Dallapicola Analise PDF

TONAL REFERENCES IN LUIGI DALLAPICCOLA'S
QUADERNO MUSICALE PI ANNALIBERA
by
RACHEL ELICE MANN, B.M.
A THESIS
IN
MUSIC THEORY
Submitted to the Graduate Faculty

of Texas Tech University in
Partial Fulfillment of
the Requirements for
the Degree of
MASTER OF MUSIC
Approved
May, 2002
2002, Rachel Elice Mann
ACKNOWLEDGEMENTS
I would like to thank Dr. Guy Capuzzo for all of his guidance in this scholarly
endeavor. His advice was both insightful and reassuring. I would also like to thank the
remainder of my committee. Dr. Matthew Santa and Dr. Wayne Hobbs, who also assisted
me in the completion of this formidable task. I would especially like to thank the Texas
and South Central regional Societies for Music Theory. I was given the opportunity to
present papers at each of the two conferences in 2(X)2, and the questions and comments I
received following my presentation proved to be invaluable. Finally, I would like to
thank my parents, James and Janie Mann, and also Jason Mitchell Bums for encouraging
me to strive for excellence andfiirthermy education.
n
TABLE OF CONTENTS
ACKNOWLEDGEMENTS ii
ABSTRACT iv
CHAPTER
L INTRODUCTION 1
II. ANALYSIS OF MOVEMENT NO. 1:"SIMB0L0" 14
III. ANALYSIS OF MOVEMENT NO. 7: "ANDANTINO AMOROSO
ECONTRAPUNCTUSTERTIUS-RESOLUTIO" 57
IV. CONCLUSION 77
BIBLIOGRAPHY 79
ui
ABSTRACT
This paper investigates the tonal references in Luigi Dallapiccola's Quademo
Musicale di Annalibera (1952), particularly movements 1 and 7, "Simbolo" and
"Andantino Amoroso e Contrapunctus Tertius." Tonal references are present in three
ways. First, triads and seventh chords are presented within the ordering of the twelve-
tone row. Second, chordal transformations are presented in close position to encourage
the listener to perceive them as such. Third, tonal references occur in the local tonic-
dominant relationships, which are prevalent throughout the movement as well as the
entire composition.
While the Quademo Musicale di Annalibera is a twelve-tone conqK)sition, these
fleeting moments of tonality can be seen throughout "Simboto" and "Andantino
Amoroso," as well as the remainder of the work. Through his use of tonal references,
Dallapiccola is able to manipulate the row to provide the listener with a sound that, at
times, seems both tonal and atonal.
IV
CHAPTER I
INTRODUCTION
Luigi Dallapiccola's twelve-tone piece Quademo Musicale di Annalibera (1952)
is remarkable in its ability to create tonal references through the use of triadic vertical
harmonies. This thesis vydll examine the composition's vertical harmonies, which set the
Quademo apartfi-omother works of the same genre and style period. It will also discuss
the piece's row through in-depth analyses of two of the work's eleven movements.
The Quaderno Musicale di Annalibera presents these tonal references in three
ways. First, it presents triads and seventh chords within the ordering of row. Second, in
the realization of the row, chordal voicings and their transformations are presented in
close position, which may encourage the listener to perceive them as triads or seventh
chords. Third, tonal references occur in the local tonic-dominant relationships, which are
prevalent throughout the entire composition.
Chapter I is divided into three sections. Section 1.1 provides an overview of the
Quaderno Musicale di Anruilibera. Section 1.2 provides biographical information about
Dallapiccola and compares the Quaderno to other works by the composer. Section 1.3
relates the tonal references of the Quademo in a literature review to other works of the
same genre and style period.

1.1 Overview
Section 1.1 is divided into two sections. Section 1. la provides a brief history of
the Quademo Musicale di Annalibera. An overview of the entire work is given in
Section 1.1b, with in-depth analyses of no.l, "Simbolo" and no. 7, "Andantino Amoroso
e Contrapunctus Tertius" found in later chapters.
1.1.1 History and Overview of the Quademo Musicale di Annalibera
The Quademo Musicale di Annalibera was composed for the Pittsburgh
International Contemporary Music Festival during a trip across Canada, the United
States, and Mexico in August and September of 1952. Because of this, "it seems no mere
coincidence that the two works written furthest fi-om home (Tartiniana and Quademo)
should contain in transmuted form the feeling aroused by oqieriences and memories of
Italy."' This Musical Notebookfor Annalibera, which Dallapiccola dedicated to his
daughter on her eighth birthday, recalls J. S. Bach's Das KlavierbUchleinfiir Anna
Magdalena Bach? In addition to the similarities in the titles, each was written as a series
of simple piano pieces. Dallapiccola also pays homage to Bach with the femous BACH
motive.^ This is fiirther explained in Chapter H.
' Vlad (1957:47). Tartiniana, published in 1951 by Edizioni Suvini Zerboni, is a divertimento fa-
violin and chamber ordiestra. Dallapiccola wrote it while teaching at Tanglewood during the summer of
1951.
^Burkhart( 1994: 512).
^ German notation: B - A - C - H = Bb
This same piece for solo piano was later transcribed for orchestra and was entitled
Variazioni per Orchestra (Variations for Orchestra), which was commissioned by the
Louisville Symphony Orchestra in 1954. The Quademo likewise provides much of the
thematic material for Dallapiccola's Canti di liberazione (Songs of Liberation), a
conyjosition for choir and orchestra, which commemorates Italy's independence fi-om
Fascist control
1.1.2 General Overview
The Quademo Musicale di Annalibera is Dallapiccola's only twelve-tone piece
for solo piano. The work is divided into eleven movements, each lasting no more than
three minutes. Dallapiccola described the Quademo as "not at all variations in the
traditional sense of the word. At the base of the whole composition, there is the same
twelve-tone row, and there are eleven variations. The titles give an indication of the
musical content."^
Also recalling J. S. Bach's Das KlavierbtichleinfUr Anna Magdalena Bach, the
Quademo Musicale di Annalibera combines nwvements in strict contrapimtal style with
fi-eely composed pieces. The work opens with "Simbolo," which is discussed in detail in
Chapter II. The second piece, "Accenti," is marked Allegro; confuoco and lasts only 27
seconds. Thisfi-eemovement is characterized by accented patterns of harmonic chords
and tone clusters. "Accenti" then moves to a contrapuntal movement entitled
"Contrapunctus Primus." This piece begins with the row form Te(P) rather than T,(P) as
" Barfoot (1998: 1).

