|ORCHESTRA : Rondo Infinito; two violin concertos; Concerto for Piano and Orchestra; three symphonies.|
|OPERA : Det Hellige Bjerg.|
|CHAMBER MUSIC : Quintet in E-Minor; Trio in D-Major; String Quartet; Suite for Violin and Piano.|
|Pieces for piano; songs, etc.|
About Christian Sinding:
Monrad-Joganssen D. Christian Sinding. Monthly Musical Record 42:203 August 1912.
LEONE SINIGAGLIA was born in Turin on August 14, 1868. Acquiring his early musical education in Turin, he left for Vienna where he completed his studies with Eusebius Mandyczewski. In Vienna, he became a close friend of Karl Goldmark and Anton Dvořák who advised him in his composition, and used their influence in gaining a hearing in Vienna for his early works.
In 1901, he introduced himself to the music public of Italy with a Concerto for Violin and Orchestra which possessed sufficient distinction to encourage the praise of musicians and critics. Shortly after that, Sinigaglia interested himself in the Piedmontese folksong, in which field he did some very valuable research. He collected an entire library of Piedmontese folk music, of which he made very tasteful arrangements. Sinigaglia's most important later works have been influenced enormously by this study, in many cases containing the original melodies reworked in a large symphonic mould. Probably his best known work to date is the charming overture Le Baruffe Chiozzotte (introduced by Toscanini in Milan in the Spring of 1907) which is frequently performed in all the important musical centers and always inspires great enthusiasm because of its Rossinian sparkle and gaiety.
Leone Sinigaglia, we are informed by Alfredo Casella, "was one of the pioneers in the revival of interest in instrumental music in Italy. . . . He found no forerunner among the Italians of the past century, and in consequence fell back for inspiration on the classical and romantic modes of the German schools. His attachment to these models is betrayed in his compositions by his delight in the harmonic pattern evolved by the German romantics, and he adheres to the forms based on repetition and development, while his tastes lead him to sonorities of a somewhat dull, grey color. . . . It is only after closer study of his work that evidence of the composer's nationality is discovered here and there. At times it is the insistence of the rhythm which connects him with the Italians of the seventeenth century, or it may be the airy lightness of themes reminiscent of Scarlatti; sometimes he plays with light themes (as Venetians were wont to do) against a slight contrapuntal background. It may, indeed, be said that he has grafted a thin branch of Italian seventeenth century art on to the massive academicism of the German romantics. Another feature of Sinigaglia's