Miniatura vocală italiană. Ottorino Respighi, reper al muzicii italiene din prima jumătate a secolului XX

Abstract

The life and work of the composer were interesting in the scientific endeavor. Contrast, symmetry, asymmetry, conciseness, national-European-universal trialism, unity in diversity, broad tonality, sometimes atonalism, the presence of the musical theme, divisional rhythm, traditional dynamics, already established timbres, language syntheses, syncretism, pragmatic music, pluri- modalism, the presence of the quotations, often folk writings, stylization, familiar forms and genres define a particularly vast sonorous universe that we find in Ottorino Respighi.
In his numerous creations, the voice is on a fundamental place, whether we are talking about large works (operas) or vocal miniatures (lieds), we can also notice a special sensitivity about the meaning of the word, whereas the chosen texts are organically appropriate to the orchestral speech. The frequent presence of the recitative, of the declamation, of the rhythmic-melodic structures dependent on the text, the so-called intoned recitation (Speachgesang) render a unique imprint to Respighi's miniature creation.