|ORCHESTRA : Fanal; two concertos for piano and orchestra; Phantastische Nachtmusik; Concerto for Violoncello and Orchestra; Aus Mein Vaterland; Bunte Suite; Westminster Fantasy.|
|OPERA : Wagwende; Die Prinzessin auf der Erbse; Der Fächer; Egon und Emilie.|
|CHAMBER MUSIC : Serenade for Three Violins; Serenade for Two Violins and Viola; Kammersinfonie (for fourteen instruments); Five Pieces for Chamber Orchestra; String Quartet, Op. 26; Third String Quartet.|
|Pieces for piano; songs.|
About Ernest Toch:
Allgemeine Musikzeitung 52:519June 12, 1925; Musical America 52:7March 10, 1932; Musical Courier 91:5July 9, 1925; Musical Quarterly 10:227April 1924; Die Musik 18: 245January 1926.
VINCENZO TOMMASINI, one of the integral members of that important group of modern composers known as the "young Italians,"1 was born in Rome on September 17, 1880. His father was a historian who, altho he recognized signs of unmistakable talent in his son, insisted that a classical education accompany Vincenzo's musical studies. And so, while studying music under Stanislas Falchi, Ettore Pinelli and Benedetto Mazzarella at the Liceo S. Cecilia, Vincenzo attended the University of Rome where he studied Greek literature and philology. During his years as a student he not only found time for prolific composition but he also contributed articles to leading philological journals, and wrote an introduction for a new edition of Xenophon De Re Equestri.
In 1902, Tommasini began a long trip out of Italy which brought him first to Berlin, where he remained long enough to study under Max Bruch, and then transferred him to such diverse musical centers as Paris, London and New York. These travels, with their new musical associations, brought him a new outlook, which was first made apparent in his composition in 1910, with his String Quartet in F.
In view of the fact that with the String Quartet in F Tommasini reveals for the first time his true individuality as a composer, it is interesting to read Guido M. Gatti's comments upon this work. "The themes of the first movement are really beautiful and, however much sheer technique may be revealed in a varied and interesting play of counterpoint, yet they always retain their ego: their emotion is always alive and vivid; it is never sacrificed for redundant elaboration. This fine emotion, half sentient, half mystic, which pervades Tommasini's themes can be discerned in all his compositions, and the more closely we study the musician's work, the more clear and luminous does____________________