{"artistName":"Alfredo Casella","artistId":95747,"artistDefaultImage":"https://artist99.cdn107.com/144/144acae8eda53891a9e44b9a4086fc81_xl.jpg","srcset":"https://artist99.cdn107.com/144/144acae8eda53891a9e44b9a4086fc81_sm.jpg 50w,https://artist99.cdn107.com/144/144acae8eda53891a9e44b9a4086fc81_md.jpg 80w,https://artist99.cdn107.com/144/144acae8eda53891a9e44b9a4086fc81_lg.jpg 200w,https://artist99.cdn107.com/144/144acae8eda53891a9e44b9a4086fc81_xl.jpg 340w","artistBio":"\u003cp\u003eLife and career\nCasella was born in Turin; his family included many musicians; his grandfather, a friend of Paganini's, was first cello in the San Carlo Theatre in Lisbon and eventually was soloist in the Royal Chapel in Turin. Alfredo's father Carlo Casella was also a professional cellist, as were Carlo's brothers Cesare and Gioacchino; his mother was a pianist, and gave the boy his first music lessons. \nAlfredo entered the Conservatoire de Paris in 1896 to study piano under Louis Diémer and composition under Gabriel Fauré; in these classes, George Enescu and Maurice Ravel were among his fellow students. During his Parisian period, Claude Debussy, Igor Stravinsky, and Manuel de Falla were acquaintances, and he was in contact with Ferruccio Busoni, Gustav Mahler, and Richard Strauss as well. \nCasella developed a deep admiration for Debussy's output after hearing Prélude à l'après-midi d'un faune in 1898, but pursued a more romantic vein (stemming from Strauss and Mahler) in his own writing of this period, rather than turning to impressionism. His first symphony of 1905 is from this time, and it is with this work that Casella made his debut as a conductor when he led the symphony's premiere in Monte Carlo in 1908. \nBack in Italy during World War I, he began teaching piano at the Accademia Nazionale di Santa Cecilia in Rome. From 1927 to 1929, Casella was the principal conductor of the Boston Pops, where he was succeeded by Arthur Fiedler. He was one of the best-known Italian piano virtuosos of his generation, and together with Arturo Bonucci (cello) and Alberto Poltronieri (violin), he formed the Trio Italiano in 1930. This group played to great acclaim in Europe and America. His stature as a pianist and his work with the Trio gave rise to some of his best known compositions, including A Notte Alta, the Sonatina, Nove Pezzi, and the Six Studies, Op. 70, for piano. For the Trio to play on tour, he wrote the Sonata a Tre and the Triple Concerto. \nCasella had his biggest success with the ballet La Giara, set to a scenario by Pirandello; other notable works include Italia, the Concerto Romano, Partita and Scarlattiana for Piano and Orchestra, the Violin and Cello Concerti, Paganiniana, and the Concerto for Piano, Strings, Timpani and Percussion. Amongst his chamber works, both Cello Sonatas are played with some frequency, as is the very beautiful late Harp Sonata, and the music for Flute and Piano. Casella also made live-recording player piano music rolls for the Aeolian Duo-Art system, all of which survive today and can be heard. In 1923, together with Gabriele D'Annunzio and Gian Francesco Malipiero from Venice, he founded an association to promote the spread of modern Italian music, the \"Corporation of the New Music\". \nThe resurrection of Vivaldi's works in the 20th century is mostly thanks to the efforts of Casella, who in 1939, organised the now historic Vivaldi Week, in which the poet Ezra Pound was also involved. Since then, Vivaldi's