The Annunciation - Convent of San Marco, Florence

Hortus conclusus is a Latin term, meaning literally "enclosed garden". "The word 'garden' is at root the same as the word 'yard'. It means an enclosure", observed Derek Clifford, at the outset of a series of essays on garden design, in which he skirted the conventions of the hortus conclusus.^[1] Thus, at their root, both of the words in hortus conclusus refer linguistically to enclosure.

Hortus conclusus is both an emblematic attribute and a title of the Virgin Mary in Medieval and Renaissance poetry^[2] and art, suddenly appearing in paintings and manuscript illuminations about 1400,^[3] as well as a genre of actual garden that was enclosed both symbolically and as a practical concern, a major theme in the history of gardening.^[4]

[edit] The Virgin Mary as hortus conclusus

Martin Schongauer, 1473

The term hortus conclusus is derived from the Vulgate Bible's Canticle of Canticles (also called the Song of Songs or Song of Solomon) 4:12, in Latin: "Hortus conclusus soror mea, sponsa, hortus conclusus, fons signatus" ("A garden enclosed is my sister, my spouse; a garden enclosed, a fountain sealed up."^[5] This provided the shared linguistic culture of Christendom, expressed in homilies expounding the Song of Songs as allegory where the image of King Solomon's nuptial song to his bride was reinterpreted as the love and union between Christ and the Church, the mystical marriage with the Church as the Bride of Christ. The verse "Thou art all fair, my love; there is no spot in thee" (4.7) from the Song was also regarded as a scriptural confirmation of the developing and still controversial doctrine of Mary's Immaculate Conception - being born without Original Sin ("macula" is Latin for spot).

Christian tradition states that Jesus Christ was conceived to Mary miraculously and without disrupting her virginity by the Holy Spirit, the third person of the Holy Trinity. As such, Mary in late medieval and Renaissance art, illustrating the long-held doctrine of the Perpetual virginity of Mary, as well as the Immaculate Conception, was shown in or near a walled garden or yard. This was a representation of her "closed off" womb, which was to remain untouched, and also of her being protected, as by a wall, from sin. In the Grimani Breviary, scrolling labels identify the emblemmatic objects betokening the Immaculate Conception: the enclosed garden (hortus conclusus), the tall cedar (cedrus exalta), the well of living waters (puteus aquarum viventium), the olive tree (oliva speciosa), the fountain in the garden (fons hortorum), the rosebush (plantatio rosae).^[6] Not all actual medieval horti conclusi even strove to include all these details, the olive tree in particular being insufficiently hardy for northern European gardens.

The enclosed garden is recognizable in Fra Angelico's Annunciation (illustration, above right), dating from 1430-32.

Two places of pilgrimage are dedicated to the virgin Mary "The Garden Enclosed," both in the Dutch/Flemish cultural area. The most well-known nowadays is the statue venerated in the hermitage-chapel of Warfhuizen, Our Lady the Garden Enclosed. The second one is called "Onze Lieve Vrouw van Tuine," literally "Our Lady of the Garden," venerated in Ypres cathedral.

Actual gardens[link]

All gardens are by definition enclosed or bounded spaces, but the enclosure may be somewhat open, and consist of columns, low hedges or fences. An actual walled garden, literally surrounded by a wall, is a subset of gardens. The meaning of hortus conclusus suggests a more private style of garden.

In the history of gardens the High Medieval hortus conclusus typically had a well or fountain at the center, bearing its usual symbolic freight (see "Fountain of Life") in addition to its practical uses. The convention of four paths that divided the square enclosure into quadrants, was so strong that the pattern was employed even where the paths led nowhere. All medieval gardens were enclosed, protecting the private precinct from public intrusion, whether by folk or by stray animals. The enclosure might be as simple as woven wattle fencing or of stout or decorative masonry; or it might be enclosed by trelliswork tunneled pathways in a secular garden or by an arcaded cloister, for communication or meditative pacing.

Plan of Saint Gall, c 816-30

The origin of the cloister is in the Roman colonnaded peristyle, as every garden history notes; the ruined and overgrown Roman villas that were so often remade as the site of Benedictine monasteries had lost their planted garden features with the first decades of abandonment: "gardening, more than architecture, more than painting, more than music, and far more than literature, is an ephemeral art; its masterpieces disappear, leaving little trace."^[7] Though "when, in 1070, the abbey of Cassino^[8] was rebuilt," Georgina Masson observed,^[9] "the garden was described as 'a paradise in the Roman fashion'", it may have been merely "the aura of the great classical tradition" alone that had survived. The ninth-century idealised plan of Saint Gall (illustration) shows an arcaded cloister with a central well and cross paths from the centers of each range of arcading, but when a consciously patterned garden was revived for the medieval cloister, the patterning came through Norman Sicily and its hybrid culture that adapted many Islamic elements, in this case the enclosed North African courtyard gardens, ultimately based on the Persian garden tradition.

The practical enclosed garden was laid out in the treatise by Pietro Crescenzi of Bologna, Liber ruralium commodorum, a work that was often copied, as the many surviving manuscripts of its text attest, and often printed in the fifteenth and sixteenth centuries. Late medieval paintings and illuminations in manuscripts such as for The Romance of the Rose— where the garden in the text is largely allegorical— often show a turfed bank for a seat as a feature of the hortus conclusus. Only in the fifteenth century, at first in Italy, did some European gardens begin to look outward.

Virgin and Child with saints and donor family, Cologne, c. 1430

Sitting, walking and playing music were the activities most often portrayed in the numerous fifteenth-century paintings and illuminated manuscripts, where strenuous activities were inappropriate. In Rome, a late fifteenth-century cloister at San Giovanni dei Genovesi was constructed for the use of the Genoese natio, an Ospitium Genoensium, as a plaque still proclaims, which provided shelter in cubicles off its vaulted encircling arcades, and a meeting place and shelter reuniting those from the distant home city.^[10]

Somewhat earlier, Pietro Barbo, who became Pope Paul II in 1464, began the construction of a hortus conclusus, the Palazzetto del Giardino di San Marco, attached to the Venetian Cardinals' Roman seat, the Palazzo Venezia.^[11] It served as Paul's private garden during his papacy; inscriptions stress its secular functions as sublimes moenibus hortos...ut relevare animum, durasque repellere curas, a garden of sublime delights, a retreat from cares, and praise it in classicising terms, as the home of the dryads, suggesting that there was a central grove of trees, and mentioning its snowy-white stuccoed porticoes. An eighteenth-century engraving shows a tree-covered central mount, which has been recreated in the modern replanting, with box-bordered cross and saltire gravelled paths.^[12]

The Farnese Gardens (Orti Farnesiani sul Palatino-- or "Gardens of Farnese upon the Palatine") were created by Vignola in 1550 on Rome's northern Palatine Hill, for Cardinal Alessandro Farnese (1520-89). These become the first private botanical gardens in Europe (the first botanical gardens of any kind in Europe being started by Italian universities in the mid-16th century, only a short time before). Alessandro called his summer home at the site Horti Farnesiani, probably in reference to the hortus conclusus. These gardens were also designed in the Roman peristylium style with a central fountain. ^[13]

Again in the age of the automobile, the enclosed garden that had never disappeared in Islamic society, became an emblem of serenity and privacy in the Western world.

