Composers of Today: A Comprehensive Biographical and Critical Guide to Modern Composers of All Nations

By David Ewen | Go to book overview
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fascination for him, only two composers of our time hold a very important meaning for him--and these are Stravinsky and Hindemith.His two favorite diversions are chess and bridge, both of which he plays enormously well. In both cases, his wife is his favorite partner. As for sports, he is a passionate enthusiast of tennis, and there is no tennis-champion in the world with whom Lopatnikoff has not played.Principal works by Nikolai Lopatnikoff:
ORCHESTRA : Introduction and Scherzo; First Symphony; Small Overture for Chamber Orchestra; Suite from Danton; Opus Sinfonicus; two piano concertos.
CHAMBER MUSIC : First String Quartet; Second String Quartet; Duo for Violin and Violoncello; Three Pieces for Violin and Piano.
OPERA : Danton.
Pieces for piano, etc.

About Nikolai Lopatnikoff: Berliner Börsen-Courier August 30, 1932.

G. Francesco Malipiero 1882-

"He is the classic ideal of a restless, romantic spirit."--GUIDO M. GATTI

GIAN FRANCESCO MALIPIERO, one of the most important personalities in the school of "Younger Italian Composers," was born in Venice on March 18, 1882. He stems from an old Venetian family of musicians. Thus, in an atmosphere of music, Francesco at a tender age was directed towards musical study. At six, he began to study the violin and, altho he seemed more attracted to painting than to music at that age, he showed unusual aptitude for the instrument.

A family catastrophe which occurred in 1893 uprooted the Malipieros from their native city and brought them from Trieste to Berlin, and finally to Vienna. Here, in 1896, a rich Pole took a keen interest in young Francesco and was so deeply impressed with his musical talents that he made it possible for him to study music seriously, under competent instruction for the first time. Launched now definitely upon a musical career, Malipiero returned to Venice in 1899 to continue his studies under Bossi. When Bossi was made director of the Liceo Musicale, Malipiero followed him--and it was here that his first orchestral work Dai Sepolcri was performed with moderate success.

His studies ended, Malipiero returned to Venice and began to compose seriously for the first time. Solitude --to which he had subjected himself after marrying the daughter of a Venetian painter in 1910--proved to be conducive to his inspiration, and he produced several works for orchestra, chorus and the stage which disclosed him to be a composer of distinction.

By 1913, Malipiero--feeling strongly that he was stifling within the narrow boundaries of Venice--emerged from his self-imposed seclusion and came to Paris. Here he was welcomed by Alfredo Casella who gave him a personal introduction to Maurice Ravel and who intimately acquainted him with all the reigning trends in modern music. Here, in 1913, he heard Stravinsky Sacre du Printemps and was deeply impressed. Malipiero's stay in Paris was enormously fruitful. His musical experience was enriched ten-fold; and his horizon was broadened limitlessly. In Paris, maturity as composer and as musician was not slow in coming.

While in Paris, Malipiero submitted several works, under different names, to

Malipiero: mäl-ĭ-pyārô


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