About this work:
Canzonetta (Lyric Poem) by Aldo Palazzeschi. First performance: Fall 1993 at Ball State University by Joan Metelli (soprano) and Mitchell Andrews (piano). Repeat performance SCI Region V Conference, Spring 1994. The Principles of “Futurism” were originated by the Italian poet Filippo Marinetti (1876-1942) and advanced by him in a manifesto published in 1909. In the coming years other Italian artists, including the artist Luigi Russolo (1885-1947) and the composer Francesco Pratella (1880-1955) joined the movement. In 1912, they and others co-signed the Technical Manifesto of Futuristic Painting. Although the futuristic movement was short-lived and lasted only until 1914, its influence in music can be seen throughout the Twentieth Century. It culminates with the works and ideas of John Cage (1912-1992) and with the advent of electronic music. Since the movement pointedly rejected all traditions, whether musical, literary, or artistic, there is much evidence of contemporary art of the time which demonstrated those same influences, such as Dadaism, which can be viewed as a by-product of Futurism. The poet Aldo Palazzeschi (1885-1974), whose real name was also Giurlani, was one of them. In fact one of his publications, L’Incendiario (1910), was dedicated to Marinetti, the founder of the futuristic movement. His poem “E lasciatemi divertire” (“And Let Me Amuse Myself”) appeared in this edition. In its present version, it became part of a more recent edition (1958). In the poem, which is a canzonetta (lyric poem). Palazzeschi demonstrates his attraction to the principles of Futurism, through the use of peculiar, illogical phonetic sounds, and poetic license, which allowed the poet the freedom he sought when using this new experimental language. In its present musical adaptation, the composer has attempted to make some sense out of this chaotic manifestation. Musical quotations are plentiful, and in every case, they lend themselves to the poetic license of the poetry. Puccini’s La Bohème, particularly Rodolfo’s first act aria, represents the idea of “Who am I?” The Fascist hymn, which is interrupted because of its vulgar connotation, is another (Marinetti himself became a Fascist party member in later years). The fire theme (the destruction of old traditions) is finalized with a brief quotation from Wagner’s Fire Music. The accompaniment figure, which has been taken from Saint-Saëns’ Piano Concerto no. 2, because of its waltz-like pattern, complements that, if the poet is to continue, he will be labeled an ass. And finally, we hear Rossini’s Semiramide Overture, the march-like segment that ultimately reminds all concerned that everything one might say or do is at risk since there might be professors at every turn listening and criticizing. In a twist of events, the pianist, as viewed by the poet-vocalist (soprano), becomes a representation of the movement itself, and, therefore, is mocked by her laughter. The pianist, with a final resolve, veers back to the Rossini’s selection while the vocalist reiterates the initial idea – that the poet is having fun. Text used by permission of A. Mondadori Editore.