in the first and second movements. Appearing as long fluid lines played against each
other, the three-part canon ends as unobtrusively as it begins.
The fourth piece, "Linee," is marked tranquillamente mosso. Thisfi-eemovement
is characterized by a slurred eighth-note melodicfigureplayed over single sostenuto
tones. It is followed by a second contrapuntal piece, "Contrapunctus Secundus (Canon
Contrario Motu)." Thispoco allegretto; "alia Serenata" movement is a canon with
entrances occurring one eighth note apart. The two voices continue through the end of m.
4 and, following a caesura, the canon begins again, continuing as before to the end of the
movement. According to Roman Vlad, "the staccato notes are marked quasi pizzicato
and the chords quasi accordando, as if to recall the Ught nocturnal strumming of guitars
and mandolins."^
The sixth nwvement, "Fregi," follows the "Contrapunctus Secundus." This
expressive movement reiterates the original row form in the upper voice. The row later
returns in the lower voice in inversion. The third andfinalcontrapuntal movement,
"Andantino Amoroso e Contrapimctus Tertius (Canon Cancrizans)," follows as the
seventh movement of the Quaderno. This piece is discussed in Chapter III.
"Ritmi" is the eighth movement of the Quademo. Labeled violento and ruvido,^
the movement imparts just these qualities. "In the two successive pieces, "Colore" (no.
' Vlad (1957:47).
* Ruvido - harsh.
9) and "Ombre" (no. 10), the interest is centered in the tone-color, whilst in the final
"Quartina" the musical expression, though controlled, reaches its greatest intensity."'
1.2 Biographical Sketch of Dallapiccola
Section 1.2 is divided into two sections. Section 1.2.1 gives a biographical sketch
of Dallapiccola as a composer. Section 1.2.2 describes the Quaderno Musicale di
Annalibera in reference to other works by the composer.
1.2.1 Biographical Sketch
Luigi Dallîccola was bom in Pisino, Istria (now Croatia) on February 3, 1904.
"Although Italian, Dallapiccola was bom in a part of the coimtry, which was then part of
the Austro-Hungarian Entire. It was transferred to Italy in 1918 and is now part of
Yugoslavia. A year earlier thefemilyhad been forcibly transferred to Graz, Austria, as
Luigi'sfetherwas deemed to be a dangerous nationalistic agitator."*
His father, a professor of classical languages and an avid music lover, enrolled
Luigi in piano lessons at an early age. The Austrian govenunent believed his father was
harboring pro-Italian sentiments. This was primarily because he was the headmaster of
the local school, which made him politically siispect. Dallapiccola'sfemilywasfirstheld
in a detention camp on the border and later sent to Graz, Austria in March of 1917.
While in Graz, Dallapiccola became acquainted with the music of Verdi and Wagner.
^ Vlad (1957: 48).
* Wright (1999).
After twenty months of internment, the Dallapiccola family retumed to Pisino in 1919.
Dallapiccola began his studies at the Conservatorio Luigi Chembini in Florence, Italy
two years later. His first degree in piano was awarded in 1924 and, continuing his
studies, he received a degree in composition in 1931. Dallapiccola was later named to
the faculty of the Conservatorio Luigi Chembini in 1934. It was during this time that he
became acquainted with contemporary music, even becoming an Italian representative for
the Intemational Society for Contenporary Music. Dallapiccola became interested in
conten^wrary music in 1924 after hearing a performance of Schoenberg's Pierrot
Lunaire. "A seed was sown then, which in due course, borefiixitin a gradual adoption of
Schoenbergian twelve-tone technique."' He began using the twelve-tone technique in
1939 after being influenced by composers such as Busoni, Schoenberg, and Webem,
using it almost exclusively after 1942. Dallapiccola was "noteworthy for putting the
disciplined 12-tone serial technique at the service of warm, emotional expression."*^ The
first twelve-tone piece Dallq)iccola conqwsed was the Liriche Greche, a cycle of three
songs entitled "Cinquefi-ammentidi Saffo" (1942), "Sex carmina Alcaei, una voce
canenda nonnullis comitanibus musicis" (1943), and "Due liriche di Anacreonte" (1945).
In April of 1938, Dallapiccola married Laura Coen Luzzato, of Jewish descent.
With the advent of World War II, Mussolini began his anti-Semitic policy, and
Dallapiccola's wife was removedfi-omher position at the National Library in Florence.
Because of his wife's persecution as well as that of his own in his youth, much of
' Morgan (1993: 122).
'*'Ciceran(2001).
Dallapiccola's music is highly political. It echoes cries of injustice and persecution and
contains many thematic lines representative of fi-eedom. "Dallapiccola, a modernist and
serialist for most of his career, wrote politically committed music that was hardly in
support of the status quo."" These themes are seen mainly in his vocal works, such as the
// Prigioniero (The Prisoner) and Canti di Liberazione (Songs of Liberation).
His only child Annalibera was bora in 1944, the year Florence was liberated. She
is the subject of the title piece, Quademo Musicale di Annalibera, written for her
birthday in 1952. In addition to his position at the Conservatory in Florence,
Dallapiccola taught composition in the United States at various summer music camps
such as Tanglewood and as a member of the feculty at Queens College in New York
during the 1950s and 1960s. "Recognized by knowledgeable observers as one of the
most talented conposers of the new Italian generation,"'^ Dallapiccola received
numerous awards for composition throughout the years and is generally acknowledged as
the first Italian composer to adopt the twelve-tone system. He died in Florence in 1975 at
the age of 71.
"Dallapiccola was the leading Italian twentieth-century composer tjetween
Puccini and Berio, and one of the most original receivers and refiners of the twelve-note
method. His music possesses a textural clarity and simplicity of line that owes as much to
the tradition oibel canto as to the example of Berg and Webem. However sophisticated
" Hermann (1997: 3.5).
'^ Nathan (1974: 163).

his harmonic and rhythmic invention, he never forgot that the origins of music lay in the
voice.""
1.2.2 Other Works by Dallapiccola
While the instnmiental music of Dallapiccola is not unknown, the majority of his
music is written for voice. According to Roman Vlad, "the con^ser's marked
preference for the human voice is in evidencefix)mthe very beginning, and is set into
rehef by the special vocal quality pervading all his later works, even those of which are
purely instrumental"''*
Dallapiccola began his composition career m 1925 with three songs for voice and
piano, entitled Fiuri de Tapo. Though none of his first conqwsitions were published or
performed before 1929, they were all written for voice and some other medium, such as
chamber ensemble, chorus, orchestra, or solo instnmient. All of the music composed in
Dallapiccola's early period, save one piece for three pianos, was composed for voice. By
the end of his career, less than twenty of his compositions were composed for a medium
other than voice. '^ He is known mainly for his operas and vocal works.
The feet that the Quaderno Musicale di Annalibera is Dallapiccola's only twelve-
tone work written for piano is interesting in light of thefeetthat he was a Professor of
piano at the Conservatorio Luigi Chembini in Florence. He wrote very little for his
" Grashoff (1999).
'"Vlad (1957: 5).
' ' This is based on Dallapiccola's list of published works as listed in Nicolodi (1975), not
including compositionsfoundonly in manusCTipt, transcriptions, revisions, or reaUiations.
primary instnmient. According to Donald Martino, Dallapiccola's music was not played
much in Italy, and he was simply known as "this nice man who taught piano and some
FuUbrights [5/c]."'^
The Quademo is not Dallapiccola's only dodecaphonic work exhibiting tonal
references. The aforementioned Liriche Greche (1942-1945) also contains tonal
references, as do his works, Ciaccone, Intermezzo e Adagio, and Rencesvals. One may
see in these works "the search after a still clearer action of tonal forces in a fully
chromatic context."'^
1.3 Literature Review
Numerous authors have approached Dallapiccola's twelve-tone music and noted
its tonal features. Brian Alegant states that very little has been written about
Dallapiccola's music due to his "idiosyncratic handling of the 12-tone system.
Dallapiccola lises tone rows in ways that, until now, have proven analytically resistant."'*
John D. White claims that Dallapiccola composed a row for the Quaderno Musicale di
Annalibera in order to endow the piece with "triadic qualities."'^ Roman Vlad writes of
particular movements as having "harmonic implications"^" and Stefan Kostka discusses
'*Boros (1991:221).
'^ Vlad (1957: 30).
'* GrashofF(1999).
''White (1995: 103).
^ Vlad (1957: 47).

"tonal implications"^' and "diatonic 'progressions'"^^ in the work. Building on this
research, this thesis will analyze the row's ability to provide the tonal references
produced by the piece's vertical harmonies.
While most composers "avoid using in a row any combination of pitches that
would recall tonal music, such as triads, scale segments, and traditional bass or melodic
formulas,"^^ the Quademo Musicale di Annalibera exhibits both triadic harmonies as
well as vocal-like melodies, only loosely adhering to the rules of classical twelve-tone
serialism. Many composers turned to serialism as a way to breakfi-eeof the tonal system
and embrace new ideas, yet this style of coiiqx)sition had its own typical features as well.
According to John D. White,
"...If the objective is to avoid traditional triadic substructures, as it was for

