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Lux In Tenebris: La Commedia di Dante

Классика • 1974
 
 
   
 

Cantica I: Canto I (Lost In A Dark Wood)

Название пользователя: Lux In Tenebris: La Commedia di Dante - Cantica I: Canto I (Lost In A Dark Wood)


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Продавец Ennio Paola
PDF, 237.4 Кб ID: SM-000161579 Дата публикации: 12 апр 2012
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Significant Music
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Re: LUX IN TENEBRIS: La Commedia di Dante: Cantica I, Canto I (Lost In A Dark Wood), Cantica III, Canto XXXIII (Dante Beholds The Universe)



"Paola's two intimate piano pieces, Cantica I: Canto I (Lost In A Dark Wood)
and Cantica III: Canto XXXIII (Dante Beholds The Universe), beautifully convey Dante's personal reactions to the beginning and end of his extraordinary journey through the intimacy, beauty, and creativity of his musical themes."



Maria A. Roglieri, Author, Professor, St. Thomas Aquinas College, Sparkill, N.Y., U.S.A.
DANTE AND MUSIC: Musical Adaptations of the Commedia from the 16th-Century to the Present, Ashgate Publishing Ltd., Gover House, Croft Road, Aldershot, Hampshire, U.K

“For the first piece, Cantica I (subtitled ‘Lost in a Dark Wood’), Paola rejected an atonal approach, favouring instead an expanded tonality that would permit the use of the appropriately-selected letter notation pitch in it’s natural, sharp or flat form. This expanded tonality offers greater flexibility to remain tonal while making allowances for the use of accidentals or even expanding towards experiments with atonality. Paola successfully achieved this kind of extended tonality by developing a leitmotif based on the phrase ‘lost in a dark wood’ (Inf. I, 2) and by exploring, as a basic cell, pitches arising from the word ‘lost’. Notes for the ‘lost in a dark wood’ theme (and in variation) were assigned as follows:

L = G# O = D S = D T = B
I = C# N = C
A = A
D = D A = A R = E K = F#
W = Eb O = D O = D D = D

The ‘lost’ theme called for frantic ‘speed swings’ that give the listener the sense of moving forward, towards a peaceful state, rather than questioning one’s present surroundings in a state of sin. The theme is played at various tempos throughout the piece:

Largo - poco a poco stringendo - accelerando -
a tempo - ritard - a tempo - subito vivo, martellato,
con fuoco feroce - poco accelerando - grand ritard.

The tempo variation illustrates the mixed feelings of caution, fear, excitement, nervousness and dread that Dante feels as he is in the dark wood.

Weaved through the ‘lost’ theme is a ‘love theme’, characterised by tied notes over the bar line on a melody which is moving by diatonic seconds. This love theme refers to Dante’s love for Beatrice which is recalled in the text of Inferno I when Virgil says that he has come to guide Dante through the afterworld until they reach Beatrice."
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Cantica I: Canto V - After 'The Kiss'

Название пользователя: Lux in Tenebris: La Commedia di Dante - Cantica I: Canto V - After 'The Kiss'


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Продавец Ennio Paola
PDF, 390.9 Кб ID: SM-000230886 Дата публикации: 20 авг 2015
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Significant Music
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5'0
Год создания
2015
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Классика/Инструментальная
Commissioned to celebrate the 750th Anniversary (2015), birth of Dante Alighieri

Cantica I: Canto V
Synopsis
Circle Two: The Carnal
The Poets leave Limbo and enter the SECOND
CIRCLE. Here begin the torments of Hell proper,
and here, blocking the way, sits MINOS, the dread
and semi-bestial judge of the damned who assigns to
each soul its eternal torment. He orders the Poets back; but
Virgil silences him as he earlier silenced Charon, and
the Poets move on.
They find themselves on a dark ledge swept by a
great whirlwind, which spins within it the souls of the
CARNAL, those who betrayed reason to their appetites.
Their sin was to abandon themselves to the
tempest of their passions: so they are swept forever in
the tempest of Hell, forever denied the light of reason
and of God. Virgil identifies many among them:
SEMIRAMIS is there, and DIDO, CLEOPATRA,
HELEN, ACHILLES, PARIS, and TRISTAN.
Dante sees PAOLO and FRANCESCA swept together,
and in the name of love he calls to them to tell
their sad story. They pause from their eternal flight to
come to him, and Francesca, tells their history while
Paolo weeps at her side. Dante is so stricken by compassion
at their tragic tale that he swoons once again — and faints.
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Cantica I: Canto I (Lost In A Dark Wood) – Dictionary of musical themes

