Balilla Pratella “Manifesto dei musicisti futuristi.” 11 Gennaio in: Il Manifesto del futurismo p. ; Translated and (re)published in: Poggi, Christine, and. Balilla Pratella. I appeal to the young. Only they should listen, and only they can understand what I have to say. Some people are born old, slobbering spectres. Francesco Balilla Pratella. retrieved. 9 October stated in · International Music Score Library Project · IMSLP ID · Category:Pratella,_Francesco_Balilla.
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To proclaim that the reign of the singer must end, and that the importance of the singer in relation to a work of art is the equivalent of the importance of an instrument in the orchestra.
Francesco Balilla Pratella – Wikidata
To keep at a distance from commercial or academic circles, despising them, and preferring a modest life to bountiful earnings acquired by selling art.
Pratella’s first Futurist creation was the orchestral work Musica futurista, Op. The result is prudent repression and restriction of any free and daring tendency; constant mortification of impetuous intelligence; unconditioned propping-up of imitative and incestuous mediocrity; prostitution of the great glories of the music of the past, used as insidious arms of offense against budding talent; limitation of study to a useless form of acrobatics floundering in the perpetual last throes of a behindhand culture that is already dead.
Pratella was born in Lugo di Romagna on the first day of February in ; he studied music at the Liceo Rossini in Pesaro, and then, after teaching for two years — in the city of Cesana, took up the directorship of the Istituto Musicale of Lugo.
This musicological work should rightly be considered Pratella’s best and most important legacy, but a brief stint with the Italian Futurist movement around the time of World War I tends to dominate biographical accounts. It proclaims that Art is disinterest, heroism and contempt for easy success. Futurism, the rebellion of the life of intuition and feeling, quivering and impetuous spring, declares inexorable war on doctrines, individuals and works that repeat, prolong or exalt the past at the expense of the future.
His final extant original composition is the incidental music Nostra medar Rumagna This musicological work should rightly be considered Pratella’s best and most important legacy, but a brief stint with the Italian Futurist movement around the time of World War I tends to dominate biographical accounts. Exalting the man-symbol everlastingly renewed by the varied aspects of modern life and its infinity of intimate relationships with nature.
Coincident with pratflla appointment at the Istituto was a new interest in the then-blossoming Futurist movement, as represented by the music of Filippo Tommaso Marinetti; between and Pratella wrote three radical manifestos — pushing for atonality and for the acceptance of new systems of tuning and rhythm, all of which were tame compared to some of the demands made by others in the Futurist movement.
Stronger than Debussy in ideas, but musically inferior, is G. In other projects Wikiquote.
Category:Pratella, Francesco Balilla
The vegetating schools, conservatories and academies act as snares for youth and art alike. At the end of World War I, Pratella broke with the futurists; L’aviatore Dro opened in and proved popular with critics and audiences alike, but its impracticality and odd storyline doomed it to certain obscurity.
One of the leading advocates of futurism in Italian music, much of Pratella’s own music betrays little obvious connection to balila views espoused in the manifestos he authored. The great publisher-merchants rule over everything; they impose commercial bbalilla on operatic forms, proclaiming which models are not to be excelled, unsurpassable: In Finland and Sweden, also, innovatory tendencies are being nourished by means of national musical and poetical elements, and the works of Sibelius confirm this.
Pianist Daniele Lombardi has recorded some of Pratella’s futurist piano music, and in the La Scala opera house in Milan revived L’aviatore Dro for the first time in 75 years.
This page was last edited on 2 Decemberat The publishers perpetuated mediocrity and the domination of music by the “rickety and vulgar” operas of Puccini and Umberto Giordano. Moreover, he directs his energy not merely to the exuberant variety of the instruments, but to the variety of their combinational effects, which is in keeping with our complex sensibility.
The young musical talents stagnating in the conservatories have their eyes fixed on the fascinating mirage of opera under the protection of the big publishing houses. Retrieved from ” https: In England, Edward Elgar is cooperating with our efforts to destroy the past by pitting his will to amplify classical symphonic forms, seeking richer ways of thematic development and multiform variations on a single theme.
They follow me, faithful and fearless, along the roads of the future, gloriously preceded by my, by our, intrepid brothers, the Futurist poets and painters, beautiful with violence, daring with rebellion, and luminous with the animation of genius.
Francesco Balilla Pratella
Nevertheless, he more than any other fights the past pratellz and there are many points at which he overcomes it. Italian composer and theorist Francesco Balilla Pratella grew up listening to Romagnese folk tunes, and he spent his latter years collecting and cataloging them and also tunes from elsewhere around Italy.
Verdi” Archived at the Wayback Machine. Futurism and noise music. His personal example, first and unique in Italy, has unmasked the infamy of publishing monopolies and the venality of the critics. But, although they are almost never heard today, the chamber pieces, including the Sonata seconda for violin and piano and the Sonata terza for piano quintetprobably offer his best music.