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D’Annunzio fruitore di musica a Venezia

Lara Sonja Uras    Docente di Storia della Musica presso il Conservatorio di Sassari    

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abstract

Through an examination of the correspondence, published and unpublished, the comparison of the press of the time with the biography and literary production of d’Annunzio, it is possible to know which music he listened to and comprehend his relationships with important musicians during his stays in Venice. This overview of sources can offer useful elements to understand musical references present in the literary works of d’Annunzio. In Venice, early music sacred and profane coexists - like a counterpoint - with contemporary and folk music, the sounds of war combined with the city’s sounds and silence. In Venice there are plenty of organists and organ music; the city gets «resonant like a huge organ», as the musical instrument described in the manuscript entitled Chiomazzurra, conserved by the poet and signed R. Bossi: an «arciorgano» with seven thousand glass pipes reminiscent of the fable told in Il fuoco. The organ becomes the favorite musical instrument, prevails like a basso ostinato in the poet’s life, conducts a «thematic function» in his literary ‘polyphony’ to become, sometimes, ‘leitmotif’ in his train of thoughts.

Pubblicato
31 Ottobre 2015
Accettato
12 Gennaio 2016
Presentato
04 Settembre 2015
Lingua
IT

Keywords: Folk MusicVeniceEarly MusicOrgan MusicBossi Marco EnricoD’Annunzio Gabriele

Copyright: © 2015 Lara Sonja Uras. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.