Franco ドナトーニ
Franco ドナトーニ (Franco Donatoni, from June 9, 1927 to August 17, 2000) is a composer of the Italian contemporary music.
Table of contents
Brief career history
I was born in Verona on June 9, 1927. Because it was a big fan of ゴッフレド Petrassi, I begin composition. It went through all lives to have been called saying "much my imitation is not good", and a posture to ask "what is not imitation?" seriously was cultivated then by Petrassi. After having studied under Reno re-via Bella at the House of martini music of Bologna in エットレ デスデリ at the House of Milan music, I graduate from an upper grade composition course of Ildebrando ピツェッティ in Santa チェチーリア Kunitachi アカデミア of Rome.
I meet Bruno Maderna in 1953 and, for 1,954 years, participate in a contemporary music class in the Darmstadt summer of 1961 in 1958 in 1956. It is slanted through a post-Webern-like manner of writing from a neoclassicism-like style by the composition by the graphic score affected by John Cage. He developed composition technique by quotation and the automatism and showed faith to tonal music, and he became "ドナトーニ" [1] afterwards after having gone around the main vein of the contemporary music.
I acted as the guest professor of a professor at composition course and the House of of the House of Milan music キジアーナ music later and had a great influence on the pupil of upbringing and the foreigner of the Italian next generation. The long-cherished visit to Japan was realized, too, but the overeating and overdrinking [2] is not stopped and dies after several times of attacks of diabetes. I sent the score of the scribble to the publishing company [3] in the most later years and depended on supplementary writing of Yoichi Sugiyama because the mental condition was not ordinary.
I it in a receiving a prize career
- Liege international composition contest championship (in 1951 quartet Quartetto[4])
- International composition contest championship (in 1952 in concertante Concertino; 1953 sinfonia Sinfonia per archi for string music) for Luxembourgish broadcasting stations
- Rome international contemporary music composition contest championship (in 1961 puppet play Puppenspiel[5]) hosted by ISCM
- マルツォット prize (in 1966 puppet play second Puppenspiel II)
- Koussevitzky international Music - Original Score Award (in 1968 leftover food Orts)
- Berlin stay (1972) by the DAAD student loan system
- Gianni プサカロプロ prize (in 1979 emission Spiri)
- From the ministry of French culture the Commandeur dans l'Ordre des Arts et des lettres election (1985) [6] [7]
Style
1950-1959 years
The immediate early works such as bassoon and "concerto Concerto" (1952) for string ensembles were affected by Bartok Bela and the neoclassicism music. I composed instrumental music affected by the total Serie rhythm from 12 sound technique, but the description of fixed-quantity music did not part afterwards. Ability is accepted and is registered at the ゼルボーニ music publishing company, and it is said that I helped with much score proofreading. In "strike loaf Strophes" (1959) for orchestras and "three improvisation Tre Improvvisazioni (1957) for pianos," basic character of ドナトーニ including the block working in a single value on same sound repeated blows, tolyl, a short appoggiatura, same sound area comes from it at all this time.
1960-1966 years
I meet John Cage after participation in a contemporary music class in middle in the 1950s in the Darmstadt summer. I wrote the work of the キュビズム-like graphic score or the work which only appointed instruction from the about mid-1960s. The piece of the work of this neighborhood will be put in "the musical notation" of the John Cage editing. Taste to a dry tone appears in "Asar" (1964) to play at "BABAI" (1964) for the piano which I put the ruler of harpsichord solo or dozens of centimeters on the string and the ear of the visitor well. I used the instruction for the special way of playing together later in "solo Solo" (1969) of the string ensemble, but did not use the note. I hear Polish musical sect-like tone cluster in "(1962) for orchestras".
I took this time, law of harmony and teaching profession of the course of the counterpoint who set sail for electronic music in "quartet music third Quartetto III" (1961). Principle of piece and decision, John Cage were ambiguity and accidental principles, and, as for Pierre Boulez, as for him who showed goodwill in both, self did collapse [8] in the next times.
1967-1976 years
It is recurred 4 years before Karlheinz Stockhausen from 1966 by description of decision music. I will start a work wandering by the boundary line of "imitation and the original" becoming the origin of the creation. I extract material from the existing work including グルッペン [9] of Stockhausen and the piece from "five piano music" of Schoenberg [10], and works preventing doing variation without an end and from keeping a model are model examples. I have effect from "play of Venice" of Witold Lutoslawski clearly in "Doe bulldog second Double II" (1970) for orchestras. However, troubled him over re-three, and the temptation to the accidental nature approached Earle Brown; finished orchestra works such as "- second To Earle II (1971-1972 years) by a composition method called "automatism" to an are" with every effort, but he called these with "failure".