In art[link]

The hortus conclusus was one of a number of depictions of the Virgin in the late Middle Ages developed to be more informal and intimate than the traditional hieratic enthroned Virgin adopted from Byzantine icons, or the Coronation of the Virgin. Germany and the Netherlands in the 15th century saw the peak popularity of this depiction of the Virgin, usually with Child, and very often a crowd of angels, saints and donors, in the garden - the garden by itself, to represent the Virgin, was much rarer. Often walls, or trellises close off the sides and rear, or it may be shown as open, except for raised banks, to a landscape beyond. Sometimes, as with a Gerard David in London, the garden is very fully depicted; at other times, as in engravings by Martin Schongauer, only a wattle fence and a few sprigs of grass serve to identify the theme. Italian painters typically also keep plants to a minimum, and do not have grass benches. A sub-variety of the theme was the German "Madonna of the Roses", sometimes attempted in sculptured altarpieces. The image was rare in Orthodox icons, but there are at least some Russian examples.^[14]

Hunt of the Unicorn Annunciation (ca. 1500) from a Netherlandish Book of Hours. In this example Gideon's fleece is worked in as well, and the altar at the rear has Aaron's rod that miraculously flowered in the centre. Both are types for the Annunciation.^[15]

One type of depiction, not usually compatible with correct perspective, concentrates on showing the whole wall, and several garden structures or features that symbolize the mystery of Christ's conception, mostly derived from the Song of Songs or other Biblical passages, as interpreted by theological writers. These may include one or more temple or church-like buildings, an Ivory Tower (SS 7.4), an open-air altar with Aaron's rod flowering, surrounded by the bare rods of the other tribes, a gatehouse "tower of David, hung with shields" (SS 7.4),^[16] with the gate closed, the Ark of the Covenant, a well (often covered), a fountain, and the morning sun above (SS 6.10).^[17] This type of depiction usually shows the Annunciation, although sometimes the child Jesus is held by Mary.^[18] The miniature at right shows a relatively simple example; below a large Spanish altarpiece is able to combine many of the usual features (others no doubt contained in the many chapels) with correct perspective.

A rather rare, late 15th century, variant of this depiction was to combine the Annunciation in the hortus conclusus with the Hunt of the Unicorn and Virgin and Unicorn, so popular in secular art. The unicorn already functioned as a symbol of the Incarnation and whether this meaning is intended in many prima facie secular depictions can be a difficult matter of scholarly interpretation. There is no such ambiguity in the scenes where the archangel Gabriel is shown blowing a horn, as hounds chase the unicorn into the Virgin's arms, and a little Christ Child descends on rays of light from God the Father. The Council of Trent finally banned this somewhat over-elaborated, if charming, depiction,^[19] partly on the grounds of realism, as no one now believed the unicorn to be a real animal. In the 16th century the subject of the hortus conclusus drifts into the open air Sacra Conversazione and the Madonnas in a landscape of Giovanni Bellini, Albrecht Dürer and Raphael, where it is hard to say if an allusion is intended.

An exhibition of later medieval visual representations of hortus inclusus was mounted at Dumbarton Oaks, Washington DC;^[20] the exhibition drew a distinction between "garden representations as thematic reinforcements and those that seemingly treat the garden as a subject in itself"; in reviewing it Timothy Husband, warned against uncritical interpretation of the refined detail in manuscript illuminations' "seemingly objective representation". "Late medieval garden imagery, by subjugating direct observation to symbolic or allegorical intention, reflects more a state of mind than reality," ^[21] if a disjunct can be detected where the objects of the world shimmered with pregnant allegorical meaning. South Netherlandish illuminations and painting appear to document the "turf benches, fountains, raised beds, 'estrade'^[22] trees, potted plants, walkways, enclosing walls, trellises, wattle fences and bowers" familiar to contemporary viewers, but assembled into an illusion of reality.^[23]

• 

  Gentile da Fabriano

• 

  Fra Angelico

• 

  Gerard David

• 

  Stefan Lochner

• 

  Bartolomé Bermejo, Virgen de Montserrat altarpiece, 1485

• 

  Cologne, ca. 1520

Modern cultural references[link]

The concept for the 2011 Serpentine Gallery Pavilion was the hortus conclusus, a contemplative room, a garden within a garden. Designed by Swiss architect Peter Zumthor and with a garden created by Piet Oudolf, the Pavilion was a place abstracted from the world of noise and traffic and the smells of London – an interior space within which to sit, to walk, to observe the flowers.^[24]

References[link]

External links[link]

• Hortus conclusus as one of a number of Devotional Images
• The Garden of Eden, a hortus conclusus by the Master of the Upper Rhineland
• Early Delights, excellent piece by Jemima Montagu on the symbolism of the garden

Castelvecchio, stairs by Carlo Scarpa

Castelvecchio, by Carlo Scarpa

Wikimedia Commons has media related to: Buildings by Carlo Scarpa

Carlo Scarpa (June 2, 1906–1978), was an Italian architect, influenced by the materials, landscape, and the history of Venetian culture, and Japan.^[1] Scarpa was also a glass and furniture designer of note.

Scarpa was born in Venice. Much of his early childhood was spent in Vicenza, where his family relocated when he was 2 years old. After his mother's death when he was 13, he, his father and brother moved back to Venice. Carlo attended the Academy of Fine Arts where he focused on architectural studies. Graduated from the Accademia in Venice, with the title of Professor of Architecture, he apprenticed with the architect Francesco Rinaldo. Scarpa married Rinaldo's niece, Onorina Lazzari.

However, Scarpa refused to sit the pro forma professional exam administrated by the Italian Government after World War II. As a consequence, he was not permitted to practice architecture without associating with an architect. Hence, those who worked with him, his clients, associates, craftspersons, called him "Professor", rather than "architect".

