1 PM Preconcert Talk: Byron Adams
1:30 PM Performance: Rieko Aizawa, piano; Daedalus Quartet; César Delgado, tenor; Theo Lebow, tenor; Jesse Mills, violin; The Orchestra Now, conducted by Zachary Schwartzman; and others
Kelly Newberry will sing selections from Arie Antiche and Quattro Liriche by Respighi
Giacomo Puccini (1858–1924), Salve Regina (before 1880); Giuseppe Tartini (1692–1770), Sonata, Op.6, No.1 (c.1731); selections from Arie antiche, edited and arranged by Alessandro Parisotti (1853–1913), and works by Claudio Monteverdi (1567–1643), edited by Gian Francesco Malipiero (1882–1973);Ottorino Respighi (1879–1936), from Quattro liriche (1920), and Antiche arie e danze, Suite No.1 (1917); Gian Francesco Malipiero (1882–1973), String Quartet No.3, "Cantari alla madrigalesca" (1931); Alfredo Casella (1883–1947), from Il pezzi infatile, Op.35 (1920);Luigi Dallapiccola (1904–75), Tartiniana No.1 (1951)
The vogue for unearthing music of bygone eras – spearheaded by Mendelssohn's Bach revival – found expression in Italy too. Straddling past and present, the vocal writing in Puccini's student composition Salve Regina anticipates his opera arias (indeed, he reused the hymn in Le Villi), while its organ accompaniment pays homage to Italy's glorious liturgical tradition. Alessandro Parisotti's anthology Arie antiche is primarily composed of Romanticized arrangements of 17th- and 18th-century song, but also includes "Se tu m'ami," which – while attributed to Baroque master Giovanni Pergolesi – appears to be his own original work. The musicologist behind the first complete edition of Claudio Monteverdi's oeuvre was Malipiero, who drew on the sophisticated polyphony of Italy's madrigal tradition in his own Third String Quartet. Another scholar of Italy's musical past was Respighi, who published editions of works by Monteverdi, Vivaldi and Benedetto Marcello, and who based the first orchestral suite of his own Ancient Airs and Dances on lute pieces by Vincenzo Galilei, father of Galileo, and other composers of the Italian Renaissance. Similarly, the fifth of Casella's II Pezzi infantili is specified as an homage to the five-finger exercises of Classical pedagogue Muzio Clementi, while Luigi Dallapiccola's fascination with the Baroque inspiredTartiniana No. 1, a violin concerto based on the music of Giuseppe Tartini.