compositions have enjoyed almost universal success, and the advent of historically informed performance has catapulted him to stardom once again. In 1947, the Venetian businessman Antonio Fanna founded the Istituto Italiano Antonio Vivaldi, with the composer Malipiero as its artistic director, with the purpose of promoting Vivaldi's music and putting out new editions of his works. Casella's work on behalf of his Italian Baroque musical ancestors put him at the centre of the early 20th Century Neoclassical revival in music, and influenced his own compositions profoundly. \nUsually the generazione dell'ottanta (\"generation of '80\"), including Casella himself, Malipiero, Respighi, Pizzetti, and Alfano -- all composers born around 1880, the post-Puccini generation -- concentrated on writing instrumental works, rather than the operas in which Puccini and his musical forebears had specialised. Members of this generation were the dominant figures in Italian music after Puccini's death in 1924; they had their counterparts in Italian literature and painting. Casella, who was especially passionate about painting, accumulated an important collection of art and sculptures. He was perhaps the most \"international\" in outlook and stylistic influences of the generazione dell'ottanta, owing at least in part to his early musical training in Paris and the circle in which he lived and worked while there. He died in Rome. \nCasella's students included Clotilde Coulombe, Maria Curcio, Francesco Mander, Maurice Ohana, Robin Orr, Primož Ramovš, Nino Rota, Maria Tipo, and Camillo Togni. \nCasella was married to Yvonne Müller. Their granddaughter is actress Daria Nicolodi and their great-granddaughter is actress Asia Argento. \n Works\n Orchestral: \n\nSymphony No. 1 in B minor, Op. 5 (1905-6), \nItalia, Rapsodia per Orchestra, op. 11 (1909), \nSymphony No. 2 in C minor, Op. 12 (1908-9), \nSuite in C major, Op. 13 (1909-10), \nSuite from the Ballet Le Couvent sur l'Eau (Il Convento Veneziano), Op. 19 (1912-3), \nPagine di Guerra, Op. 23bis (1918), \nPupazzetti, Op. 27bis (1920), \nElegia Eroica, Op. 29 (1916), \nConcerto per Archi, Op. 40bis (1923-4), \nLa Giara, Suite Sinfonica, Op. 41bis (1924), \nSerenata per Piccolo Orchestra, Op. 46bis (1930), \nMarcia Rustica, Op. 49 (1929), \nLa Donna Serpente, Frammenti Sinfonici Seria I, Op. 50bis (1928-31), \nLa Donna Serpente, Frammenti Sinfonici Seria II, Op. 50ter (1928-31), \nIntroduzione, Aria e Toccata per Orchestra, Op. 55 (1933), \nIntroduzione, Corale e Marcia, Op. 57 (1931-5) for Band, Piano, Double Basses and Percussion, \nConcerto per Orchestra, Op. 61 (1937), \nSymphony No. 3, Op. 63 (1939-40), \nDivertimento per Fulvia, Op. 64 (1940), \nPaganiniana: Divertimento per Orchestra, Op. 65 (1942), \n\nConcertante: \n\nA Notte Alta, for Piano and Orchestra, Op. 30bis (1921), \nPartita for Piano and Orchestra, Op. 42 (1924-5), \nConcerto Romano for Organ, Brass, Timpani, and Strings, Op. 43 (1926), \nScarlattiana, for Piano and Small Orchestra, Op. 44 (1926), \nViolin Concerto, Op. 48 (1928), \nNotturno e Tarantella for Cello and Orchestra, Op. 54 (1934), \nTriple Concerto, Op. 56 (1933), \nCello Concerto, Op. 58 (1934-5), \nConcerto for Piano, Strings, Timpani, and Percussion, Op. 69 (1943), \n\nChamber and Instrumental: \n\nBarcarola e Scherzo for Flute and Piano, Op. 4 (1903), \nCello Sonata No. 1, Op. 8 (1906), \nSicilienne et Burlesque for Flute and Piano, Op. 23 (1914), \nPagine di