His architecture is deeply sensitive to the changes of time, from seasons to history, rooted in a sensuous material imagination. He was Mario Botta's thesis adviser along with Giuseppe Mazzariol; the latter was the Director of the Fondazione Querini Stampalia when Scarpa completed his renovation and garden for that institution. Scarpa taught drawing and Interior Decoration at the Istituto universitario di architettura di Venezia from the late 1940s until his death. While most of his built work is located in the Veneto, he made designs of landscapes, gardens, and buildings, for other regions of Italy as well as Canada, the United States, Saudi Arabia, France and Switzerland. His name has 11 letters and this is used repeatedly in his architecture.^[2]

One of his last projects, left incomplete at the time of his death, was recently altered (October 2006) by his son Tobia: the Villa Palazzetto in Monselice. This work is one of Scarpa's most ambitious landscape and garden projects, the Brion Sanctuary notwithstanding. It was executed for Aldo Businaro, the representative for Cassina who is responsible for Scarpa's first trip to Japan. Aldo Businaro died in August 2006, a few months before the completion of the new stair at the Villa Palazzetto, built to commemorate Scarpa's centenary.

In 1978, while in Sendai, Japan, Scarpa died after falling down a flight of concrete stairs. He survived for ten days in a hospital before succumbing to the injuries of his fall. He is buried standing up and wrapped in linen sheets in the style of a medieval knight, in a private, semi-hidden alcove in the inside corner of his L-shaped Brion family cemetery at San Vito d'Altivole in the Veneto.

In 1984, the Italian composer Luigi Nono dedicated him the composition for orchestra to micro-intervals A Carlo Scarpa, Architetto, Ai suoi infiniti possibili.

Notable works[link]

• Gallerie dell'Accademia
• Central Pavilion in the Giardini at the Venice Biennale
• Palazzo Ca'Foscari, Venice, 1935–1956
• Venezuela-Pavilion, Biennale, Venice, Italy, 1954–1956
• Museo di Castelvecchio, Verona, Italy, 1956–1964
• Showroom of Olivetti, St. Mark's Square, Venice, Italy, 1957–1958
• Fondazione Querini Stampalia, Venice, 1961–1963
• Brion Tomb and Sanctuary, at San Vito d'Altivole, Italy, 1969–1978
• Banca Popolare, Verona, Italy, 1973

References[link]

1. ^ http://www.lincoln.ac.uk/home/conferences/human/papers/Cannata.pdf Carlo Scarpa and Japan The influence of Japanese art and architecture in the work of Carlo Scarpa
2. ^ http://www.springerlink.com/content/342q350164x13652/fulltext.pdf Architectural Traces of an Admirable Cipher: Eleven in the Opus of Carlo Scarpa

Bibliography[link]

• Francesco Dal Co; Giuseppe Mazzariol (2002). Carlo Scarpa : The Complete Works. Rizzoli, (Paperback)
• M. A. Crippa (1986). Carlo Scarpa, Theory, Design, Projects. MIT Press, Cambridge, Mass.
• Nicholas Olsberg (1999). Carlo Scarpa Architect: Intervening With History. The Monacelli Press, New York. ISBN 1-58093-035-2
• Sergio Los (1967). Carlo Scarpa Architetto Poeta. CLUVA, Venezia.
• (Italian) Sergio Los (1995). Carlo Scarpa, guida all’architettura. Arsenale Editrice, Venezia. ISBN 88-7743-144-X
• Sergio Los (2009). SCARPA. Taschen, Koln. ISBN 978-3-8365-0758-5
• (Italian) Franca Semi (2010). A lezione con Carlo Scarpa. Cicero editore, Venezia. ISBN 978-88-89632-26-0
• (Italian) Carla Sonego (1995). Carlo Scarpa. Gli anni della formazione. Venice: IUAV, (unpublished thesis, Professor Marco De Michelis, Supervisor).

External links[link]

• Digital Archive of Carlo Scarpa
• Buildings
• Biography
• Biography
• Portrait

Gaetano Gabriele D'Annunzio
Born	(1863-03-12)12 March 1863 Pescara
Died	1 March 1938(1938-03-01) (aged 74) Gardone Riviera
Occupation	Poet, journalist, novelist, dramatist, soldier
Literary movement	Decadent movement

Gabriele D'Annunzio or d'Annunzio^[1] (ennobled by the King of Italy in 1924 as Principe di Montenevoso; Italian pronunciation: [ɡabriˈɛːle danˈnuntsjo]; 12 March 1863 – 1 March 1938) was an Italian poet, journalist, novelist, dramatist, and soldier during World War I. He was a prominent Italian nationalist figure. His role in politics is controversial due to his influence on the Italian Fascist movement and his status as the alleged forerunner of Benito Mussolini.

Early life[link]

D'Annunzio was of Dalmatian extraction.^[2] He was born in Pescara, Abruzzo, the son of a wealthy landowner and mayor of the town whose name was originally Francesco Rapagnetta, to which both father and son legally added D'Annunzio. The son was baptized Gaetano and gained the name of Gabriele as a nickname in childhood, from his angelic looks.^[3] His precocious talent was recognised early in life, and he was sent to school at the Liceo Cicognini in Prato, Tuscany. He published his first poetry while still at school at the age of sixteen with a small volume of verses called Primo Vere (1879), influenced by Giosuè Carducci's Odi barbare, in which, side by side with some almost brutal imitations of Lorenzo Stecchetti, the fashionable poet of Postuma, were some translations from the Latin, distinguished by such agile grace that Giuseppe Chiarini on reading them brought the unknown youth before the public in an enthusiastic article. In 1881 D'Annunzio entered the University of Rome La Sapienza, where he became a member of various literary groups, including Cronaca Bizantina and wrote articles and criticism for local newspapers. In those university years he started to promote Italian irredentism.

Literary work[link]

This unreferenced section requires citations to ensure verifiability.

Here he published Canto novo (1882), Terra vergine (1882), L'intermezzo di rime (1883), Il libro delle vergini (1884) and the greater part of the short stories that were afterwards collected under the general title of San Pantaleone (1886). Canto novo contains poems full of pulsating youth and the promise of power, some descriptive of the sea and some of the Abruzzese landscape, commented on and completed in prose by Terra vergine, the latter a collection of short stories dealing in radiant language with the peasant life of the author's native province. Intermezzo di rime is the beginning of D'Annunzio's second and characteristic manner. His conception of style was new, and he chose to express all the most subtle vibrations of voluptuous life. Both style and contents began to startle his critics; some who had greeted him as an enfant prodige rejected him as a perverter of public morals, whilst others hailed him as one bringing a breath of fresh air and an impulse of a new vitality into the somewhat prim, lifeless work hitherto produced.