the members of the Second Viennese School, then intervals of thirds,
sixths, and perhaps even perfect fifths are to be avoided in the constmction
of the tone row. Luigi Dallapiccola, however, consciously chose such
intervals in the constmction of the tone row for his Quaderno Musicale di
Annalibera in order to endow his harmonic language in that work with
triadic harmonies."^^
Members of the Second Viennese School exerted an influence on Dallapiccola.
Milton Babbitt "discusses an instance of borrowing in the music of Luigi Dallapiccola,
demonstrating that 'Contrapunctus Secundus'fi-omDallapiccola's Quademo Musicale di
^' Kostka (1999:208).
^ Ibid., 209.
^^ Ibid., 203.
^* White (1995: 103).
10
Annalibera is a gloss on the second movement of Webem's Piano Variations, Op. 27.'"^^
This is but one instance of Dallapiccola's engagement with the music of Webem and
Schoenberg. "There came the time when Dallapiccola embraced serialism and he
thought he knew all about twelve-note music but, when studying Webem, he realized that
he was very limited. His work fell into great decUne and he became a prisoner of
personal failure."^^ During this period of time, Dallapiccola composed very little.
Though Dallapiccola closely studied the serial music of the Second Viennese
School not all of the music produced by the latter was necessarily atonal Many twelve-
tone works of the Second Viennese School were fiill of tonal references. A perfect
example of this is the Violin Concerto by Berg. A portion of the work is based on a Bach
harmonization of the Lutheran chorale, "Es ist Genug,"^' a diatonic Carinthian folk
melody, and the Hauptrhythmus shown m Example 1.1.
Example 1.1
The Hauptrhythmus in Berg's Violin Concerto
^ Burkholdo- (2001). See also Dembski (1987).
2*Wri^t(1999).
" This is takenfromBach's Cantata BWV 60 (1723).
^* Hauptrhythmus -riiythmicmotive.
11
The Violin Concerto was Berg*s final composition, composed in 1935, and was
first performed posthumously on April 19, 1936. "As in his previous works, but even
more notably, the apparent intertwining of tonal and twelve-tone elements stemsfi-omthe
common source of Berg's cyclic language."^' These references are first seen in tlK row.
"The basis row of the concerto is designed in such a way that tonal combinations become
practically inevitable."^" The row, <G-B b-D-F#-A-C-E-G#-B k -C#-D#-F>, outlines a
G minor triad with its first three pes, and a B b augmented triad with pes 2-5. Berg
outlines a D major triad with pes 3-5, an F# diminished triad with pes 4-6, and an A
major triad with pes 5-7. Pes 6-8 compose a second augmented triad on C and there is
also an E major triad built on pes 7-9. The row ends with pes 9-12 hinting at the
beginning of a whole tone scale. This division of the tone row is seen in Example 1.2
below.
Example 1.2
+ +
/ ~ ~~\ / ~ \
G ^Bb D ^P" A 'C* E 'GP B C# ' D# F
^ '^ W ^ ^ '
m M m M Whole Tone
^' Headlam (1996: 357).
^^ Grout (1988: 861).
12
These tonal references are further solidified by the solo violin, which enters on
arpeggiations of its open strings, G, D, A, and E after the harp's entrance on the
arpeggiated fifths B b, F, C, and G. Many of the melodic lines in the concerto are built on
these fifths. This is true of the ending as well. Following a series of solos by varioiis
instmments of the ensemble, thefirstviolin ends the work with a return of the
arpeggiated fifths, which is answered by the contrabass, bringing the concerto to a close.
Numerous tonal references are present in Berg's Violin Concerto, just as such
references are present in the twelve-tone works of other conqwsers of the Second
Vieimese School. The work of Schoenberg, Berg, Webem, and others during the early
years of the twentieth century greatly influenced the twelve-tone music of Dallapiccola.
This thesis demonstrates how Dallapiccola was able to conpose an eleven-
movement work for piano that is twelve-tone in con^sition but bears many references
to tonality. This thesis will analyze both the twelve-tone technique and survey the tonal
references in Dallapiccola's Quademo Musicale di Annalibera through in-depth analyses
of the first and seventh movements, "Simbolo" and "Andantino Amoroso e
Contrapimctus Tertius."
13
CHAPTER II
ANALYSIS OF MOVEMENT NO. 1: "SIMBOLO"
Chapter II provides an analysis of "Simbolo," Sectbn 2.1 gives a brief
introduction and an overview of the piece's row. Section 2.2 describes the movement's
form. Analyses of tonal references and serial transformations are provided in Sections
2.3-2.5. Section 2.6 provides a conclusion.
2.1 Introductron
"Simbolo," meaning "symbol" in English, is aptly named; Vlad describes the
movement as a "symbolic tribute to Bach."' The movement begins with a low-register
repeating eighth notefigure,which gives the opening of "Simbolo" an almost foreboding
quality. At the same time, the tempo is marked Quasi lento and longfluidlines appear
throughout. Floating above this rhythmic pattern, a series of deliberate sostenuto chords
gains prominence. This is then interrupted by a rapidly moving chordal section with note
values of varying lengths. Because of the anticipation of where the next chord will fall
the listener is kept in suspense before the piece returns to the opening figure.
Dallapiccola continues to alternate between these two musical ideas for the
remainder of the movement. The only deviation occurs in m. 17, with a dramatic change
in texture. Dallapiccola alters the sostenuto chord motive by incorporating a new musical
sectioa The rapidly moving chordal section returns, but faster and in a higher register.
Vlad (1957:47).
14
which provides the climax of "Simbolo" before returning to the thematic material
introduced at the beginning of the movement. The movement ends with the musical
motive heard at the beginning of "Simbolo," but unlike the beginning of the movement,
thefinalsostenuto chord sounds long after the last repeating eighth note figure. This
endmg leaves the audience hanging, and propels them forward tofinda resolution in the
remaining movements.^
The opening measures of "Simbolo" introduce the row of the work. The row,
which first appears as T,(P) = <Bb-B-Eb-Gb-Ab-D-Db-F-G-C-A-E>,^ serves as the
basis for all eleven movements of the work. This is seen in thefirstfivemeasures of the
movement, provided in Example 2.1.
Example 2.1
Measures 1-8 of "Simbolo"
Bracketed section shows the row T,(P) = <B b -B-E b -G b - A b -D-D b -F-G-C-A-E>
1
^Lewin(1993:15).
^ Pitdi class integCTS "10" and "11" are labeled "f' and "e," respectively. Therefore, T,o(P) is
labeled as T,(P).
15
2.2 Form
The form divides into three sections resembling an A-B-A*. Measures 1-16
introduce the row and itsfirsttransformations. Section A is fiirther divided into smaller
sections discussed later in Section 2.3. The B section begins in m. 17 with a change in
both texture and tempo.'* This section includes the climax of the movement and is
discussed in Section 2.4. Measures 37-46, analyzed in Section 2.5, provide the return of
A, only shorter in length, and brings the movement to a close. This final A' section is
puzzling because it seems incortqilete.^ Because the final sostenuto chord continue to
soimd long after the staccatissimo dyad motive ends, "we are impelled onward to the
following pieces of the Quademo.""^
2.3 Measures 1-16
The A section of "Simbolo" is divided into alternating patterns offluidsostenuto
chords accompanied by a rhythmic ostinato pattern and transformations of eighth note
chords appearing in rapid successioit Section 2.3 of the thesis is divided into four parts.
Section 2.3.1 provides an analysis of mm. 1-5 and Section 2.3.2 of the thesis discusses
nim.6-10. Measures 11-14 make up Section 2.3.3 and Section 2.3.4 provides the analysis
of mm. 15-16. Example 2.2 provides an analysis of the row forms found in mm. 1-16.
" Lewin (1993: x).
' Ibid., 15.
* Ibid., 15.
16
Example 2.2
Section A of "Simbolo" - Measures 1-16
Bracketed sections indicate row forms.
^
mp; ataccatiss.
' ' t I aiirdle
V*rtT- ^m
^ m % g
aenzatiS^
RT5(P)
pweapr.
ten.
â ^<^ lit
^ ^ J-^-^ -J
T^ T^ ^
~un poco in rilievo lawice iiênore
aempre ppiuguaie legatias. aempre
^'^J^-Ts(P) K*^
(J):92-96) RT4(P)
moltop
Measure 17 contains pc 4 of the RT4(P) row.
17
2.3.1 Measures 1-5
The first five measures of "Simbolo" introduce the row of the worL It begins
with a repeating eighth note dyad, <A#1, B2>.' This motivic dyad, which comprises the
first two pes of the row, appears in the left-hand bass line and is played staccatissimo
with long sostenuto chords appearing above it in mm. 2-5. This can be seen beginning in
mm. 1-2 of the left hand in Example 2.3.
Example 2.3
Measures 1-2, "Simbolo"
Note the <A#1, B2> in the LH part, labeled t & e, respectively.
N. 1 - 5IMBOLO
Quasi lento (^=84) rnfijosl.
^ J :
^
vipi siaccaiiss.
i*^
, simile
m
I
^ ^
fa î
gf ett3 e j i e
senza "SJH^ t t t
The sparse texture of the introduction is deceiving, for its performance is far fi-om
simple and requires much thought on the part of the performer. Because the repeating
bass dyad must be played staccatissimo, the music is marked senza pedale. This makes
' The intega-s indicate the octave placement (Middle C = C4). Order is indicated by o .
Unordered pitdies or pes are indicated by {}.
18
playing the right-hand line difficult, for the performer must use unusual fingerings in
order to maintain the sostenuto effect. These sostenuto chords of mm. 2-5 are drawn
fi-om the remainder of the row.
The upper part of the left-hand sostenuto line presents a BACH motive, which is
first heard in "Simbolo" in the uppermost voice of mm.2-5, with the notes Eb-D-F-E.
Example 2.4 shows the right-hand part of mm. 1-5. The BACH motive is indicated by
larger noteheads. The voice is later transposed so that "m. 7 at last presents the motive at
the 'correct' pitch-class level (Bb-A-C-B)."* Dallapiccola's symbohc homage to Bach is
also noted in the title of the work. Dedicated to his daughter on her eighth birthday in
1952, this Quademo Musicale di Anruilibera recalls J. S. Bach's Das KlavierbUchleinfiir
Anna Magdalena Bach.
Example 2.4
Measures 1-5, "Simbolo" - RH line only
BACH line shown in larger noteheads, stemmed upward
Eb D
m.l
^ i J- - J
'I I
iJ.i
'^^-F

