Egidio Romualdo Duni, like other famous composers déraciné, was observed by musicologists according to a 'bifocal' perspective that favored the production after his arrive to Paris, neglecting the Italian period (1735-57) - because many musical sources are missed - or considering it prodromal compared to the Parisian works. Here it is proposed to highlight, with no teleologism, the style of Italian Duni through the examination of Giuseppe Riconosciuto, oratorio dated 1757 but probably written close to the appointment as master of chapel in San Nicola di Bari (1743) and therefore conceived as test bench to give a display of compositional expertise. To better outline the salient features of Duni's writing, it was decided to compare this oratorio with two others, homonyms, intoned by contemporary composers, Adolph Hasse and Paolo Scalabrini, distinguished for the European dimension of their theatrical career. The aim of the analysis will be to verify the relationship between innovation and conventions in the application of the compositional schemes by Duni and to hypothesize whether the elusive debut in the comic genre has influenced its way of relating the poetic content and dramatic to music.
Duni riconosciuto? Elementi di stile in un oratorio giovanile
Lorenzo Mattei
2014-01-01
Abstract
Egidio Romualdo Duni, like other famous composers déraciné, was observed by musicologists according to a 'bifocal' perspective that favored the production after his arrive to Paris, neglecting the Italian period (1735-57) - because many musical sources are missed - or considering it prodromal compared to the Parisian works. Here it is proposed to highlight, with no teleologism, the style of Italian Duni through the examination of Giuseppe Riconosciuto, oratorio dated 1757 but probably written close to the appointment as master of chapel in San Nicola di Bari (1743) and therefore conceived as test bench to give a display of compositional expertise. To better outline the salient features of Duni's writing, it was decided to compare this oratorio with two others, homonyms, intoned by contemporary composers, Adolph Hasse and Paolo Scalabrini, distinguished for the European dimension of their theatrical career. The aim of the analysis will be to verify the relationship between innovation and conventions in the application of the compositional schemes by Duni and to hypothesize whether the elusive debut in the comic genre has influenced its way of relating the poetic content and dramatic to music.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
