Faà di Bruno, Giovanni Matteo [Horatio, Orazio] Fabbri, Anna Maria
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- Freddi, Amadio [Amedeo]
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Frazzi, Vito(b S Secondo Parmense, 1 Aug 1888; d Florence, 7 July 1975). Italian composer, theorist and musicologist. He studied in Parma and taught at the Florence Conservatory (1912–58), where for a time he was acting director, and where his pupils included Dallapiccola and Bucchi. From 1932 to 1963 he also taught at the Accademia Musicale Chigiana, Siena. His most characteristic earlier works reflect his association around 1920 with Pizzetti, whose influence is evident in many smaller pieces and in the general approach to music drama revealed in Re Lear (a somewhat eccentric adaptation of Shakespeare in which Cordelia appears only as a corpse and an offstage voice). Frazzi was seldom, however, a slavish imitator of Pizzetti: his style shows many individual traits, notably a fondness for patterns derived from the octatonic scale of alternating tones and semitones, which was also the main subject of his stimulating theoretical writings. His rhythms, too, show independent thinking in their sometimes extreme fluidity; for example, the evocative piano piece Madrigale (1921) begins with 11/16 in the right hand and 9/16 in the left. Among his published compositions (many remain in manuscript), the songs merit special attention: they range from Pizzettian miniature dramas like Catarí, Catarí (1918), with its refined harmony and deliberately obsessive melodic figuration, to such compelling smaller items as La preghiera di un clefta (1921) and the ballad-like Il cavaliere (1932). Of the orchestral pieces, the Preludio magico, with its disembodied, modal arabesques and static repeated triads, may show Frazzi being influenced by his most gifted pupil. The most important of his stage works is Don Chisciotte, in which he broke away from the rather uniform, declamatory style of Re Lear towards a far less Pizzettian manner, rich in harmonic subtleties and lively, skilfully woven vocal ensembles. WORKS(selective list)
WRITINGSScale alternate (Florence, 1930) I vari sistemi del linguaggio musicale (Siena, 1960) BIBLIOGRAPHYP. Fragapane: ‘Le scale alternate di Vito Frazzi’, Rassegna dorica, iv (1932–3), 65–71 B. Cicognani: ‘Il Don Chisciotte di Vito Frazzi’, XV Maggio musicale fiorentino (Florence, 1952), 8–10 A. Gianuario: ‘L’ “alternato” di Vito Frazzi’, Rassegna di studi musicali [Abano Terme], i/3 (1974), 70–90 C. Prosperi: ‘La scomparsa di Vito Frazzi’, Rassegna di studi musicali, ii (1975), 119–29 [incl. list of works] C. Prosperi: ‘Vito Frazzi e il Re Lear’, Chigiana, new ser., xiv (1977), 333–60 L. Dallapiccola: ‘Musicisti del nostro tempo: Vito Frazzi’, RaM, x (1937), 220–27 [incl. list of works]; repr. in Chigiana, new ser., xiv (1981), 313–20 Omaggio a Vito Frazzi: 1888–1988 (Florence, 1991) G. Sanguinetti: ‘Il primo studio teorico sulle scale octatoniche: le “scale alternate” di Vito Frazzi’, Studi musicali, xxii (1993), 411–6 JOHN C.G. WATERHOUSE Freddi, Amadio [Amedeo](b Padua; fl 1594–1634). Italian composer. A pupil of Asola, he was a singer at the basilica of S Antonio, Padua, from January 1592, and maestro di cappella of Treviso Cathedral, 1615–26, Vicenza Cathedral, 1626–32, and S Antonio, Padua, from 1632. While at Treviso his choir is known to have sung at establishments other than the cathedral, including the convent of S Teonisto: on one occasion, in 1624, maestri di cappella and singers from Venice and G.F. Anerio from Rome also performed with the Treviso choir, suggesting that Freddi had wide connections. All Freddi’s secular music dates from his earlier years, most of his sacred music from his later years. The latter is in the modern concertato style. His Messa, Vespro e Compietà is a particularly interesting collection, for it affords one of the earliest examples of mixed vocal and instrumental scoring (violin and cornett are added to the five voices) for psalm and mass music by a provincial composer in Italy. It foreshadows what became the norm in modest church music two decades later: it does not require large resources yet is varied in colour. The mass displays the instruments by opening with solos and a duet for them – a hint of the instrumental introduction to later orchestral masses – while the psalm Nisi Dominus is craftsmanlike in its use of counterpoint and recurring harmonic and melodic material. Indeed Freddi was careful not to let his psalm music degenerate into plain and characterless chordal writing: the Magnificat from the psalms of 1626 is largely contrapuntal, with robust and interesting melodic lines and some pronounced word-painting at the only point that the text affords the opportunity – ‘dispersit superbos’. In his solo motets (1623) Freddi adopted the expressive manner of several composers in and near Venice. WORKSsacred
secular
BIBLIOGRAPHYG. Tebaldini: L’archivio musicale della Cappella Antoniana in Padova (Padua, 1895) G. Liberali: ‘ Giovanni Francesco Anerio: un suo fugace soggiorno a Treviso’, NA, xvii (1940), 171–8, esp. 173 G. d’Alessi: La cappella musicale del duomo di Treviso (Vedelago, 1954) G. Mantese: Storia musicale vicentina (Vicenza, 1956) J. Roche: North Italian Church Music in the Age of Monteverdi (Oxford, 1984) A. Bombi, ed.: ‘Secondo libro de madrigali a cinque voci’, Associazione Veneta per la Ricerca delle fonti Musicali: Musica Veneta, ii (Padua, 1996) JEROME ROCHE Directory: download -> 3062a7ba-8b89-4266-8568-82026f790e50 -> Bibliografia%20Básica download -> Northern England’s set-jetting locations download -> Bbc archives: Beyond the programme download download -> Occupational health and safety download -> Dynatest 3031 lwd light Weight Deflectometer download -> Forth coming competitive exams download -> English Olympiad Tasks: 10 th form Аудіювання, 10 клас. Текст download -> Brush High School Morning Announcements Friday, September 05, 2014 all school download -> Year 9 The Arts — Music download -> Years 7 and 8 standard elaborations — Australian Curriculum: Music draft Bibliografia%20Básica -> Oakeley, Sir Herbert (Stanley) Download 19.1 Mb. Share with your friends:
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