Transposed by T? = Bb H
* Lewin (1993: 6).
19
The remaining pes of the right-hand line are foimd in a chromatically descending
"alto" line and in an ic2flavoredGb-Ab-G-A "tenor" line.' The chromatic line, {Eb, D,
Db, C}, shares the first two pes of the BACH motive in mm. 2-5 and continues to move
down by half step. The last two pitches of this line create a major and minor third
respectively with the remaining F3 and E3 of the BACH line. The 2e2 line, so named
because of the 2e2 pitch class interval succession it creates, makes up the lowest or
"tenor" part of theright-handline."' This arrangement of sostenuto lines over a repeating
+13 dyad works very well with the row ordering Dallapiccola chose to serve as the basis
for the remainder of the Quademo. Example 2.5 shows the 2e2 line with the stems
pointing downward. The BACH line is shown in smaller noteheads, stemmed upward,
excluding the E b and D, which are shared with the descending chromatic line, also
stemmed upward.
'Lewin (1993:1).
"* ITie ordo-ed pitch class interval between G b and A b is 2; between A b and G is 11, and between
G and A is 2, thus die 2e2 label.
20
Example 2.5
RH line of mm. 1-5 of "Simbolo'
BACH Line Eb Dll Fll Ell

Chromatic Line: Eb Dtl Db
ml
^ J- I,^ J ^ ^
^
2e2 Line: Gb Ab 01] All
The first sostenuto chord is m. 2's {Eb3, Gb2}. Ab2 and D3 follow this in m. 3.
The top voice in m. 4 contains the pitches Db3, F3, and G2. Measure 5 con^letes the
row with the sostenuto notes C3, A2, and E3. Thus, the row of the work is Tt(P) = B b-B-
E b -G b -A b -D-D b -F-G-C-A-E.'' The Ustener cannot ascertain the row at this point but
will recognize it long before the close of the Quademo Musicale di Annalibera. The row
ordering is imveiled l)efore the close of the movement and is implemented in the
remaining movements as the composition further unfolds.
Example 2.6 shows the first two systems of "Simbolo." The two large brackets
indicate the row form and the pes are labeled with their integers. The row is labeled T,(P)
12
because the original row htgms on pc t.
11 x ^ ) = <t-e-3-6-8-2-l-5-7-0-9-4> in integer notation. TTiis paper uses the row labeling system
of Robert Morris (1991). TofindTo(P) = <0-l-5-8-t-4-3-7-9-2-e-6>, one must transpose the original row
by T] so that the row begins with 0.
12 TofindToCP) = <0-l-5-8-t-4-3-7-9-2-e-6>, one must transpose the original row by T2 so that the
row begins with 0.
21
Example 2.6
The row of the Quaderno Musicale di Annalibera: Bb-B-Eb-Ab-D-Db-F-G-C-A-E
Bracketed section shows the row T,(P) = <t-e-3-6-8-2-l-5-7-0-9-4>
N. I - SIMBOLO
Qnasi lento (J^=84) ^;jo8t.
m mp; ataccatisa.
' t t f , aimile
V'it * I HJ I [|J I NJ ^
it ejif " tl? 't^
senza'iiSi.
# F t|5 jt^
pweapr.
ten.
IP i^
Tonal implications can be seen as early as the aforementioned measures. The first
chord in m. 2 could be heard as an E b minor triad if one listened only to the A#
(enharmonically spelled as B b for this purpose) rather than the B I) in the lower voice.
This is easy to hear because the A# is metrically accented, occurring on beats 1, 2, and 3
and is lower than B \\. Even though the minor triad occurs only on downbeats of the
22
measure, the {Eb, Gb, Bti} chord sounding on the upbeat is not dissonant to the ear, in
part because {Eb,Gb,Bb} and {Eb,Gb,Bli} belongto the same set class, 3-11(037).
Calling this aforementioned E b minorfiguretonic, it then moves to the
"dominant" Bb seventh chord with a missing fifth in m. 3.'^ This is unusual because
local tonic-dominant motions are rare in twelve-tone composition Again, the B l] in the
lower voice continues to sound as the root of a B^ chord.'"* The following measure can
be understood as a G"' chord using the A# (enharmonic B b) in the left hand and the final
chord of the row in the right hand of m, 5 can be heard as an as an A major triad.
While the row is the basis of the entire composition, set classes serve as the basis
of realizing the row. These set classes occur as subsets of the row. This use of
derivational subsets not only lends itself to stmctural variety, but also allows the listener
and performer to divide the row into aurally perceivable segments. One can difierentiate
pes if they are introduced in small subsets. It is easier to hear three, four, and six notes at
a time, rather than twelve in a row in no particular pattern. For example, the three
sostenuto lines that make up the chords foimd in the right-hand part of mm. 1-5 all form
members of set class 4-1 (0123). This helps the listener draw similarities between the
<3-2-5-4> BACH motive, the descending <3-2-l-0> chromatic line, and the 2e2 line.
When listening to the individual lines, as one would when practicing the piece for
'^ This is mentioned only to illustrate the local tonic-dominant relationship.
'^{Bli.D.F (missing), Ab}.
23
performance, this likeness of the subsets becomes evident. With this in mind, the
performer can decide which subsets to bring out.
One can also divide Tt(P) into two hexachords, <t-e-3-6-8-2> and its literal
complement, <l-5-7-0-9-4>, both of which belong to sc 6-31 (014579). The
aforementioned subset 6-31 (014579) as compositional device also creates hexachordal
combinatoriality. The prime form of the row, To(P) = <0-l-5-8-t-4-3-7-9-2-e-6>, can
map onto its conqjlement at TTICP) = <7-6-2-e-9-3-4-0-t-5-8-l>. The hexachord <0-l-5-
8-t-4> maps onto its complement <3-7-9-2-e-6> via both the To(P) and T7l(P)
transformations. Like all hexachords, To(P) can also map onto itself, or RTo(P), through
retrograde-combinatoriality. This can be seen in Example 2.7.
Example 2.7
Hexachordal Combinatoriality
H-1 H-2
To(P)= <0 1 5 8 t 4 3 7 9 2 e 6>
T7l(P)= <7 6 2 e 9 3 4 0 t 5 8 1>

H-2 H-1
H-1 H-2
To(P)= <0 1 5 8 t 4 3 7 9 2 e 6>
RTo(P) = <6 e 2 9 7 3 4 t 8 5 1 0 >

H-2 H-1
24
While the potential for hexachordal combinatoriality is built into the rows,
DaUapiccola does not use it for the basis of the composition; rather, he uses tonal
references. Set class 6-31 (014579) has the ability to provide tonal references because it
embeds four members of sc 3-11 (037) and one member of sc 3-12 (048).'^ These set
classes may form both major and minor triads and also augmented triads. This is why it
is easier for listeners to hear the local tonalities created in the row throughout the
composition.
Even though the Tt(P) row form, which serves as the basis for the Quademo
Musicale di Annalibera, is presented in thefirstfivemeasures of "Simbolo," the listener
is not yet able to ascertain the ordering of the row. Dallapiccola gives the listener and
performer this opportunity in the ensuing measures by composing rapid transformations
in the next several measures.
2.3.2 Measures 6-10
Dallapiccola set the original row form apartfiromfollowing transformations
through stylistic markings. The original row is played mezzo piano with a staccatissimo
bassfinerepeating imder a sostenuto upper voice. The texture changes radically in m. 6
with the addition of the pedal and a drop in dynamic level to piano. The score is marked
flessibile and espressivo and the line moves in chordal eighth notes rather than in longer
chords that carry through the entire measure.
'Morris (1991: 136).
25
After the presentation of Tt(P) in mm. 1 -5, nearly every measure presents a new
ordering based on the retrograde of the previous transformation. By m. 10, Dallapiccola
has composed three transformations of the original row, nearly all of which are
retrogrades of the previous. These relationships are seen in Example 2.8. Only the
second transformation in m. 6 is different because Ti is added to its retrograde. By the
end of m. 10, the hstener may well be able to recognize the row.
Example 2.8
Measure 6 - RTe(P) = <5-t-l-8-6-2-3-9-7-4-0-e>~N,