Meanwhile the review of Angelo Sommaruga perished in the midst of scandal, and his group of young authors found itself dispersed. Some entered the teaching career and were lost to literature, others threw themselves into journalism.

Gabriele D'Annunzio took this latter course, and joined the staff of the Tribuna. For this paper, under the pseudonym of "Duca Minimo", he did some of his most brilliant work, and the articles he wrote during that period of originality and exuberance would well repay being collected. To this period of greater maturity and deeper culture belongs Il libro d'Isotta (1886), a love poem, in which for the first time he drew inspiration adapted to modern sentiments and passions from the rich colours of the Renaissance.

Il libro d'Isotta is interesting also, because in it we find most of the germs of his future work, just as in Intermezzo melico and in certain ballads and sonnets we find descriptions and emotions which later went to form the aesthetic contents of Il piacere, Il trionfo della morte and Elegie romane (1892).

D'Annunzio's first novel Il piacere (1889, translated into English as The Child of Pleasure) was followed in 1891 by Giovanni Episcopo, and in 1892 by L'innocente (The Intruder). These three novels made a profound impression. L'innocente, admirably translated into French by Georges Herelle, brought its author the notice and applause of foreign critics. His next work, Il trionfo della morte (The Triumph of Death) (1894), was followed soon by Le vergini delle rocce (1896) and Il fuoco (1900); the latter is in its descriptions of Venice perhaps the most ardent glorification of a city existing in any language.

D'Annunzio's poetic work of this period, in most respects his finest, is represented by Il Poema Paradisiaco (1893), the Odi navali (1893), a superb attempt at civic poetry, and Laudi (1900).

A later phase of D'Annunzio's work is his dramatic production, represented by Il sogno di un mattino di primavera (1897), a lyrical fantasia in one act; his Città Morta (1898), written for Sarah Bernhardt. In 1898 he wrote his Sogno di un pomeriggio d'autunno and La Gioconda; in the succeeding year La gloria, an attempt at contemporary political tragedy which met with no success, probably because of the audacity of the personal and political allusions in some of its scenes; and then Francesca da Rimini (1901), a perfect reconstruction of medieval atmosphere and emotion, magnificent in style, and declared by an authoritative Italian critic — Edoardo Boutet — to be the first real, if imperfect, tragedy ever given to the Italian theatre.

In 1883 D'Annunzio married Maria Hardouin di Gallese, and had three sons, but the marriage ended in 1891. In 1894 he began a love affair with the famous actress Eleonora Duse which became a cause célèbre. He provided leading roles for her in his plays of the time such as La città morta (The Dead City) (1898) and Francesca da Rimini (1901), but the tempestuous relationship finally ended in 1910. After meeting the Marchesa (Luisa) Casati in 1903, he began a life long turbulent on again off again affair with Luisa, that lasted until a few years before his death.

In 1897 D'Annunzio was elected to the Chamber of Deputies for a three-year term, where he sat as an independent. By 1910 his daredevil lifestyle had forced him into debt, and he fled to France to escape his creditors. There he collaborated with composer Claude Debussy on a musical play Le martyre de Saint Sébastien (The Martyrdom of St Sebastian), 1911, written for Ida Rubinstein. The Vatican reacted by placing all of his works in the Index of Forbidden Books. The work was not successful as a play, but it has been recorded in adapted versions several times, notably by Pierre Monteux (in French), Leonard Bernstein (sung in French, acted in English), and Michael Tilson Thomas (in French). In 1912 and 1913, D'Annunzio worked with opera composer Mascagni on his opera Parisina, staying sometimes in a house rented by the composer in Bellevue, near Paris.

Flight over Vienna[link]

Gabriele d'Annunzio (on left) with a fellow officer.

After the start of World War I, D'Annunzio returned to Italy and made public speeches in favor of Italy's entry on the side of the Triple Entente. Since taking a flight with Wilbur Wright in 1908, D'Annunzio had been interested in aviation. With the war beginning he volunteered and achieved further celebrity as a fighter pilot, losing the sight of an eye in a flying accident. In February 1918 he took part in a daring, if militarily irrelevant, raid on the harbour of Bakar (known in Italy as La beffa di Buccari, lit. the Bakar Mockery), helping to raise the spirits of the Italian public, still battered by the Caporetto disaster. On 9 August 1918, as commander of the 87th fighter squadron "La Serenissima", he organized one of the great feats of the war, leading 9 planes in a 700-mile round trip to drop propaganda leaflets on Vienna. This is called in Italian "il Volo su Vienna", "the Flight over Vienna".

Fiume[link]

Postcard from Fiume 1921.

D'Annunzio on 1920 Fiume postage stamp. The motto Hic Manebimus Optime is Latin for: 'Here we'll stay wonderfully'

Fiume residents cheering D'Annunzio and his raiders, September 1919.

The War strengthened his ultra-nationalist and irredentist views, and he campaigned widely for Italy to assume a role alongside her wartime Allies as a first-rate European power. Angered by the proposed handing over of the city of Fiume (now Rijeka in Croatia) which had an Italian majority population, at the Paris Peace Conference, on 12 September 1919, he led the seizure by 2,000 Italian nationalist irregulars of the city, forcing the withdrawal of the inter-Allied (American, British and French) occupying forces.^[4] The plotters sought to have Italy annex Fiume, but were denied. Instead, Italy initiated a blockade of Fiume while demanding that the plotters surrender. D'Annunzio then declared Fiume an independent state, the Italian Regency of Carnaro; the Charter of Carnaro foreshadowed much of the later Italian Fascist system, with himself as "Duce" (leader). Some elements of the Royal Italian Navy, such as the destroyer Espero joined up with D'Annunzio's local forces.^[5] He attempted to organize an alternative to the League of Nations for (selected) oppressed nations of the world (such as the Italians of Fiume), and sought to make alliances with various separatist groups throughout the Balkans (especially groups of Italians, though also some Slavic groups), although without much success. D'Annunzio ignored the Treaty of Rapallo and declared war on Italy itself, only finally surrendering the city in December 1920 after a bombardment by the Italian navy.

Later life[link]

After the Fiume episode, D'Annunzio retired to his home on Lake Garda and spent his latter years writing and campaigning. Although D'Annunzio had a strong influence on the ideology of Benito Mussolini, he never became directly involved in fascist government politics in Italy, being temporarily crippled and shocked after an attempted murder in 1922. Shortly before the march on Rome, he was pushed out of a window by an unknown assailant, surviving but badly injured, and did not completely recover before Mussolini had been appointed Prime Minister and hailed by the fascists as duce del fascismo.

