texture is kept simple in the first two phrases, using only triads. In
some instances only two pitches are sounded. Pizzetti uses this type of textural and
35
harmonic device when there is a fall in the intensity of the poetry and a feeling of
depression and loneliness is desired. This type of expression can be observed in the first
quatrain and in the last half of the sestet.
Complexity of harmonic texture is also an important expressive device in these songs.
The more complex passages in the accompaniment occur at points in the text which are
most dramatically expressive. The chordal texture is thickened in measure six which
corresponds to, the rise in intensity on the first quatrain already mentioned. The most
agitated texture occurs as the second quatrain is building toward the climax at the middle
of the song.
Another important aspect of "La vita fugge . . ." is the way in which Pizzetti used
a single musical idea as a unifying factor for the entire song. This musical idea will be
considered for both harmonic and melodic elements as they function as unifying factors.
The motive appears in its original form in the first four beats of the song (see Figure
2). Harmonically it consists of a minor third sustained for two beats (f a-flat). On the
7-1
Fig. 2--The harmonic motive, measures 1 and 2"La vita fugge e non s'arresta un'ora .
last half of the second beat there is an eighth-note passing tone (b b-flat) leading to a
minor triad (e g b-natural) sustained for a beat and a half. This harmonic motive also
appears in measures ten and eleven in double form, sounded in both the right and left
hands, thus giving the beginnings of the first and second quatrains a similar musical setting.
The intensity at the beginning of the second quatrain is kept at a higher level by doubling
the pattern. This relates to the slightly higher degree of poetic tension at this point.
36
- An even more important unifying factor is the melodic material of this musical idea.
It consists of a three-note ascending motive which begins on a-flat for a dotted quarter-note,
ascends to b-flat for an eight1-note, and rises again to b-flat for beat and a half (see
Figure 2). It is this ascending motive and its inversion and variations upon which the
entire structure of the song is based. The motive in its original form is found at varying
pitch levels, in measures one, two, ten and eleven. It is found again in shorter note values
in the last two beats of measure four and the first two beats of measure five in the
left hand of the accompaniment (see Figure 3). The same melodic idea is found in
S-T
Fig. 3--The variation of the melodic motivemeasures 4 and 5, "La vita fugge e non s'arresta un'ora . . . .
eighth-notes in the first two beats of measure eight (see Figure 4). It is found in a slightly
Fig. 4--The variation of the melodic motivemeasure 8, "La vita fugge e non s'arresta un'ora . .
expanded form in measures twelve and thirteen, in the right hand of the accompaniment
(see Figure 5). A much more complex and expanded form of this melodic idea is found
37
Fig. 5-The variation of the melodic motive, measures 12
and 13, "La vita fugge e non s'arresta un'ora . . . .
in measures fourteen, fifteen and sixteen (see Figure 6). It occurs again in seventeen (see
V-,7i
rr
Fig. 6--The variation of melodic motive, measures 14, 15,and 16, "La vita fugge e non s'arresta un'ora . . . .
Figure 7) and again in measure eighteen (see Figure 8). It is also found in triplet eighth-notes
Fig. 7-The variation of the melodic motive, measure 17,
"La vita fugge e non s'arresta un'ora . . . .
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on the first beat of measures twenty-two, twenty-three and twenty-four (see Figure 9).
Fig. 8--The variation of the melodic motive,measure 18, "La vita fugge e non s'arresta un'ora .
It is found in an inverted variation on the last two beats of measure three and measure
four (see Figure 10). It is used to end the first quatrain in an expanded inversion in
Fig. 9-The variation of the melodic motive, measures22, 23, and 24, "La vita fugge e non s'arresta un'ora . . . .
measures eight and nine (see Figure 11). It occurs in an inversion once again in eighth
notes in the last two beats of measure seventeen (see Figure 12). Its inversion occurs
in triplet eighth notes on the second beats of measures twenty-two, twenty-three and
twenty-four (see Figure 9).
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Fig. 10-The inversion and variation of the melodicmotive, measures 3 and 4, "La vita fugge e non s'arresta un'ora . .
In the vocal line this motive, its inversion, or variations can be found in measures
easier by giving the vocal lines of each speaker a particular quality and direction. It is
also important that the singer understand the backgrounds of the two speakers and make
an attempt to project himself into these personalities.
;o--- I
S ____- ~ ______________
Fig. 26-The variation of the unifying melodicidea, measures 12 and 13, "Levommi il mio pensier . .
