|OPERA : Le Baruffe Chiozzotte; La Bottega di Caffè; Il Mistero di Venezia; Filomela e l'Infatuato; Torneo Notturno; San Francesco d' Assisi; La Favola del Figlio Cambriato.|
|ORCHESTRA : Impressioni dal Vero; Pause del Silenzio; Ditirambo Tragico; Oriente Immaginario; Symphony; Violin Concerto; La Climarosiana.|
|CHAMBER Music : Rispettie e Strambotti; Stornelli e Ballate; Sonata a Tre; Violoncello Sonata.|
About Francesco Malipiero: Jean-Aubry Georges. La Musique et les Nations.
Musical Quarterly 6:29January 1920; Musical Times 60:13January 1919 Musique 3:100December 15, 1929.
Important recordings of music by Francesco Malipiero:
NATIONAL GRAMOPHONE SOCIETY : Stornelli et Ballate.
COLUMBIA : Come to me!
IGOR MARKEVITCH, one of the outstanding musical prodigies of our time, was born in Kiev on July 27, 1912. At the approach of the War, his family migrated to Vevey, Switzerland, where Igor revealed the first signs of musical talent by composing a song for his father's birthday. At the age of seven music had already become an important influence in his life; he disclosed a great passion particularly for the music of Moussorgsky.
For a long while he acquired the rudiments of a musical technique by self-study; and, by the time he reached his fourteenth year, he felt sufficiently self-confident to compose a suite in three movements, called Les Noces. The suite definitely turned Markevitch to a musical career. He went to Paris where he studied under Nadia Boulanger. His progress was so startling that he had not studied very long when Boulanger told him: "You have a natural feeling for harmony--as to counterpoint, there is nothing I can teach you!" thereby releasing him from studying any further under her. However, Markevitch was subsequently to study for a short while under Vittorio Rieti, the Italian modernist.
Hardly had he completed his musical study when he met Diaghilev, the famous Impressario, who was intrigued by Markevitch's musical style and commissioned him to compose a ballet. Unfortunately, Diaghilev died in 1929 and the ballet never materialized. Instead, Markevitch turned his efforts towards the composition of two major works for orchestra, a Concerto for Piano and Orchestra and a Concerto Grosso.
There was considerable tension in Paris at the first performance of Concerto Grosso in 1929. There had been rumors spread in musical circles that Markevitch was an unparalleled genius and that, with his first work, he would startle the world. Skeptics, therefore, thronged to the music-hall to hear for themselves. The concert was in the nature of a sensation, even tho dissenting