In 1924 he was ennobled by King Victor Emmanuel III and given the hereditary title of Principe di Montenevoso. In 1937 he was made president of the Royal Academy of Italy. D'Annunzio died in 1938 of a stroke, at his home in Gardone Riviera. He was given a state funeral by Mussolini and was interred in a magnificent tomb constructed of white marble at Il Vittoriale degli Italiani.

He was an atheist.^[6]

Politics[link]

D'Annunzio is often seen as a precursor of the ideals and techniques of Italian fascism. His own explicit political ideals emerged in Fiume when he coauthored a constitution with syndicalist Alceste de Ambris, the Charter of Carnaro. De Ambris provided the legal and political framework, to which D'Annunzio added his skills as a poet. De Ambris was the leader of a group of Italian seamen who had mutinied and then given their vessel to the service of D'Annunzio. The constitution established a corporatist state, with nine corporations to represent the different sectors of the economy (workers, employers, professionals), and a tenth (D'Annunzio's invention) to represent the "superior" human beings (heroes, poets, prophets, supermen). The Carta also declared that music was the fundamental principle of the state.

It was rather the culture of dictatorship that Benito Mussolini imitated and learned from D'Annunzio. D'Annunzio has been described as the John the Baptist of Italian Fascism,^[7] as virtually the entire ritual of Fascism was invented by D'Annunzio during his occupation of Fiume and his leadership of the Italian Regency of Carnaro.^[8] These included the balcony address, the Roman salute, the cries of "Eia, eia, eia! Alala!", the dramatic and rhetorical dialogue with the crowd, the use of religious symbols in new secular settings.^[7] It also included his method of government in Fiume, the economics of the corporate state; stage tricks; large emotive nationalistic public rituals; blackshirted followers, the Arditi, with their disciplined, bestial responses and strongarm repression of dissent.^[9] He was even said to have originated the practice of forcibly dosing opponents with large amounts of castor oil, a very effective laxative, to humiliate, disable or kill them, a practice which became a common tool of Mussolini's blackshirts.^[10][11][12]

D'Annunzio advocated an expansionist Italian foreign policy and applauded the invasion of Ethiopia.

Rivalry with Mussolini[link]

As John Whittam notes in his essay "Mussolini and The Cult of the Leader":^[13]

…This famous poet, novelist and war hero was a self-proclaimed Superman. He was the outstanding interventionist in May 1915 and his dramatic exploits during the war won him national and international acclaim. In September 1919 he gathered together his 'legions' and captured the disputed seaport of Fiume. He held it for over a year and it was he who popularised the black shirts, the balcony speeches, the promulgation of ambitious charters and the entire choreography of street parades and ceremonies. He even planned a march on Rome. One historian had rightly described him as the 'First Duce' and Mussolini must have heaved a sigh of relief when he was driven from Fiume in December 1920 and his followers were dispersed. But he remained a threat to Mussolini and in 1921 Fascists like Balbo seriously considered turning to him for leadership.

In contrast Mussolini vacillated from left to right at this time. Although Mussolini's fascism was heavily influenced by the Carta del Carnaro, the constitution for Fiume written by Alceste De Ambris and D'Annunzio, neither wanted to play an active part in the new movement, both refusing when asked by Fascist supporters to run in the elections of May 15, 1921. Before the March on Rome, De Ambris even went so far as to depict the Fascist movement as: "a filthy pawn in Mister Giolitti's game of chess, and made out of the least dignified section of the bourgeoisie"

D'Annunzio was seriously injured when he fell out of a window on 13 August 1922; subsequently the planned "meeting for national pacification" with Francesco Saverio Nitti and Mussolini was cancelled. The incident was never explained and is considered by some historians an attempt to murder him, motivated by his popularity. Despite D'Annunzio's retreat from active public life after this event, the Duce still found it necessary to regularly dole out funds to D'Annunzio as a bribe for not re-entering the political arena. When asked about this by a close friend, Mussolini purportedly stated: "When you have a rotten tooth you have two possibilities open to you: either you pull the tooth or you fill it with gold. With D'Annunzio I have chosen for the latter treatment."^[14]

Nonetheless, D'Annunzio kept attempting to intervene in politics almost until his death in 1938. He wrote to Mussolini in 1933 to try to convince him not to take part in the Axis pact with Hitler. In 1934, he tried to disrupt the relationship between Hitler and Mussolini after their meeting, even writing a satirical pamphlet about Hitler. Again, in September 1937, D'Annunzio met with the Duce at the Verona train station to convince him to leave the Axis alliance. Mussolini in 1944 admitted to have made a mistake not following his advice.

Literature[link]

At the height of his success, D'Annunzio was celebrated for the originality, power and decadence of his writing. Although his work had immense impact across Europe, and influenced generations of Italian writers, his fin de siècle works are now little known, and his literary reputation has always been clouded by his fascist associations. Indeed, even before his fascist period, he had his strong detractors. A New York Times review in 1898 of his novel The Intruder referred to him as "evil", "entirely selfish and corrupt".^[15] Three weeks into its December 1901 run at the Teatro Constanzi in Rome, his tragedy Francesca da Rimini was banned by the censor on grounds of morality.^[16]

A prolific writer, his novels in Italian include Il piacere (The Child of Pleasure, 1889), Il trionfo della morte (The Triumph of Death, 1894), and Le vergini delle rocce (The Virgins of the Rocks, 1896). He wrote the screenplay to the feature film Cabiria (1914) based on episodes from the Second Punic War. D'Annunzio's literary creations were strongly influenced by the French Symbolist school, and contain episodes of striking violence and depictions of abnormal mental states interspersed with gorgeously imagined scenes. One of D'Annunzio's most significant novels, scandalous in its day, is Il fuoco (The Flame of Life) of 1900, in which he portrays himself as the Nietzschean Superman Stelio Effrena, in a fictionalized account of his love affair with Eleonora Duse. His short stories showed the influence of Guy de Maupassant. He was also associated with the bizarre Italian noblewoman Luisa Casati, an influence on his novels and one of his mistresses.

The 1911 Encyclopædia Britannica wrote of him:

…The work of d' Annunzio, although by many of the younger generation injudiciously and extravagantly admired, is almost the most important literary work given to Italy since the days when the great classics welded her varying dialects into a fixed language. The psychological inspiration of his novels has come to him from many sources—French, Russian, Scandinavian, German—and in much of his earlier work there is little fundamental originality.