The settlement of accounts of this time includes modern harpsichord and "self-portrait Portrait" (1976-77 years) for orchestras. It was the time when had difficulty in composition in particular to finish writing huge score. It becomes difficult, and the epicureanism-like tendency that "enjoys that I do not understand a written meaning" [11] is pushed to a writing style used for a book of that purpose or oneself unnaturally on the front in the 1970s. In addition, "oneself produced all nobody", and a desire to the liberation to a state became more remarkable. I came to use "an existing triad" not an existing work magnificently from these days, and character of the music completely turned into a cheerful thing, and an orchestra changed to the thing which sounded through "調的". A classic triad had been already used in "puppet play second Puppenspiel II" (1966) which quoted "騎行 of Valkyrie" of Richard Wagner from the beginning, but it was already gone in this to refuse tonality. I hear a melody of the F minor in "Duo Duo pour Bruno (1974-75 years) for Bruno" from the beginning. As for this time, extremely lengthwise score was necessary to let all musical instruments completely work a minute.
1977-1992 years
The person of composition told, "I already stopped generation of the material [ドナトーニ] and "・" that it was in this year", and 1977 when I moved one's own copyright in Ricordi was in the turning point of the style and the year when it was [12]. I fix "panel technique" to place line-like material in numerical order in the center of the creation after "emission Spiri" (1977) for 10 musical instruments. In addition to practice of the automatism, I comprised a sound and a sense of pitch that the work group at this time not to mind the overuse of the regular beat and the use of the triad was clear, and were clear and won popularity from a musician [13]. However, because the whole book was one's own quotation, as for the work of this time, there should be many works which the meaning did not know when I did not know his prehistory, but it was popular with the audience who knew only ドナトーニ in after 1977, and the speed of the composition continued increasing. The work for orchestras decreases than before from this time.
I was blessed with many pupils and believers from all over the world at this time. The most successful person has Faust ロミテッリ, Yoichi Sugiyama and others in pupils of this time. I can give Sandro ゴルリ to the most famous follower. The Italian modern composer asks most him for teaching in one way or another. Therefore, what's called "ドナトーニ clique" [14] became too much huge, and Italy became the problem, too.
A cello and "the ditch (or life of the bottom, Le Ruisseau sur l'escalier 1980) on stairs" for indoor ensemble had an attack during composition and did not push it forward and it was a work after it was, but just pushed forward next in "ドナトーニ" through treatment without it being said that I completely left it when I made it forward and rewrote it. Therefore a meaning and a motif are totally different from the first half in the latter half. I divorce an ex-wife formally at this time and live with Maria Isabella デ Carli of the student.
1993-2000 years
Simplification of the rhythm is promoted after the late 1990s, and music always advances by a series of single value. Self-quotation became remarkable and would emphasize a feeling of color in original instrumentation including the mandorle, but the format was one of simplifying it. Because it became difficult at this time to devote to composition under the influence of a disease, I increase before and concentrate on small formation and am written. Opera "Alfred Alfred Alfred, Alfred" (1995) is the work which I collected data on to oneself troubled by an attack of diabetes. I could not compose most of the most later years, and, in orchestra work "prom Prom" (1999) which became the posthumous work and "bait Esa (2000)," a supplementary writing full version was made by Yoichi Sugiyama of the pupil. In addition, the ドナトーニ private exhibition by the Suntory music foundation of Sugiyama is made a CD from NEOS.
Education
Because I brought up the pupil of several hundred units so as to be called saying "ドナトーニ was of the same discipline and proves right if I walked Milan" without asking nationality, and the pupil succeeded in various receiving a prize careers surely, in ドナトーニ, it was called Giacomo Manzoni and an excellent teacher along with エリオドーロ ソッリマ. On the other hand, I was strict with the fashion of other countries for some reason, and I thundered against と, and there were many stubborn sides "あやつは expulsion" for Faust ロミテッリ which came close to a spectrum musical sect.
After at first having spoken progression and the basic way of thinking of the note row, not a way to completely leave the instruction of the International Master class of キジアーナ like Klaus Hoover, I am said to be it when it was a way to enumerate the point where I let you write it by small formation and noticed. Therefore, his pupil has many people [15] succeeding in small formation. Finish either short piece from a solo piano, a solo marimba, a solo violin, a solo vibraphone in an about the same way by the instruction of 1998 of Japanese Toho Gakuen School of Music. But it was the problem that person of composition oneself might play
This article is taken from the Japanese Wikipedia Franco ドナトーニ
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