|OPERA : Miranda; Resurrezione; L'Ombra di Don Giovanni; Il Principe Zilah; Sakuntala; Cyrano de Bergerac.|
|ORCHESTRA : Suite Romantica; Symphony in E; Second Symphony in C-Minor.|
|CHAMBER MUSIC : String Quartet in D; Sonatas for violin and piano, etc.|
|Songs and piano pieces.|
About Franco Alfano:
Schwerké, Irving. Kings Jazz and David.
Musical Courier 95:28August 25, 1927; Musical Quarterly 9:4 October 1923; Musical Times 62:158March 1921; Sackbut 7:157 January 1927.
Important recordings of music by Franco Alfano:
VICTOR : From Resurrezione: "Dieu de Grace" ( Mary Garden).
" Antheil's musical world is a world of steel bars, not of old stone and ivy."-- EZRA POUND
GEORGE ANTHEIL, enfant terrible of modern American music, was born in Trenton, New Jersey, on July 8, 1900, the son of a Polish political exile. At the age of four, he was brought by his parents to Poland where he began his first musical studies. Returning to America in his thirteenth year, he continued his musical studies more seriously, first at the Curtis School of Music in Philadelphia, and then under Ernest Bloch. In 1921, he migrated to Europe which he made his permanent home, and where for a while he toured as a concert pianist, acquiring an enviable reputation as an interpreter of piano literature. Composition, however, finally drew him from his concert work. In his early twenties, he settled in Rue de l'Odéon in Paris, to study under Igor Stravinsky (to whom he is distantly related) and to devote himself entirely to composition. One of his earliest works, composed at this time, was a symphony-- Symphony Zingareska--written in strict classical style, which, in the opinion of Virgil Thomson, is hardly more than a "naive and exuberant work."
As a young man, Antheil tells us, he heard a player-piano, and from that time on he knew that any music that was not mechanical had reached its doom. "The music of the future," he said, "would be like an incredibly beautiful machine." From that time on, therefore, he began composing mechanical music--and in this idiom he soon firmly established the reputation of being the most revolutionary composer of his time. Sonatas, ballets, symphonic works written in the new style were generally characterized by a complete lack of any recognizable melody, by a terrific motion, and by a steel-like rigidity. These radical works were performed thruout Europe before crowded and provocative____________________