Название пользователя: Mus.Dic.-Lux In Tenebris: La Commedia di Dante - Cantica I: Canto I (Lost In A Dark Wood)


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Разместил(а) Ennio Paola
PDF, 215.6 Кб ID: SM-000161578 Дата публикации: 12 апр 2012
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Significant Music
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Время звучания
1'50
Music Dictionary of Themes

Music Study Score

Re: LUX IN TENEBRIS: La Commedia di Dante: Cantica I, Canto I (Lost In A Dark Wood), Cantica III, Canto XXXIII (Dante Beholds The Universe)

"Paola's two intimate piano pieces, Cantica I: Canto I (Lost In A Dark Wood)
and Cantica III: Canto XXXIII (Dante Beholds The Universe), beautifully convey Dante's personal reactions to the beginning and end of his extraordinary journey through the intimacy, beauty, and creativity of his musical themes."

Maria A. Roglieri, Author, Professor, St. Thomas Aquinas College, Sparkill, N.Y., U.S.A.
DANTE AND MUSIC: Musical Adaptations of the Commedia from the 16th-Century to the Present, Ashgate Publishing Ltd., Gover House, Croft Road, Aldershot, Hampshire, U.K

“For the first piece, Cantica I (subtitled ‘Lost in a Dark Wood’), Paola rejected an atonal approach, favouring instead an expanded tonality that would permit the use of the appropriately-selected letter notation pitch in it’s natural, sharp or flat form. This expanded tonality offers greater flexibility to remain tonal while making allowances for the use of accidentals or even expanding towards experiments with atonality. Paola successfully achieved this kind of extended tonality by developing a leitmotif based on the phrase ‘lost in a dark wood’ (Inf. I, 2) and by exploring, as a basic cell, pitches arising from the word ‘lost’. Notes for the ‘lost in a dark wood’ theme (and in variation) were assigned as follows:

L = G# O = D S = D T = B
I = C# N = C
A = A
D = D A = A R = E K = F#
W = Eb O = D O = D D = D

The ‘lost’ theme called for frantic ‘speed swings’ that give the listener the sense of moving forward, towards a peaceful state, rather than questioning one’s present surroundings in a state of sin. The theme is played at various tempos throughout the piece:

Largo - poco a poco stringendo - accelerando -
a tempo - ritard - a tempo - subito vivo, martellato,
con fuoco feroce - poco accelerando - grand ritard.

The tempo variation illustrates the mixed feelings of caution, fear, excitement, nervousness and dread that Dante feels as he is in the dark wood.

Weaved through the ‘lost’ theme is a ‘love theme’, characterised by tied notes over the bar line on a melody which is moving by diatonic seconds. This love theme refers to Dante’s love for Beatrice which is recalled in the text of Inferno I when Virgil says that he has come to guide Dante through the afterworld until they reach Beatrice.
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Cantica III: Canto XXXIII (Dante Beholds the Universe)

Название пользователя: Lux In Tenebris: La Commedia di Dante - Cantica III: Canto XXXIII (Dante Beholds the Universe)


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Продавец Ennio Paola
PDF, 232.7 Кб ID: SM-000161982 Дата публикации: 19 апр 2012
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The principal musical theme of Paola’s second piece, Cantica III, meanwhile, is introduced immediately and is designed to portray the extraordinariness of the music of Paradise (Figure 2.11). It is set in a beautiful and lyrical ‘cantabile’ style. As the melody increases in speed, it increases in intensity only to slow down, as if in a state of reflection, before returning to an ‘a tempo’ on three occasions which allude to the Christian Holy Trinity. This meter is in a 12/8 time signature in order to provide a larger sound canvas and to maximise the musical depiction of the heavens.

The two piano pieces are linked by an overall tonal relationship. Throughout the first piece, Paola anticipates this connection by using ‘mirrored’ seconds, rhythms and dynamics to create tension between good and evil, being lost and being found, and the physical and emotional states of ascending and descending. Thus, while the listener is experiencing Dante’s terror at being in the dark wood, he is also hearing a musical hint of the more pleasant experience that is to come, when Dante experiences the vision of God.