Guerra, Op. 25 (1915) Quattro 'films' musicali per pianoforte a quattro mani, \nPupazzetti, Op. 27 Cinque Pezzi Facili per Pianoforte a Quattro Mani (1915), \nCinque Pezzi per Quartetto d'Archi, Op. 34 (1920), \nConcerto per Quartetto d'Archi, Op. 40 (1923-4), \nCello Sonata No. 2 in C major, Op. 45 (1926), \nMinuet from `Scarlattiana' (1926) for Violin and Piano, \nSerenata per Cinque Instrumenti, Op. 46 (1927), \nCavatina and Gavotte from the `Serenata Italiana' (1927) for Violin and Piano, \nPrelude and Danza Siciliana from `La Giara' (1928), for Violin and Piano, \nSinfonia for Piano, Violoncello, Clarinet, and Trumpet, Op. 53 (1932), \nNotturno for Cello and Piano (1934), \nTarantella for Cello and Piano (1934), \nSonata a Tre (Piano Trio), Op. 62 (1938), \nHarp Sonata, Op. 68 (1943), \n\nPiano: \n\nPavane, Op. 1 (1902), \nVariations sur une Chaconne, Op. 3 (1903), \nToccata, Op. 6 (1904), \nSarabande, Op. 10 (1908), \nNotturnino (1909), \nBerceuse triste, Op. 14 (1909), \nBarcarola, Op. 15 (1910), \nÀ la Manière de..., Prima Serie, Op. 17 (1911), \nÀ la Manière de..., Seconda Serie, Op. 17bis (1914), \nNove Pezzi, Op. 24 (1914), \nSonatina, Op. 28 (1916), \nA Notte Alta, Poema Musicale, Op. 30 (1917), \nDeux Contrastes, Op. 31 (1916-8), \nInezie, Op. 32 (1918), \nCocktail Dance (1918), \nUndici Pezzi Infantili, Op. 35 (1920), \nDue Canzoni Popolari Italiane, Op. 47 (1928), \nDue Ricercari sul nome B-A-C-H, Op. 52 (1932), \nSinfonia, Arioso e Toccata, Op. 59 (1936), \nRicercare sul Nome Guido M. Gatti (1942), \nStudio Sulle Terze Maggiori (1942), \nSei Studi, Op. 70 (1942-44), \nTrois Pieces pour Pianola, before 1921, \n\nVocal: \n\nNuageries (1903) Jean Richepin, \nFive Songs, Op. 2 (1902), \nLa Cloche Felee, Op. 7 (1904) Baudelaire, \nTrois Lyriques, Op. 9 (1905) Albert Samain, Baudelaire, Verlaine, \nSonnet, Op. 16 (1910) Ronsard, \nCinque Frammenti Sinfonici per Soprano ed Orchestra da Le Convent sur l'Eau (Il Convento Veneziano), Op. 19 (1912-4), \nNotte di Maggio, for Voice and Orchestra, Op. 20 (1913), \nDue Canti, Op. 21 (1913), \nDeux Chansons Anciennes, Op. 22 (1912), \nL'Adieu à la Vie, Op. 26 (1915) for Voice and Piano, \nL'Adieu à la Vie, Op. 26bis (1915/26) Quattro Liriche Funebri per Soprano ed Orchestra da Camera dal `Gitanjali' di R. Tagore Trans. A. Gide, \nTre Canzoni Trecentesche, Op. 36 (1923) Cino da Pistoia, \nLa Sera Fiesolana, Op. 37 (1923) for Voice and Piano D'Annunzio, \nQuattro Favole Romanesche, Op. 38 (1923) Trilusso, \nDue Liriche, Op. 39 (1923) for Voice and Piano, \nTre Vocalizzi for Voice and Piano (1929), \nTre Canti Sacri for Baritone and Organ, Op. 66 (1943), \nTre Canti Sacri for Baritone and Small Orchestra, Op. 66bis (1943), \nMissa Solemnis Pro Pace, Op. 71 (1944) per Soli, Coro e Orchestra, \n\nStage: \n\nLe Couvent sur l'Eau (Il Conventno Veneziano), Op. 18 (1912-3) Ballet J.-L. Vaudoyer, \nLa Giara, Op. 41 (1924) Ballet Pirandello, \nLa Donna Serpente, Op. 50 (1928-31) Opera, Libretto by C.V. Ludovici after C. Gozzi, \nLa Favola d'Orfeo, Op. 51 (1932) Chamber Opera, Libretto by C. Pavolini after A. Poliziano, \nIl Deserto Tentato, Op. 60 (1937) Mistero in Un Atto, Libretto by Pavolini, \nLa Camera dei Disegni (Balletto per Fulvia), Op. 64 (1940) Ballet, \nLa Rosa del Sogno, Op. 67 (1943) Ballet, partly after Paganiniana, Op. 65, \n\nWritings: \n\nThe Evolution of Music Throughout the History of the Perfect Cadence (London, 1924), \nIgor Strawinsky (Rome, 1926), \n...21 + 26, an Autobiography (Rome, 1931), \nIl Pianoforte (Rome-Milan, 1937), \nLa Tecnica dell'Orchestra Contemporanea (Rome and New York, 1950), \nI Segreti della Giara, Original Italian Edition of Casella's Autobiography (Florence, 1941), \nMusic in My Time, Autobiography, English Edition by Spencer Norton (Norman, Oklahoma, 1955), \nplus numerous articles in musical journals\u003c/p\u003e","musicPath":"/music/Alfredo+Casella","playStationPath":"/stations/280881335/play","stationId":280881335,"bioPath":"/music/Alfredo+Casella/_full_bio","similars":[{"musicPath":"/music/Sofia+Gubaidulina","artistDefaultImage":"https://artist99.cdn107.com/f2d/f2dfffaeff3dfbcc6f3743d18277bacc_md.jpg","artistName":"Sofia Gubaidulina","artistId":457191,"station_id":401274174},{"musicPath":"/music/Ernst+Krenek","artistDefaultImage":"https://artist99.cdn107.com/260/260ca09a9ef46ac7fac80e6ae3190053_md.jpg","artistName":"Ernst Krenek","artistId":456847,"station_id":401264769},{"musicPath":"/music/Erwin+Schulhoff","artistDefaultImage":"https://artist99.cdn107.com/e74/e745200360953c18c8a2da911e8e8962_md.jpg","artistName":"Erwin Schulhoff","artistId":473734,"station_id":401523159},{"musicPath":"/music/Luigi+Dallapiccola","artistDefaultImage":"https://artist99.cdn107.com/4ed/4edbdab217ac85db7feddef8edf8d4ab_md.jpg","artistName":"Luigi Dallapiccola","artistId":138887,"station_id":397264739},{"musicPath":"/music/Grazyna+Bacewicz","artistDefaultImage":"https://artist99.cdn107.com/209/20997a5d1941e1222e57df6a0e5a0d81_md.jpg","artistName":"Grazyna Bacewicz","artistId":139133,"station_id":287828952},{"musicPath":"/music/Francis+Poulenc","artistDefaultImage":"https://artist99.cdn107.com/f80/f80e9a1eea13c5125389ea8745174a1e_md.jpg","artistName":"Francis Poulenc","artistId":456181,"station_id":401255025},{"musicPath":"/music/Pteris+Vasks","artistDefaultImage":"https://artist99.cdn107.com/65f/65fedb61b94cc3ecbd274a0c3cc42314_md.jpg","artistName":"Pēteris Vasks","artistId":456449,"station_id":401264103},{"musicPath":"/music/Mieczysaw+Weinberg","artistDefaultImage":"https://artist99.cdn107.com/efc/efc9921fa1a7b9225aa3b120e7834343_md.jpg","artistName":"Mieczysław Weinberg","artistId":467238,"station_id":401425161},{"musicPath":"/music/Alexandre+Tansman","artistDefaultImage":"https://artist99.cdn107.com/234/23446c073807c0c5dce763ac27cefc68_md.jpg","artistName":"Alexandre Tansman","artistId":456119,"station_id":401254279},{"musicPath":"/music/Einojuhani+Rautavaara","artistDefaultImage":"https://artist99.cdn107.com/cc6/cc6dbf3ea59b2164b091e3d186181aee_md.jpg","artistName":"Einojuhani Rautavaara","artistId":470736,"station_id":401469300},{"musicPath":"/music/Darius+Milhaud","artistDefaultImage":"https://artist99.cdn107.com/cec/cecbfc5dcfecaff5582d811d8aea6ad3_md.jpg","artistName":"Darius Milhaud","artistId":139228,"station_id":287828983},{"musicPath":"/music/Jacques+Ibert","artistDefaultImage":"https://artist99.cdn107.com/e9c/e9c8a89f3a9279608194a2b1bcd6c04a_md.jpg","artistName":"Jacques Ibert","artistId":465736,"station_id":401405091},{"musicPath":"/music/Peter+Maxwell+Davies","artistDefaultImage":"https://artist99.cdn107.com/829/8298f91f4c488ac294c2c6133ab6b556_md.jpg","artistName":"Peter Maxwell Davies","artistId":339931,"station_id":390292316},{"musicPath":"/music/Alexander+von+Zemlinsky","artistDefaultImage":"https://artist99.cdn107.com/345/345ff76e2ffaa790f017fa23bed86f31_md.jpg","artistName":"Alexander von Zemlinsky","artistId":455024,"station_id":401236681}]}