RTfi
Measure 7 - T5(P) = <5-6-t-l-3-9-8-0-2-7-4-e> ^-
RTo
Measure 8-10 - RT5(P) = <e-4-7-2-0-8-9-3-l-t-6-5>'
piueapr.
ten.
^<--r ~un poco in rilievo lavoce infertore

aempre pp; uguale legatiaa. aempre
^ M ^==te ^ ^ ^ ^ S
P tf* Ij* IJ:
26
Another interesting compositional device used in mm. 6-8 is Dallapiccola's use of
time signatures. When the second row form appears in m. 6, the time signature changes
to 7/8. The following row moves into 6/8 and the last returns to 5/8. This produces a
state of ambiguity about where the downbeat fells and thus catches the listener's
attention. This is seen in Example 2.9.
Example 2.9
Time Signature Changes - (m. 5 begins in 5/8)
The second row form of "Simbolo" comes in m. 6, as seen in Example 2.10. By now the
listener hears a similarity between mm. 1-5 and m. 6 because the latter soimds much like
the beginning five measures played as eighth notes rather than long chords.
27
Example 2.10
The Row of Measure 6 (bracketed section):
RTe(P) = <5-t-l-8-6-2-3-9-7-4-0-e>
The new row form is RTe(P) = <5-t-l-8-6-2-3-9-7-4-0-e>. This row form is easy
to hear because the pes that make up the "chords" sounding in the right-hand of the of the
first five measures are now played in the same position and octave, but in reverse and one
half-step higher. Specifically, the row soimdsfemiliarto the ear because while the
transformation is the retrograde of the previous row at Ti, it also occupies the same
register.
The bar begins with the A minor chordfromthe previous row tied over the
measure. This chord is then taken up one half step to an A# minor chord. The next
chord, {G#2, F#3, D3}, can be understood as G#*'^ with a missing third. The following
chord, {D#3, A2}, is then succeeded by the chord, {G2, E3}. The final chord is another
28
+13 dyad, {C3, Bl}.'' This dyad is similar in soimd to the opening <t, e> dyad of the
piece. It is transposed only a semitone higher than the original.
The RTe(P) transformation is interesting because the first and last chord of this
row sound one half step higher than the original. The last chord also contains two of the
same notes of the previous row. The C2 of the A minor chord and the last note of the
repeating dyad, B2, are foimd in the last left-hand chord, only the B2 is played an octave
lower.
The third row form, seen in Example 2.11, is presented in m. 7. It is the
retrograde of the previous row, only transposed to begin on pc 5, like the row form before
it. This row begins and ends on the same pes as the row in nL 6.
Example 2.11
Measure 7 of "Simbolo"
T5(P) = <5-6-t-l-3-9-8-0-2-7-4-e>
r-r=i
^
i
*m M
evpr.
piup i4t-
m \|^_3
f T i
" +13 refers to ordered "pitch intCTval 13." The ordwed distance between Bl and C3 is 13
semitones. See Straus (2000: 8-9).
29
This row, T5(P) = <5-6-t-1-3-9-8-0-2-7-4-e>, realized on the musical surface as
alternating high and low register eighth note chords, begins with an {E#2, F#3} dyad
followed by a {A#3, C#3} dyad. The right hand returns with a {D#3, A3} dyad and is
answered by {Ab3, C4, D3}, a possible D^^ chord. This D"^ chord with a missing third
moves to the final chord of the row form, {E3, G3, B3}, or E minor in root position. In
tonal music this is a typical progression but in serial music, triadic progressions are not
the noriTL
The next row form appears in mm. 8-10. Dallapiccola again uses the retrograde
of the previous measure to link them together. Example 2.12 is the exact retrograde of m.
7, RT5(P) = <e-4-7-2-0-8-9-3-t-l-6-5>.
Example 2.12
Measure 8-10 "Simbolo"
RT5(P) = <e-4-7-2-0-8-9-3-l-t-6-5>
aempre pp; ugvale
30
Dallapiccola's use of retrograde may well help the listener recognize the row,
RT5(P) begins with an exact repetition of the E minor triad. This recurrence of the triad,
using the same pitches, might well alert the listener for a possible return of previously
heard material. The expectation is home out, for the following chord is the
aforementioned D"' chord, also spearing with the same pitches as its last occurrence in
m. 7. The next chord consists of A3, likewise using identical pitches, and E b4, which is
presented an octave higher than it was in the previous transformation. This idea is carried
through to the next dyad, which also contains the same pes as its previous row ordering,
{Bb4, Db4}, with each played an octave higher. The last dyad, {Gb4, F3}, begins a
second repeating eighth note motive. The last dyad of the RTe(P) transformation in mnx
9-10 reminds the listener of the beginning of the movement. Though played in a higher
register, the +13 is stillfemiliarto the ear except that it is played uguale^^ rather than
staccatissimo. By now, the hstener may well be able to recognize the row.
2.3.3 Measures 11-14
Dallapiccola begins a new series of row transformations in m. 11. This is âin
evident in the score with a change in style. The damper pedal is released and a new
musical idea begins, indicated by the legatissimo sempre marking. A T6l(P) = <6-5-l-t-
8-2-3-e-9-4-7-0> row form begins in m.11-14 with the repeating +13 dyad introduced m
" Uguale - equal, unifOTm.
31
m. 9, which continues throughout the left-hand bass line. This transformation suggests a
return of the rhythmic motion of the mtroduction. This can be seen in Example 2.13.
Example 2.13
Hi l^ \ii \^ ^.
Though no longer staccatissimo, the bass line is now played without the pedal and
theright-handvoice returns with longer chords. The individual lines of therighthand
consist of the aforementioned BACH motive and 2e2 line. The most important line of
this transformation is the retrograde of the BACH motive. This voice, {C#4, D4, B3,
C4}, is easily heard, for the performer is instmcted to bring out the lowest notes of each
right-hand chord." The 2e2 Une, {B b4, Ab4, A4, G4}, returns in the uppermost part in
" The score reads, "unpoco in rilievo la voce inferiore.^
32
inversion as e2e. The chromatic line, {C#4, D4, D#4, E4}, returns as an ascending line
in retrograde.
The T6l(P) transformation is unusual because, though Dallapiccola was writing
for his instrument, the stylistic markings are very unpianistic. It is not typical or
idiomatic for the right-hand thumb to play louder than the fourth or fifth fmgers. The
tenuto markings on the retrograde BACH line makes the following section of the
movement feel like an etude because the performer has to pay close attention to whkh
notes receive more stress.
The T6l(P) row form overlaps with RT5(P) of m. 8. The last four pes of RT5(P)
and the first four pes of T6l(P) are identical Dallapiccola uses invariance to connect
these two rows. When RT5(P) = <e-4-7-2-0-8-9-3-t-l-6-5> is paired, note-against-note,
with T6l(P) = <6-5-l-t-8-2-3-e-9-4-7-0>, the four aforementioned pes map onto
themselves. The pes in the first four order positions then occupy the last four order
positions. The pes 4 and 7, which occur side-by-side, and against sc 4-20 (0158), also
map onto each other through RT5(P) and T6l(P). This is seen in Example 2.14.
Example 2.14
Invariant Relationship between RT5(P) and T6l(P)
The underlined pes indicate sc 4-20 (0158) and the <4, 7> dyad
SC4-20
RT5(P) = <e 4 7 2 0 8 9 3 t 1 6 5>
T6l(P)= <6 5 1 t 8 2 3 e 9 4 7 0>