_________
7
) -- _________ _____ __________________
CHAPTER IV
CONCLUSIONS
In the consideration of the interpretation of the Tre Sonetti del Petrarca, the main
aspect that the performer should understand is the poetry and its relationship to the poet
and the composer. This knowledge will enable the performer to relate the poetry to himself
and thus facilitate his communication with his audience.
The poet, Francesco Petrarch, wrote these poems upon hearing of the death of the
woman he loved. The poems are expressions of the grief and loneliness which Petrarch
felt at this loss. The woman, Laura, was married to another man and never gave the
poet any indication that his feelings for her could be returned. The composer, Ildebrando
Pizzetti, selected these poems and set them to music following the death of his first wife,
Maria.
In the first song, the most important aspect of the music is the declamatory style.
The recitative-like vocal line is sustained by a thin accompaniment. The performer must
be aware of the value of differentiating the sixteenth- and thirty-second notes, and should
take care to remain faithful to the printed note values. Pizzetti, in composing the music,
gave careful attention to the natural inflection of the Italian language, and he would expect
the performer to give specific attention to the rhythms in order to preserve and
communicate this inflection to the audience. Although the vocal line is declamatory in
style, the performer should strive to maintain a flowing legato to avoid a segmented vocal
line.
The single constructional element which unifies the song is the melodic motive found
in the first two measures. It is this motive around which the entire song is based. The
motive appears at various pitch levels and in many variations. Its original form and inversion
are used to create an arching melodic line which is the basic form for the entire
composition.
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58
The second song contains a more lyric vocal line than the other two pieces. The
accompaniment is primarily chordal but with some imitation of the voice. The unifying
element of the song is based on the call of the nightingale found in the first two measures.
The performer should realize that the imitation and repetition found in the vocal line
and accompaniment are based on this lyric call. He should strive to create this effect.
The most important aspect of the third song is the continuous rising declamatory
quality of the vocal line. This rising line is accompanied by a thin chordal structure in
the piano. The performer should understand that this song is different from the other
two songs in that it has two speakers in the text which have been given vocal lines with
differing melodic qualities. The melodic lines are also based on a single idea. This idea,
however, is more rhythmic than melodic in nature.
The three songs are all basically declamatory in style, with the first and last being
more so than the second. Although all of the songs have some lyrical qualities, the second
is based on lyricism.
The texts of the first and last songs contain a vision. In the first song, the poet
sees himself as a ship seeking port in a storm. In the text of the third song, the poet
envisions the dead woman he once loved and hears her speaking to him, assuring him
that they will soon be together in heaven.
The three songs are each based on an individual melodic idea. In the first song, the
melodic motive is found in the first two measures. The second song is constructed around
the melodic material found in the first line of the song, the imitation of the call of a
nightingale. The third song is constructed around the contrasting qualities of the vocal
lines of each character in the poem.
It is hoped that this analysis will present material which will be of value to the
prospective performer and aid him in the preparation of the songs. It is not intended
to limit the performer to a given interpretation, but to inspire him to arrive at his own
interpretation, influenced by his own physical and psychological experiences.
APPENDIX
THE TEXT AND TRANSLATIONS OFTRE SONETTI DEL PETRARCA
Sonnet I
La vita fugge e non s'arresta un'ora;E la morte vien dietro a gran giornate;E le cose presenti e le passateMi danno guerra, e le future ancora.
E '1 rimembrar e l'aspettar m'accoraOr quinci or quindi si, che'n veritate,Se non ch'i'ho di me stesso pietate,I' sarei gii di questi pensier fora.
Tornami avanti s'alcun dolce maiEbbe '1 cor tristo; e poi dal l'altra parte
Veggio al mio navigar turbati i venti:
Veggio fortuna in porto, e stanco omaiI mio nocchier, e rotte arbore e sarte,E i lumi bei, che mirar soglio, spenti . . . .
Translation I
Life flees without stopping an hour;And death comes quickly, by great strides;
And things of the present and pastAfflict me, and the thoughts of the future even more.
And the remembering and the waiting pierce my heart
Now from here, now from there, in truth all is the same,
If I did not take pity upon myself,I would always be withdrawn in my thoughts.
If ever sweet thoughts return to me
I have a sad heart; and then from different partsI see my navigation in agitating winds:
'Ildebrando Pizzetti, Tre Sonetti del Petrarca, (Milan, 1923). Translated by CherylHuffman Doan, assisted by~Anthony ILYinico, N. 'T. S. U.
59
60
I see my good fortune in port, and now wearyIs my pilot, and broken my mast, and tattered my sail,
And the beautiful lights which I am accustomed to beholdare extinguished.
