Department of Music
From Fin de siècle to Fascism: Music in Italian Culture 1900-1950
Oxford, June 2004
FROM FIN DE SIÈCLE TO FASCISM: MUSIC IN ITALIAN CULTURE 1900-1950
28-29 JUNE 2004
ST JOHN'S COLLEGE, UNIVERSITY OF OXFORD
The aim of this conference is to counter an embarrassing gap in knowledge.
Although Anglo-American cultural historians have begun to redress their
neglect of the first half of the Italian twentieth century, music of the
period, in its "serious" and "popular" forms alike, is still not receiving
adequate attention. The extraordinary richness and vitality of Italian
musical culture at this time -- aesthetic debate just as much as
production -- needs to be brought to a wider audience, if a radically
incomplete picture is not to be perpetuated. The conference will provide
a rare opportunity for intellectual exchange between scholars in a broad
range of fields. It is envisaged that a collection of edited essays will
appear in due course.
The draft programme for the conference is as follows. Those interested in
attending are requested to apply for a booking form to Alexandra Wilson
by 21 June 2004.
Monday 28 June 2004
2.15–3.45: Session 1
Chair: Erik Levi (Royal Holloway, University of London)
Stefano Castelvecchi (St John’s College, Cambridge): ‘Verdi the Fascist’.
Jane Dunnett (Royal Holloway, University of London): ‘Perpetuating the
“Myth of Rome” in Fascist Italy: The Example of Malipiero’s Giulio
Franco Sciannameo (Carnegie Mellon University): ‘In Black and White:
Mussolini, Pizzetti, and the Film Scipione l’Africano’.
4.15–5.45: Session 2
Chair: Alexandra Wilson (Worcester College, Oxford)
Helen Greenwald (New England Conservatory): ‘Bloody Moons: Puccini's
Turandot in the Context of Fin-de-Siècle Exoticism, Eroticism, and
Susan Rutherford (University of Manchester): ‘“Finito il teatro, è finito
tutto”: Emma Carelli and the Teatro Costanzi 1912-1926’.
David Osmond-Smith (University of Sussex): ‘The masculine gesture:
Petrassi and the visual arts’.
6.00–6.45 KEYNOTE ADDRESS: Pierluigi Petrobelli (La Sapienza, Rome)
8.30 CONCERT: Sandro Ivo Bartoli and Robert Keeley (piano)
Alfredo Casella, Pagine di guerra (1915)
Gian Francesco Malipiero, Maschere che passano (1918)
Alfredo Casella, Sonatina (1916)
Giorgio Federico Ghedini, Divertimento contrappuntistico (1940)
Alfredo Casella, Sinfonia, Arioso e Toccata (1936)
Tuesday 29 June 2004
9.15–10.45: Session 3
Chair: Ben Earle (St John’s College, Oxford)
Bojan Bujic (Magdalen College, Oxford): ‘D’Annunzio and Malipiero in
pursuit of Monteverdi’s greatness’.
Francesco Parrino (Royal Holloway, University of London): ‘Casella,
Canudo, Stravinsky and the Montjoie! Affair’.
Roberto Illiano (Fondazione-Stichting P.A. Locatelli, Cremona):
‘Orchestral instrumentation in Dallapiccola’.
11.00–1.00: Session 4
Chair: Roger Parker (St John’s College, Cambridge)
Simona Frasca (Università di Roma, La Sapienza/Università di Napoli,
Federico II): ‘Memory of the oblivion: the untold story of the Neapolitan
musicians in New York (1900-1935)’.
Massimiliano Sala (Fondazione-Stichting P.A. Locatelli, Cremona) and
Roberta Baldizzone (Cremona): ‘The Debate on “Gez”’.
Emanuela Abbadessa (University of Catania): ‘The Italian song in the
Fascist Ventennio between “mammismo” and “superomismo”’.
Annie Janeiro Randall (Bucknell University): ‘Whose Primavera? Song as
Site of Ideological Conflict in Italy 1943-1945 and After’.
2.00–3.30: Session 5
Chair: Emanuele Senici (St Hugh’s College, Oxford)
Gary Tomlinson (University of Pennsylvania): ‘Nietzsche, D'Annunzio, and
Vincenzo Borghetti (Cremona): ‘Words as Music?: D’Annunzio’s Dramaturgy
and D’Annunzian Opera’.
Giuseppe Montemagno (Observatoire Musical Français, Université de Paris –
Sorbonne, Paris IV): ‘Beyond the grille. The mort parfumée from La
Pisanelle to Suor Angelica’.
3.45–5.15: Session 6
Chair: Charles Wilson (Cardiff University)
Luciano Chessa (University of California, Davis): ‘A Futurist Looking
Back: the Influence of the Occult Tradition on Russolo’s Futurist Phase’.
Jonathan Impett (University of East Anglia): ‘Accelerated Learning: Luigi
Nono and the Study of Composition 1943-49’.
Gregory N. Reish (Roosevelt University): ‘Giacinto Scelsi’s Modernist