SC4-20
33
In addition to the use of invariants, these row forms are also related by
hexachordal combinatoriality. RT5(P) can be divided into two hexachords, {e-4-7-2-0-8}
and {9-3-t-l-6-5}. TeKP) is likewise divided into hexachords {6-5-l-t-8-2} and {3-e-9-
4-7-0}. As seen in Example 2.15, thefirsthexachord of RT5(P) and the second
hexachord of T6l(P) are related by retrograde-uiversional combinatoriality.
Example 2.15
The underlined hexachords are related by RI.
RT5(P)= [e47208] [93tl65]
T6l(P) = [651t82] [369470]
These invariants and combinatorial hexachords are important because they help
the listener infindingthe aural similarities between RT5(P) and T6l(P). The harmonic
rhythm and the repeating, motivic dyad have retumed, but the related hexachords and
repetition of the pitches {1, 5, 6, t} are aurally perceivable. These pitches also provide
tonal references because the pes are members of sc 4-20 (0158), which embeds both
major and minor triads.
The next row form appears in m. 15 with another change in texture. It begins
with the repeating <5, 6> dyad in the left handfromthe previous four measures, tied over
the bar line. Rather than continuing as the melodic rhythmic motive, the dyad is now
34
sustained. However, the rhythmic motion is not lost, for the left-hand voice continues the
movement of the eighth notes in chords above the long sustained dyad in the right hand.
The eighth note rhythm is intermpted by an eighth-note triplet at the end of the measure
with a retum of the same pes in the same register. This can be seen in Example 2.16.
Example 2.16
Row of Measure 15: T5(P) = <5-6-t-l-3-9-8-0-2-7-4-e>
Note how the <5, 6> dyad appears melodically at the end of m. 14
and harmonically at the beginning of m. 15
This row form, TsiP) = <5-6-t-l-3-9-8-0-2-7-4-e>, continues to support the
BACH motive, the 2e2 line, and the descending chromatic line introduced in thefirstfive
measures. The descending chromatic line appears in the uppermost voice of the right
hand with the notes <Bh5,A5,A\\5, G5>. The 2e2 hne is realized by the notes <D b 5,
Eb5, D5, E5>. The BACH line, which is transposed "to its 'correct' pitch-class level ,20
Lewin (1993: 6).
35
is obscured by octave displacement in this transformation. The line appears as <B b 5,
A5, C5, B li 4>. Example 2.17 shows only the right-hand part of the first two beats of m.
15. The 2e2 line is stemmed downward with x-shaped noteheads, the descending
chromatic line is stemmed upward, and the remaining notes compose the BACH line.
Example 2.17
Measure 15 of "Simbolo" - RH part only
The 2e2 line (D b-E b-D 1] -E l]) is stemmed downward with x-shaped noteheads.
The descending chromatic line (Bb-A-Ab-G) is stemmed upward.
The BACH hne (B b-A-C-B t|) is stemmed
both upward on beat 1 and downward on beat two.
The entire TsCP) row form is repeated beginning with the eighth note triplet on the
third beat of m. 15 and ending on beat one of the following measure, all played over the
<5, 6> dyad. Dallapiccola likely chose this row because, Uke the previous two rows, the
last four pes of RT5(P) and the first four pes of T6l(P) and Ts(P) are identical. The pes
36
{l,5,6,t}, which form a member of sc 4-20 (0158), link the three rows. Set class 4-20
(0158) provides a tonal reference in the B b (or A#) minor triad using the pes 1, 5, and t.
Measure 16 begins a new row form on the second chord of the right hand. It
sounds hke the previous row due to the feet that it is the Ti i retrograde of the row form in
m. 15. The row is labeled RT4(P) = <t-3-6-l-e-7-8-2-0-9-5-4>. It begins with an {Eb5,
Gb4, Bb4} chord, followed by {C#5, G4, B4}, {D5, G#4}, and {C5, A4} all played over
the same <5, 6> dyad in the bass line. This can be seen in Example 2.18.
Example 2.18
RT4(P) = <t-3-6-l-e-7-8-2-0-9-5-4>
'V^f' 'ijulij'^^rlyii i
pr^ i i
These chords soimd similar to each other because the three right-hand motives are
preserved in the row form. The BACH line is present in retrograde using the pitches
<B b4 B1^ 4,G#4,A4>. The 2e2 line is still heard in the highest voice of the right-hand
37
with the pitches <E b5, C#5, D5, C ^ 5>. The descending chromatic line, now ascending
as a result of the R4 transformation, consists of the notes <G b4, G1] 4, G#4, A4> in the
lowest right-hand voice. The F3 of the <5, 6> dyad and the E4 in the left-hand part of m.
17 complete this row form. Though this marks the end of the A section, the overlapping
of the RT4(P) row into the begirming of the following measure helps link the two
sections.
2.4 Measures 17-36
The B section of "Simbolo" is likewise divided into smaller subsections. The
listener first notices an increase in tempo from M.M. 84 to M.M. 92-96. It begins with
long tones played in rilievo against a right-hand arpeggiated accompaniment in mm. 17-
24. Measures 25-29 provide the climax of the movement and mm. 29-36 retum to the
single line accompanied by moving eighth notes in the right-hand line. Section 2.4 is
divided into three sections. Section 2.4.1 provides an analysis of mm. 17-24. This
section also considers the invariant pairs of pes that link the end of the A and B sections
together. Section 2.4.2 provides an analysis of mm. 25-29 and Section 2.4.3 brings the B
section to a close in mm. 29-36. Example 2.19 labels the row forms found in mm. 17-36.
38
Example 2.19
Section B of "Simbolo" - Measures 17-36
Bracketed sections indicate the row forms.
^'liiMoPiosouro
p b # h
Hr fUr TUf
P;ma im poco in rilievo
T8l(P)
tilr iisn
39
Measures 17-24 provide two four-measure orderings of the row. Measure 17,
which ushers in the B section of the movement, is indicated in the score by both changes
in tempo and style. The measure begins in 5/8 with a clear presentation of the BACH
motive. Played by the left-hand in rilievo and louder than the right-hand line, the listener
is reminded of the begiiming of the movement. The texture is now thinner and this left-
hand line is heard at T+n of the original. The four-measure row form, as seen in Example
2.20, unfolds in the right-hand voice with repeating dyads of different intervals.
Example 2.20
RT,I(P) = <4-e-8-l-3-7-6-0-2-5-9-t>
moltop
The first dyad in m. 17, <B4 and G#4>, forms an ic3. The next measure consists
of an ic6 dyad, <C#5, G4>. The third measure of the transformation, m. 19, has an ic2
dyad built on C5 and D4. Measure 20 contains an icl dyad, <A4, B b4>. This row
ordering, RTtI(P) = <4-e-8-l-3-7-6-0-2-5-9-t>, shares pc 4 with the previous RT4(P)
40
transformation. Dallapiccola connects this transformation with the previous by makmg
use of the feet that RTtl(P) and RT4(P) begin and end with the same pes.
While the Hstener may or may not hear the retention of pc 4, he or she may hear
tonal references. Measure 17 begins with an easy-to-hear E major triad in root position.
The right-hand line sounds very similar to the arpeggiated accompanying lines of the
mid-eighteenth century. The texture of mm. 17-24 reminds the listener of this earlier
period because the left-hand line is composed of long sostenuto chords that are
accorrqjanied by a rhythmic "Alberti-style" right-hand line. These repeating dyads recall
the "stereotypedfiguresof accompaniment for the left-hand in keyboard music consisting
of broken chords."^'
Following the E major triad in m. 17, the E moves down by one semitone to an
Eb7 chord (D# and C# enharmonically spelled Eb and Db) in m. 18. The seventh of the
chord resolves down correctly by half step to a C li in m. 19 to a D7 chord. The final
chord of the row form is a B bM*'^ (with a missing third and an enharmonically spelled
E#) in m. 20. This chord can also be interpreted as an F major triad with a missingfifthif
one acknowledges the B b sounding as an upper neighbor. All of these chords are quite
easy to hear, for they all occur in close position. This is shown in Example 2.21.
^'Randel(1978:ll).
41
Example 2.21
Measures 17-20 of "Simbolo'
moltop
EM Eb'* D6/5 BbM"^**