His creative power is intense and searching, but narrow and personal; his heroes and heroines are little more than one same type monotonously facing a different problem at a different phase of life. But the faultlessness of his style and the wealth of his language have been approached by none of his contemporaries, whom his genius has somewhat paralysed. In his later work [meaning as of 1911], when he begins drawing his inspiration from the traditions of bygone Italy in her glorious centuries, a current of real life seems to run through the veins of his personages. And the lasting merit of D'Annunzio, his real value to the literature of his country, consists precisely in that he opened up the closed mine of its former life as a source of inspiration for the present and of hope for the future, and created a language, neither pompous nor vulgar, drawn from every source and district suited to the requirements of modern thought, yet absolutely classical, borrowed from none, and, independently of the thought it may be used to express, a thing of intrinsic beauty. As his sight became clearer and his purpose strengthened, as exaggerations, affectations, and moods dropped away from his conceptions, his work became more and more typical Latin work, upheld by the ideal of an Italian Renaissance.

In Italy some of his poetic works remain popular, most notably his poem "La pioggia nel pineto" (The Rain in the Pinewood), which exemplifies his linguistic virtuosity as well as the sensuousness of his poetry.

Museums[link]

D'Annunzio's birthplace in Pescara.

D'Annunzio's life and work are commemorated in a museum, Il Vittoriale degli Italiani. He planned and developed it himself, adjacent to his villa at Gardone Riviera on the southwest bank of Lake Garda, between 1923 and his death. Now a national monument, it is a complex of military museum, library, literary and historical archive, theatre, war memorial and mausoleum. The museum preserves his torpedo boat MAS 96 and the SVA-5 aircraft he flew over Vienna.

His birthplace is also open to the public as a museum, the Casa Natale di Gabriele D'Annunzio in Pescara.

Works[link]

Novels[link]

• Il piacere (The Child of Pleasure[1], 1889)
• Giovanni Episcopo (1891)
• L'innocente (1892)
• Il trionfo della morte (The Triumph of Death, 1894)
• Le vergini delle rocce (The Maidens of the Rocks, 1895)
• Il fuoco ( The Flame of Life: A Novel, 1900)
• Forse che sì forse che no (1910)

Tragedies[link]

• La città morta (The Dead City: a Tragedy, 1899).
• La Gioconda (Gioconda, 1899).
• Francesca da Rimini (1902). [2]
• L'Etiopia in fiamme (1904).
• La figlia di Jorio (1904).
• La fiaccola sotto il moggio (1905).
• La nave (1908).
• Fedra (1909).

Short story collections[link]

• Terra vergine (1882)
• Le novelle della Pescara (1884–1886)

Poetry collections[link]

• Primo vere (1879)
• Canto novo (1882)
• Poema paradisiaco (1893)
• The five books of Laudi del cielo, del mare, della terra e degli eroi (1903–1912)
  • Maia (Canto Amebeo della Guerra)
  • Elettra
  • Halcyon, Alcyone
  • Merope
  • Asterope (La Canzone del Quarnaro)
• Ode alla nazione serba (1914)

Autobiographical works[link]

• La Leda senza cigno
• Notturno
• Le faville del maglio
• Le cento e cento e cento e cento pagine del Libro Segreto di Gabriele D'Annunzio tentato di morire o Libro Segreto (as Angelo Cocles)

His epistolatory work, Solus ad solam, was published posthumously.

Legacy[link]

• In his honour, the Chilean poet Lucila Godoy Alcayaga took the first name of her pseudonym, Gabriela Mistral.
• Ernesto Giménez Caballero was given the nickname the "Spanish D'Annunzio".^[17]

See also[link]

• Bolesław Prus

References[link]

•  This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Annunzio, Gabriele D". Encyclopædia Britannica (11th ed.). Cambridge University Press. 
• Bleiler, Everett (1948). The Checklist of Fantastic Literature. Chicago: Shasta Publishers. pp. 22. 

Notes[link]

Further reading[link]

• Gabriele D'Annunzio: Defiant Archangel by J.R. Woodhouse (2001, ISBN 0-19-818763-7)
• D'Annunzio: The First Duce by Michael A. Ledeen (ISBN 0-7658-0742-4)
• Dannunzio: The Poet As Superman by Anthony Rhodes (ISBN 0-8392-1022-1)
• Gabriele D'Annunzio: The Dark Flame by Paolo Valesio (trans. by Marilyn Migiel, ISBN 0-300-04871-8)
• D'Annunzio and the Great War by Alfredo Bonadeo (Fairleigh Dickinson University Press, 1995, ISBN 0-8386-3587-3)
• Biographical Dictionary of the Extreme Right Since 1890 edited by Philip Rees (1991, ISBN 0-13-089301-3)
• The Appeal of Fascism: A Study of Intellectuals and Fascism 1919-1945 by Alastair Hamilton (London, 1971, ISBN 0-218-51426-3)
• Matteo Veronesi, Il critico come artista dall'estetismo agli ermetici. D'Annunzio, Croce, Serra, Luzi e altri, Bologna, Azeta Fastpress, 2006, ISBN 88-89982-05-5

External links[link]

Wikimedia Commons has media related to: Gabriele d'Annunzio

• Gabriele D'Annunzio - gabrieledannunzio.it
• www.gabrieledannunzio.net
• Gabriele D'annunzio
• Casa D'Annunzio
• D'Annunzio's museum "Il Vittoriale"
• IL VITTORIALE "La Cittadella del d'Annunzio"
• Per non dormire Eleganze notturne al Vittoriale
• Eleganze notturne al Vittoriale
• Decennale di Fiume
• Stamp Fiume
• Le Martyre de Saint Sebastien "Epistolario D'Annunzio Debussy"
• Gabriele D'Annunzio poems
• Free scores by Gabriele d'Annunzio at the International Music Score Library Project

Gian Francesco Malipiero (Italian pronunciation: [ˌdʒam franˈtʃesko maliˈpjɛːro]; 18 March 1882 - 1 August 1973) was an Italian composer, musicologist, music teacher and editor.