Sonnet II
Quel rosignuol che si soave piagne
Forse suoi figlio sua cara consorte,
Di dolcezza empie il cielo e le campagneCon tante note si pietose e scorte;
E tutta notte par che m'accompagneE mi rammente la mia dura sorte:
Ch'altri che me non ho di cui mi lagne:
Che'n Dee non credev'io regnasse Morte
O che lieve e ingannar chi s'assecura!Que' duo bei lumi, assai piu che'l Sol chiariChi penso mai veder far terra oscura? . . .
Or conosch'io che mia fera ventura . . .Vuol che vivendo e lagrimando impari . . .
Come nulla quaggiti diletta e dura
Translation II
That nightingale that gently laments so sweetly,
Perhaps it is his child or his beloved mate,Fills the heaven and earth with sweetness,
With so many, so pitiful notes, and so well chosen:
And every night it seems that each note accompanies me,
And reminds me of my own harsh, cruel fortune:I have no one but myself to blame:
Because I did not believe that death might reign over
a goddess.
O how easy it is to deceive one who considers himself secure!
Those two beautiful eyes, much clearer than the sun,Whoever expected to see them turn dark?
Now I know that my harsh, cruel fateDemands that living and weeping, I should learnThat nothing in this life should last forever.
2 lbid.
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Sonnet III
Levommi il mio pensier in parte ov'eraQuella ch'io cerco e non ritro vo in tera:Ivi, fra lor che'l terzo cerchio serra,La rividi piin bella e meno altera
Per man iri prese e disse: In questa speraSaria ancor meco, se'l desir non erra:I'son colei che ti die' tanta guerraE compie' mia giornata innanzi serra . . .
Mio ben non cape in intelletto umano:Te solo aspetto e quel che tanto amasti,E laggiuso e rimaso, il mio bel velo . . .
Deh... perch tacque \ed allargb al mano?Ch'al suon di dette si pietosi e castiPoco manco chi'io non rima si in cielo . . .
Translation III
My thoughts lifted me to a placeWhere the one I seek was, the one I do not find on earth;There among those who are contained in that third heaven,There I saw her again, more beautiful and less haughty.
By the hand she gripped me and said: In this sphereYou will also be with me, unless my hope proves false.I am she, the one who gave so much war to your heart,And whose day ended before evening fell.
My happiness is inconceivable to the human mind:Thee only I expect, and that which you lived so muchBut which has remained there below, my beautiful veil.
Oh alas, why did she fall silent and withdraw her hand?For at the sound of her words, so compassionate and hallowed,Little remained that I might be in heaven.
lbid.
BIBLIOGRAPHY
Books
Campbell, Thomas, Life of Petrarch, Vol. I & II, London, Henry Colburn, 1841.
Campbell, Thomas and others, The Sonnets, Triumphs, and Other Poems of Petrarch,London, Henry G. Bohn, 1859.
Ewen, David, Composers of Today, New York, H. H. Wilson, 1936.
Ewen, David, The Book of Modern Composers, New York, Alfred A. Knopf, 1950.
Ewen, David, The Complete Book of 20th Century Music, new and rev. ed., EnglewoodCliffs, New Jersey, Prentice-Hall, Inc., 1959.
Ewen, David, The New Book of Modem Composers, 3rd ed., New York, Alfred A. Knopf,1961.
Ewen, David, The World of Twentieth Century Music, Englewood Cliffs, New Jersey,Prentice-Hall, Inc., 1969.
Gatti, Guido M., Ildebrando Pizzetti, translated by David Moore, London, D. Dobson,1951.
Hall, James Husst, The Art Song, Norman, Oklahoma, University of Oklahoma Press, 1969.
Kagen, Sergius, Music for the Voice Bloomington, Indiana, Indiana University Press, 1968.
Main, C. F. and Peter J. Seng, Poems, Belmont, California, Wadsworth Publishing Company,Inc., 1966.
Miller, Hugh Milton, History of Music, New York, Barnes & Noble, 1964.
Stevens, Denis, editor, A History of Song, New York, W. W. Norton & Co., Inc., 1961.
Articles
Antcliffe, Herbert, "Pizzetti as a song writer," Chesterian, XX (1922), 108-111.
Freeman, John W., "Obituary . . . , Ildebrando Pizzetti," Opera News, XXXII (March16, 1968), 33.
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63
Gatti, Guido M., "The music-drama of Ildebrando Pizzetti," translated by Gwyn Morris,
Opera-Annual, VII (1960), 94-101.
Gatti, Guido M., "Ildebrando Pizzetti," Musical Quarterly, IX (January-April, 1923),
96-121, 271-286.
Pizzetti, Ildebrando, "Music and Drama," Musical Quarterly, XVII (October, 1960),