FM**
* The E b and D b are enharmonically spelled as D# and C#
** The F is enharmonically spelled as E#
The next row form, RTo(P) = <6-e-2-9-7-3-4-t-8-5-l-0>, begins in m. 21. RTo(P)
in mm. 21-24 continues the new style and texture introduced by the tempo change in m.
17. Though the right and left hands switch parts, the musical Une remains the same to the
ear. The BACH line, appearing m retrograde, is played in rilievo. By now, the listener
recognizes this motive in almost any row form due to its frequent appearance. Found
only one semitone higher in both position and octave, this motive continues to aurally
link the various rows together. This ordering of the row can be seen in Example 2.22.
42
Example 2.22
RTo(P) = <6-e-2-9-7-3-4-t-8-5-l-0>
t>np; in rilievo
i ^
Sit>J
'^'!SPJ CT W S [yj 4>J b
The BACH motive, consisting of the notes <F#4-G4-E4-F4>, is accompanied by
three notes rather than two in m. 21. These notes, {D4-A3-D4}, are then followed by the
dyad <A3, E b4>. Measure 23 accompanies the BACH line with the <Bb3-Ab4> dyad
and the left-band line of m. 24 consists of the notes Db4 and C5.
The row form in mm. 21-24, like the previous transformations, embodies many
tonal references. These tonal references can be seen in Example 2.23. The chord in m.
21 can be understood as a Bm'*'^. This is easy to hear because it appears in fairly close
position and is only one half step higher than the final chord of the previous row form.
The following measure consists of an A"', which promptly moves up one semitone to a
B b*'' chord (F b enharmonically spelled E l]) in m. 23. Every pitch of the latter chord is
one semitone higher than the previous. The final chord of the transformation can be
heard as a D b M ' chord with a missing fifth.
43
Example 2.23

p; in rilievo
^ ^
4/2
>
^g 07
W 5i~^ I
l/J llJ Si
Bm Bb 07* DbM''
The Fb is enharmonically spelled as E l]
Measures 25-29 provide the climax of the movement. Upon reaching the highest
loudest point in the movement, the music releases its built-up tension and heads towards
resolution. Measure 25 begins with a time signature change to 7/8, followed by changes
to 5/8, 3/4, and 2/4, respectively. This recalls the outset of the A section with the time
signature changes from 7/8 to 6/8, and then to 5/8, in mm. 6-8. The arpeggiated bass
accompaniment, present in mm. 17-24, ceases and is replaced by moving eighth-note
chords in both hands.
Measure 25 introduces the row form T7(P) = <7-8-0-3-5-e-t-2-4-9-6-l>. This is
seen in Example 2.24. This measure marks the ascent to the movement's climax with an
increase in dynamics to mezzo forte. The row begins on the second eighth note of the
measure with {C4, G4, Ab4} followed by {Eb4, E4, Cb5}. The pitches {D5, E4, Bb5}
44
make up the third chord and the final chord of the row consists of the pitches {C#5, F#4,
A4}. Only the final chord ofthe transformation sounds longer than the previous. This
chord is written as a dotted quarter rather than an eighth note.
Example 2.24
T7(P) = <7-8-0-3-5-e-t-2-4-9-6-l>
All ofthe aforementioned motives and individual lines are present in this row
form. The BACH motive transposed by T2 to begio on C appears with the pitches <C5,
B4, D5, C#5>. The chromatic descending Une is present as well beginning with the C5
and B4 the BACH motive and continuing down to the in the notes B b4 and A4. The 2e2
line is also present, beginning with the E b4 in the right-hand part and moving to the left-
hand part for the F4, E4, and F#4. This line is more difficult to hear since the E b and F
sound at the same time, marking m. 25 as the first appearance ofthe 2e2 motive in this
fashion. The G4 and Ab4 sound together and are foUowed by B b4 and A4. These final
45
four pes complete the row. The latter two lines, unlike the chromatic line or BACH
motive, are difficult to hear because they do not appear as individual lines. Instead they
occur both harmonically and melodically, which makes these voices difficult to decipher.
Tonal references are seen in this mezisure beginning with the first chord. An
example of this can be seen in Example 2.25. The {C5, G4, Ab4}, can be understood as
an AbM*'^ chord with a missing fifth, moves to an F'^'^ and then to an E^^. The latter
two chords each lack a third but all three chords are easy to hear because they are played
in close position. Every chord of this row ordering grows louder, with the loudest chord
being the final F# minor triad. Stacked in thirds, this triadic harmony resounds for the
length of a dotted quarter note and is foUowed by an eighth rest. This is important
because the same pattern occurs in the next measure as weU, alerting the Ustener to the
opening section ofthe climax.
Example 2.25
mf
JU ''Jililii
a 170 4/2 rr07
AbM*'^ F^ F#m
46
The next three measures, mm. 26-28, are based upon this same row form.
Measure 26 is the retrograde ofthe previous measure RT7(P) = <l-6-9-4-2-t-e-5-3-0-8-
7>. The first chord is an exact repeat ofthe final chord in m. 25, appearing in the same
octave and voicing. The next three chords share the same "tonal" properties as the
previous measure, only in retrograde, but many ofthe pes appear in different octaves,
though still in close position. Measure 27 can be analyzed in the same way. Both mm.
25 and 27 share the same row form, T7(P) = <7-8-0-3-5-e-t-2-4-9-6-l>. As in m. 25 and
26, the chords share the same labels but the pes appear in close position and in different
octaves. Measure 28 shares the same row form as m. 26, RT7(P) = <l-6-9-4-2-t-e-5-3-0-
8-7>. This row also appears as the retrograde ofthe previous measure, but with one
difference: the last two pes of RT7(P) are switched. In this transformation, pc 7 comes
before p>c 8. The tonal references and similarities between the row forms in mm. 25-28
can be seen in Example 2.26.
Example 2.26
Measure 25 - T7(P) = <7-8-0-3-5-e-t-2-4-9-6-l>