The two pieces are also tied together through the note A. Canto I ends with the note A in octaves (m. 55-59). This, however, is left inconclusive by the final tone-cluster in the next measure, which is played by both arms and pedaled to fade to act as ‘ghost notes’. These ghost notes are intended to suggest that an entire sequel of cantos is to follow. In Cantica III, measure 29 ends in the key of A major, thus creating a ‘Plagal Cadence’ IV-I between the unresolved ghost notes at the end of Canto I. There is a final resolution on the very last chord of the piece, but only after a long musical journey through Hell, Purgatory and Paradise.

Very few musicologists or composer through the centuries have thought about the best musical forms for musical adaptations of the Commedia. Only two nineteenth-century musicologists (Bonaventura and Arner) even attempted to theorize about the most appropriate musical form, and their attempt was very limited. Only a few twentieth-century composers (such as Paola or Standford), meanwhile, gave this question any thought before composing their works.
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Cantica III: Canto XXXIII (Dante Beholds the Universe) – Dictionary of musical themes

Название пользователя: Mus.Dic.-Lux In Tenebris: La Commedia di Dante - Cantica III: Canto XXXIII (Dante Beholds the Universe)


Бесплатно

Разместил(а) Ennio Paola
PDF, 173.5 Кб ID: SM-000161981 Дата публикации: 19 апр 2012
Инструменты
Фортепиано
Состав исполнителей
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Для одного исполнителя
Издатель
Significant Music
Уровень сложности
Выше среднего
Время звучания
2'0
Music Dictionary of Themes

Music Study Score

The principal musical theme of Paola’s second piece, Cantica III, meanwhile, is introduced immediately and is designed to portray the extraordinariness of the music of Paradise (Figure 2.11). It is set in a beautiful and lyrical ‘cantabile’ style. As the melody increases in speed, it increases in intensity only to slow down, as if in a state of reflection, before returning to an ‘a tempo’ on three occasions which allude to the Christian Holy Trinity. This meter is in a 12/8 time signature in order to provide a larger sound canvas and to maximise the musical depiction of the heavens.

The two piano pieces are linked by an overall tonal relationship. Throughout the first piece, Paola anticipates this connection by using ‘mirrored’ seconds, rhythms and dynamics to create tension between good and evil, being lost and being found, and the physical and emotional states of ascending and descending. Thus, while the listener is experiencing Dante’s terror at being in the dark wood, he is also hearing a musical hint of the more pleasant experience that is to come, when Dante experiences the vision of God.


The two pieces are also tied together through the note A. Canto I ends with the note A in octaves (m. 55-59). This, however, is left inconclusive by the final tone-cluster in the next measure, which is played by both arms and pedaled to fade to act as ‘ghost notes’. These ghost notes are intended to suggest that an entire sequel of cantos is to follow. In Cantica III, measure 29 ends in the key of A major, thus creating a ‘Plagal Cadence’ IV-I between the unresolved ghost notes at the end of Canto I. There is a final resolution on the very last chord of the piece, but only after a long musical journey through Hell, Purgatory and Paradise.

Very few musicologists or composer through the centuries have thought about the best musical forms for musical adaptations of the Commedia. Only two nineteenth-century musicologists (Bonaventura and Arner) even attempted to theorize about the most appropriate musical form, and their attempt was very limited. Only a few twentieth-century composers (such as Paola or Standford), meanwhile, gave this question any thought before composing their works.
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Cantica III: Canto X - Aureole Dance of the Spirituals

Название пользователя: Lux in Tenebris: La Commedia di Dante - Cantica III: Canto X - Aureole Dance of the Spirituals


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Продавец Ennio Paola
PDF, 440.2 Кб ID: SM-000191109 Дата публикации: 15 сен 2013
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Significant Music
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4'20
Год создания
2013
Saint Thomas Aquinas to the Heaven of the Sun at Fourth Sphere.
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3 Pezzi 'Dantesque'

Название пользователя: Lux in Tenebris - 3 Pezzi 'Dantesque'


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Продавец Ennio Paola
PDF, 6.51 Мб ID: SM-000198984 Дата публикации: 19 фев 2014
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8'10
Collection from" "LUX IN TENEBRIS: La Commedia di Dante"

• Cantica I: Canto I - (Lost In A Dark Wood)
• Cantica III: Canto X - (Aureole Dance of the Spirituals)
• Cantica III: Canto XXXIII - (Dante Beholds the Universe)
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