Life[link]

Early years[link]

Born in Venice into an aristocratic family, the grandson of the opera composer Francesco Malipiero, Gian Francesco Malipiero was prevented by family troubles from pursuing his musical education in a consistent manner. His father separated from his mother in 1893 and took Gian Francesco to Trieste, Berlin and eventually to Vienna. The young Malipiero and his father broke up their relationship bitterly, and in 1899 Malipiero returned to his mother's home in Venice, where he entered the Liceo Musicale.^[1]

After stopping counterpoint lessons with the composer, organist and pedagogue Marco Enrico Bossi, Malipiero continued studying on his own by copying out music by such composers as Claudio Monteverdi and Girolamo Frescobaldi from the Biblioteca Marciana, in Venice, thereby beginning a lifelong commitment to Italian music of that period.^[1] In 1904 he went to Bologna and sought out Bossi to continue his studies, at the Bologna Liceo Musicale ("Music High School"). After graduating, Malipiero became an assistant to the blind composer Antonio Smareglia.^[2]

Musical career[link]

In 1905 Malipiero returned to Venice, but from 1906 and 1909 was often in Berlin,^[3] following Max Bruch classes.^[4] Later, in 1913, Malipiero moved to Paris, where he became acquainted with compositions by Ravel, Debussy, De Falla, Schoenberg, Berg. Most importantly, he attended the première of Stravinsky's Le Sacre du Printemps, soon after meeting Alfredo Casella and Gabriele d'Annunzio.^[2][3] He described the experience as an awakening "from a long and dangerous lethargy".^[1][2] After that, he repudiated almost all the compositions he had written up to that time, with the exception of Impressioni dal vero (1910–11)^[1] At that time he won four composition prizes at the Accademia Nazionale di Santa Cecilia in Rome, by entering five compositions under five different pseudonyms^{[citation needed]}.

In 1917, due to the Italian defeat at Caporetto, he was forced to flee from Venice and settled in Rome.

In 1923, he joined with Alfredo Casella and Gabriele D'Annunzio in creating the Corporazione delle Nuove Musiche. Malipiero was on good terms with Benito Mussolini until he set Pirandello's libretto La favola del figlio cambiato, earning the condemnation of the fascists. Malipiero dedicated his next opera, Giulio Cesare, to Mussolini, but this did not help him.

He was a professor of composition at the Parma Conservatory from 1921 to 1924. In 1932 he became professor of composition at the then Venice Liceo Musicale, which he directed from 1939 to 1952. Among others, he taught Luigi Nono and his own nephew Riccardo Malipiero.

After permanently settling in the little town of Asolo in 1923,^[5] Malipiero began the editorial work for which he would become best known, a complete edition of all of Claudio Monteverdi's oeuvre, from 1926 to 1942, and after 1952, editing much of Vivaldi's concerti at the Istituto Italiano Antonio Vivaldi.

Compositions[link]

Malipiero had an ambivalent attitude towards the musical tradition dominated by Austro-German composers, and instead insisted on the rediscovery of pre-19th century Italian music.^[1]

His orchestral works include seventeen compositions he called symphonies, of which however only eleven are numbered. The first was composed in 1933, when Malipiero was already over fifty years old. Prior to that, Malipiero had written several important orchestral pieces but avoided the word "sinfonia" (symphony) almost completely. This was due to his rejection of the Austro-German symphonic tradition.^[5] The only exceptions to that are the three compositions Sinfonia degli eroi (1905), Sinfonia del mare (1906) and Sinfonie del silenzio e della morte (1909–1910). In such early works, the label "symphony" should not, however, be interpreted as indicating works in the Beethovenian or Brahmsian symphonic style, but more as symphonic poems.^[5]

When asked in the mid-1950s by the British encyclopedia The World of Music, Malipiero listed as his most important compositions the following pieces^{[citation needed]}:

• Pause del Silenzio for the orchestra, composed in 1917
• Rispetti e Strambotti for the chamber music, composed in 1920
• L'Orfeide for the stage, composed between 1918 and 1922, and first performed in 1924
• La Passione, a mystery play composed in 1935
• his nine symphonies, composed between 1933 and 1955 (he would compose additional symphonies in the years after this list was made)

He regarded Impressioni dal vero, for orchestra, as his earliest work of lasting importance.^[5]

Musical theory and style[link]

Even if Malipiero rarely, if ever, dealt with dodecaphony, he was strongly critical of sonata form and, in general, of standard thematic development in composition. He declared:

Malipiero's musical language is characterized by an extreme formal freedom; he always renounced the academic discipline of variation, preferring the more anarchic expression of song, and he avoided falling into program music descriptivism. Until the first half of the 1950s, Malipiero remained tied to diatonism, maintaining a connection with the pre-19th century Italian instrumental music and Gregorian chant, moving then slowly to increasingly eerie and tense territories that put him closer to total chromaticism. He did not abandon his previous style but he reinvented it. In his latest pages, it is possible to recognize suggestions from his pupils Luigi Nono and Bruno Maderna.^{[citation needed]}

His compositions are based on free, non-thematic passages as much as in thematic composition, and seldom do movements end in the keys in which they started.^[1]

When Malipiero approached the symphony, he did not do so in the so-called post-Beethovenian sense, and for this reason authors rather described his works as "sinfonias" (the Italian term), to emphasize Malipiero's fundamentally Italian, anti-Germanic approach.^[1] He remarked:

As Ernest Ansermet once declared, "these symphonies are not thematic but 'motivic': that is to say Malipiero uses melodic motifs like everyone else [...] they generate other motifs, they reappear, but they do not carry the musical discourse -they are, rather, carried by it".^[1]

Reception[link]

Recently, Malpiero's piano repertoire, including his complete concertos, has experienced a revival at the hands of noted Italian pianist Sandro Ivo Bartoli.

Selected works[link]

Orchestral music[link]

• Sinfonia degli eroi (1905)
• Sinfonia del mare (1906)
• Sinfonia del silenzio e de la morte (1909–1910)
• Impressioni dal vero prima parte (1910)
• Impressioni dal vero seconda parte (1915)
• Pause del Silenzio (1917)
• Ballet Pantea (1919)
• Cimarosiana (1921), five symphonic fragments from keyboard works of Cimarosa
• Impressioni dal vero terza parte (1922)
• Concerti (1931)
• Concerto n.1 for Piano and Orchestra (1931)
• Inni (1932)
• Concerto n.1 for Violin and Orchestra (1932)
• Sette Invenzioni (1933)
• Sinfonia n.1 "In quattro tempi, come le quattro stagioni" (1933)
• Sinfonia n.2 "Elegiaca" (1936)
• Concerto for Cello and Orchestra (1937)
• Concerto n.2 for Piano and Orchestra (1937)
• Concerto a tre for Violin, Cello, Piano and Orchestra (1938)
• Sinfonia n.3 "Delle campane" (1944–1945)
• Sinfonia n.4 "In memoriam" (1946)
• Sinfonia n.5 "Concertante in eco" (1947)
• Sinfonia n.6 "Degli archi" (1947)
• Ballet Stradivario (1948)
• Sinfonia n.7 "Delle canzoni" (1948)
• Concerto n.3 per pianoforte e orchestra (1948)
• Concerto n.4 per pianoforte e orchestra (1950)
• Sinfonia in un tempo (1950)
• Sinfonia dello Zodiaco "Quattro partite: dalla primavera all'inverno" (1951)
• Ballet El mondo novo (1951)
• Vivaldiana (1952)
• Passacaglie (1952)
• Fantasie di ogni giorno (1953)
• Elegia capriccio (1953)
• Fantasie concertanti (1954)
• Notturno di canti e balli (1957)
• Concerto n.5 for Piano and Orchestra (1958)
• Sinfonia per Antigenida (1962)
• Concerto n.2 for Violin and Orchestra (1963)
• Sinfonia n.8 "Symphonia brevis" (1964)
• Concerto n.6 for Piano and Orchestra (1964)
• Sinfonia n.9 "Dell'Ahimè" (1966)
• Sinfonia n.10 "Atropo" (1966–1967)
• Concerto per flauto e orchestra (1968)
• Sinfonia n.11 "Delle cornamuse" (1969)
• Gabrieliana (1971)
• Omaggio a Belmonte (1971)

Chamber music[link]

• Sonata for Cello and Piano (1907–1908)
• Canto della Lontananza for Violin and Piano (1919)
• String Quartet n.1 "Rispetti e strambotti" (1920)
• String Quartet n.2 "Stornelli e ballate" (1923)
• String Quartet n.3 "Cantari alla madrigalesca" (1931)
• Epodi e giambi for Violin, oboe, viola e fagotto (1932)
• String Quartet n.4 (1934)
• Sonata a cinque per flauto, arpa, viola, violino e violoncello (1934)
• String Quartet n.5 "dei capricci" (1941–1950)
• Sonatina for Cello and Piano (1942)
• String Quartet n.6 "l'Arca di Noé" (1947)
• String Quartet n.7 (1950)
• Sonata a quattro for flute, oboe, clarinet and bassoon (1954)
• Serenata mattutina per 10 strumenti (1959)
• Serenata per fagotto e 10 strumenti (1961)
• Macchine per 14 strumenti (1963)
• String Quartet n.8 "per Elisabetta" (1964)
• Endecatode per 14 strumenti e percussione (1966)

Piano music[link]

• 6 morceaux (6 pezzi) (1905)
• Bizzarrie luminose dell'alba, del meriggio, della notte (1908)
• 3 danze antiche (1910)
• Poemetti lunari (1909–10)
• Tre improvisi per Pianola
• Impressioni (vor 1914)
• Preludi autunnali (1914)
• Poemi asolani (1916)
• Barlumi (1917)
• Maschere che passano (1918)
• Risonanze (1918)
• La siesta (1920)
• A Claude Debussy (1920)
• Omaggi: a un pappagallo, a un elefante, a un idiota (1920)
• Cavalcate (1921)
• Il tarlo (1922)
• Pasqua di resurrezione (1924)
• 3 preludi e una fuga (1926)
• Epitaffio (1931)
• Prélude à une fugue imaginaire (1932)
• I minuetti di Ca'Tiepolo (1932)
• Preludio, ritmi e canti gregoriani (1937)
• Preludio e fuga (1940)
• Hortus conclusus (1946)
• Stradivario für 2 Klaviere (1955)
• Dialogo no.2 für 2 Klaviere (1955)
• 5 studi per domani (1959)
• Variazione sulla pantomima dell'"Amor brujo" di Manuel de Falla (1959)
• Bianchi e neri (1964)

Vocal works[link]

• Tre poesie di Angelo Poliziano (1920)
• San Francesco d'Assisi, mistero per soli, coro e orchestra (1920–1921, New York 1922)
• Quattro sonetti del Burchiello (1921)
• Due sonetti del Berni (1922)
• Le Stagioni Italiche per soprano e pianoforte (1923, Venise 1925)
• La Cena, cantata per coro e orchestra (1927, Rochester 1929)
• Commiato per una voce di baritono e orchestra (1934)
• La Passione, cantata per coro e orchestra (Rome 1935)
• De Profundis per una voce, viola e bass drum e pianoforte (Venise 1937)
• Missa Pro Mortuis per baritono, coro e orchestra (Rome 1938)
• Quattro Vecchie Canzoni per voce e strumenti (1940, Washington 1941)
• Santa Eufrosina, mistero per soprano, due baritoni, coro e orchestra (Rome 1942)
• Le Sette Allegrezze d'Amore per voce e strumenti (Milan 1945)
• La Terra, dalle Georgiche di Virgilio (1946)
• Mondi celesti for soprano and ten instruments (1948, Capri 1949)
• La Festa della Sensa per baritone, chorus and orchestra (1949–1950, Brussels 1954)
• Cinque favole (1950)
• Preludio e morte di Macbeth for baritone and orchestra (1958, Milan 1960)
• Sette canzonette veneziane for voice and piano (1960)

Operas[link]

• L'Orfeide (1919–1922, Düsseldorf 1925), in tre parti:

• I "La morte delle maschere",
• II "Sette canzoni",
• III "Orfeo"

• Tre commedie goldoniane (1920–1922, Darmstadt 1926) :

• I "La bottega da caffè",
• II "Sior Todero Brontolon",
• III "Le baruffe Chiozotte"

• Filomela e l'infatuato (1925, Prague 1928)
• Torneo notturno (1929)
• La favola del figlio cambiato (libretto di Luigi Pirandello, 1933)
• Giulio Cesare (da Shakespeare (1935, Genoa 1936)
• Antonio e Cleopatra (da Shakespeare, 1937, Florence 1938)
• I capricci di Callot (da E.T.A. Hoffmann, 1942, Rome 1942)
• L'allegra brigata (1943, Milan 1950)
• Mondi celesti ed infernali (1949, Venice 1961)
• Il figliuol prodigo (1952, Florence 1957)
• Donna Urraca, atto unico (1954)
• Venere prigioniera (1955, Florence 1957)
• Il marescalco (1960, Treviso 1969)
• Don Giovanni (1963, Naples)
• Rappresentazione e festa di Carnasciale e della Quaresima (Opera balletto, 1961, Venice 1970)
• Le metamorfosi di Bonaventura (Venice 1966)
• Don Tartufo bacchettone (1966, Venice 1970)
• Iscariota (1971)

References[link]

Bibliography[link]

Sorce Keller, Marcello. “A Bent for Aphorisms: Some Remarks about Music and about His Own Music by Gian Francesco Malipiero”, The Music Review, XXXIX(1978), no. 3-4, 231-239.

Francesco Malipiero (9 January 1824 - 12 May 1887) was an Italian composer. He was the father of conductor and pianist Luigi Malipiero and the grandfather of composer and musicologist Gian Francesco Malipiero. Trained in Venice, he composed a large number of operas; many of which premiered at La Fenice.^[1] He also wrote several symphonic works, sacred songs, chamber music, and art songs.

References[link]

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