Measure 26 - RT7(P) = <l-6-9-4-2-t-e-5-3-0-8-7>
Measure 27 - T7(P) = <7-8-0-3-5-e-t-2-4-9-6-l>
Measure 28 - RT7(P) = <l-6-9-4-2-t-e-5-3-0-8-7>
47
Measures 25-28 provide the climax ofthe movement. This is the only section of
the movement that begins mezzo forte; the rest ofthe movement in much softer. This
alerts the listener to pay closer attention to the change about to occur. The row forms
then repeat forward and backward against each other. Finally, in m. 27, "the chmax on
B b 5-A5 audibly recaUs the earlier mobiUty on B b that cuhninated at m. 15 on B b-A5.
B b5 remains the highest note ofthe piece."^' The foUowing measure likewise signals a
change to the listener because it provides the fastest harmonic rhythm ofthe movement.
Measure 28 moves downward in sixteenth note tripletsfroman A5 to an E b4, slowing to
an appena ritardando. The row form ends in m. 29 on aright-handsostenuto C4
accompanied by a repeating <G4, Ab3> dyad in the left hand.
Measure 29, which serves as thefinalmeasure ofthe prevwus row form, also
begins the following row form. This four measure row, T7(P) = <7-8-0-3-5-e-t-2-4-9-6-
1>, likewise serves as the retrograde ofthe previous transformation. Though the
cUmactic material has since passed, the Ustener should be aware that there is still more to
come before the movement's end. This continual repeat of T7(P) and its retrograde sends
a signal that a retum ofthe A section, or a possible C section is about to occur.
^'Lewin (1993: 11).
48
Example 2.27 shows the row ordering and tonal references in mm. 29-32. Once
again, the BACH motive is present in mm. 29-32. Transposed from the original <Bb, A,
C, B ti> to begin on C, the motive appears one octave lower than it did in m. 25.
Appearing ma in rilievo in the right hand and uguale in the left hand, these four measures
closely resemble mm. 17-20. Tonal references appear in m. with the AbM^ chord.
Resembling the "harmonic progressions" ofthe previous four measures, mm. 30-31 can
be analyzed as an F ^'' and an E "'', respectively. Measure 32 provides an F# minor chord
in fiirst inversion.
Example 2.27
T7(P) = <7-8-0-3-5-e-t-2-4-9-6-l>
mp; ma in rilieto 31
^ ^
^ 3;
a tempo
m tJt
sm ^ ^ ^ ^
WIMKI'
P; uguale
p07* ?07 6/3
AbM' F#m'
* The A b is missing and the C b is enharmonically spelled as B li
49
Measures 33-37 provide the ending material for the B section. The Ustener, who
now may well be able to recognize both T7(P) and RT7(P), may be puzzled by the Tsl(P)
= <8-7-3-0-t-4-5-l-e-6-9-2> beginning in m. 33. These row forms are related by the
invariant pairs, {7, 8} and {6, 9}. Other pairs and pes would share invariance except for
that feet that the Tsl(P) row form actually appears in the order <3-7-8-4-t-0-l-e-5-2-9-6>.
Tgl(P) is also related to T7(P) in that they share the first four pes, {0,3,7,8}, thefirstthree
of which can be recognized as a minor triad.
The performer notices a difference in the score with the addition of a third staff in
m. 33. Suddenly the right and left hands are to hold long sostenuto chords and
simultaneously play repeating eighth note dyads. The long sostenuto chords provide the
BACH motive, appearing in retrograde. This Une, consisting ofthe notes <D#3-E3-C#3-
D ^ 3>, is played in the left hand while therighthand takes over the two remaining staves.
Only in m. 33 does the left hand take both the top and bottom staves, leaving the right
hand with the middle staff
This middle staff of mm. 33-35 comprises the repeatmg eighth note dyad <G3-
Ab3>, which breaks the harmonic rhythm to tie the last note of every measure across the
bar line, save for m. 35. The top staff crosses above and below the middle staff with
measures of repeating eighth note dyads. Beginning in m. 34, these dyads are <B b3-
C3>, <Bli3-F3>, and <A3-F#3>, respectively.
Example 2.28 shows the row form of mm. 33-37. Tonal references are more
difficult to hear in the realization, but are present nonetheless. Measure 33 can be
50
understood as an A bM^ chord. This chord then moves to C' embeUished by a
neighboring Ab. Measure 35 provides a Cif chord (the F and Ab are enharmonically
speUed E# and G#) with the G acting as a lower neighbor to the Ab (enharmonic G#) and
the final measure ofthe T8l(P) row ordering in m. 36 provides a D major triad in root
position and stacked in thirds. The triadic quality ofthe chord is unmistakable, and it is
held through the foUowing measure, which Unks it to the next section.
Example 2.28
T8l(P) = <8-7-3-0-t-4-5-l-e-6-9-2>
(Bottom two staves begin in bass clef; upper staff begins in treble clef)
^ Q^=8i)
-k
\Hminm\
^ ^
^ i 1
ioscuro
ll^ !>[ 1;^ t*!* l^p^^.f 'î* t;^ ^^ \fi^^f lift ^1* ll
^ P
I I I
^ ^
P; ma n poco in rilievo
g ii -
%
S -
i
8 -
P # ip
"i yr "
AbM^^^ C' of DM tetaa^Si.
(Cm^/EbM)
^^ Hearing the A b as an upper neighbor to G, this chord can likewise be interpreted as a first-
inversion C minOT triadOTan Eb major triad with a missing fifth.
51
2.5 Measures 37-46
Measures 37-46 retum to the A section before the close of "Simbolo." While the
Ustener wiU perceive the A' section as closely related to the A section, there are a few
minor differences. Section 2.5 is divided into two areas, labeled by the section number
foUowed by numbers 1-2. Section 2.5.1 provides an analysis of mm. 37-42 and Section
2.5.2 discusses mm. 42 to the end. Example 2.29 labels the row orderings found in mm.
37-46.
Example 2.29
Section Ai of "Simbolo" - Measures 36-46
Bracketed sections indicate the row forms.
^Tt(P)
1^
staeeattsa.
pfmamolbsoat.
52
Measure 37 marks the beginning ofthe final section ofthe movement. This is
indicated in the score by a retum to the origmal tempo. There is also a return to the
original <A#1-B2> dyad in the left-hand Une. The next row form, RT,(P) = <4-9-0-7-5-
l-2-8-6-3-e-t>, begins in m. 38. The left hand plays the repeating dyad of eighth notes
carried over from the previous measure. The right-hand line consists of chords of
varying duration. The first chord {C3, E3, A3} can be understood as an A minor triad in
first inversion. This then moves to a G^' using the enharmonically spelled A# in the left-
hand part. These two chords divide the 5/8 measure directly in half but the latter chord is
tied over to the foUowing measure.
Measures 37-42 can be seen in Example 2.30. Measure 40 begins with a repeat of
thefirsttwo chords ofthe row form. This is audible because both chords in this measure
appear in both the same position and octave. Rather than appearing as two chords
equaUy dividing the 5/8 measure, the chords in question divide the measure into three
chords of equal lengtL The second G*' chord is tied across to the third chord, which
adds the notes Ab3 and D4. This chord is Ukewise carried across to the next measure.
The RTt(P) rowfromends in m. 42 with the {E b 3, G b 3} in therighthand Une,
continuing to be accompanied by the <A#1 -B ^ 2> dyad.
53
Example 2.30
RT,(P) = <4-9-0-7-5-l-2-8-6-3-e-t> - Beginning in m. 38
.-
.
taecatiaa. i' F ^ ^ ^
2.5.2 Measures 42-end
Measure 42 introduces thefinalrow of "Simbolo," while completing the previous
ordering. The row, T,(P) = <t-e-3-6-8-2-l-5-7-0-9-4>, ties the movement together. It is
not only the retrograde ofthe previous row but it is also the same ordering as the opening
row form ofthe movement. The Ustener may well hear the similarity between the first
and last row orderings of "Simbolo." The same <A#1-B l;2> dyad appears in the left-
hand line and the right hand chords appear in both the same position and octave. The
only difference is in their lengths.
The {E b 3, G b2} in m. 42 is held for the duration of a 5/8 bar rather than a 3/4
bar. Each ofthe {D3, Ab2} chords are held the length of a 3/4 measure. The {Db3, F3,
G2} chord in m. 44 is held the duration of a 7/8 bar rather than that of a 3/4 measure.
ThefinalA minor chord ofthe movement sounds for two 7/8 measures, unUke the first
54
appearance in m. 5, which lasted a quarter note longer than a 5/8 bar. Example 2.31
shows the comparison in length between the first and final row form.
Example 2.31
Similarities Between mm. 1-5 and mm. 42-end
Measures 1-5
Quasi lento {J>=84) i>^;joat.
S ^ ^y^*T- ffi^
mPisiaccaiiaa. , simile moUo dim.
^m
> I I
If if if
M W^ W
p 5 tt3 #
i
jt3 ii ii i3 If^ F
senza "Sc^
Measures 42-end
P;ma motto aoat.
p l ^ l ^ l*5Jpp i P P ' '^^ '^ p
2.6 Conclusion
While "Simbolo" ends beautifuUy on paper with a retum ofthe original Tt(P)
row, the resolution is not so obvious to the Ustener. Because the sostenuto BACH line,
the 2e2 motive, and the descending chromatic line continue holding past the repeating
55
eighth note dyad, the audience may be left in a state of confusion. This lack of closure is
unsettling but the anticipation ofthe remaining movements leaves the audience on edge.
With this, DaUapiccola sets the stage for the next movement, "Accenti."
56
CHAPTER III
ANALYSIS OF MOVEMENT NO. 7: "ANDANTINO AMOROSO E
CONTRAPUNCTUS TERTIUS - RESOLUTIO"
Chapter III provides an analysis of no. 7, "Andantino Amoroso e Contrapunctus
Tertius." Section 3.1 gives a brief introductbn and an overview ofthe piece's row.
Section 3.2 describes the movement's form. Analyses of tonal references and serial
transformations are provided in Sections 3.3-3.4. Section 3.5 provides a conclusion.
3.1 Introduction
"Andantino Amoroso" is thefinalcontrapuntal movement ofthe Quademo
Musicale di Annalibera. Like the preceding movements, "Andantino Amoroso" has a
Ught, serene quality. The movement's possible introspective feel may leave some
listeners in a meditative state. Onefindsoneself dreaming or simply resting with carefree
thought. The dynamic level is very soft and the canonic entrances are smooth and gentle.
There is nothing abmpt or strident about this movement. It is simply relaxing and
soothing to the ear.
This movement also shares the similar warm and expressive quaUty established
by the prior contrapuntal movements. Additionally, the seventh movement is comparable
to "Contrapunctus Primus" and "Contrapunctus Secundus," as noted by the title, due to
The title is referred to as "Andantino AmOTOSo" for the remainder of Chapter III.
57
canonic texture that the three movements have in common. "Andantino Amoroso" is
particularly interesting because of its crab canon constmction. According to
Terry Barfoot, "nowhere is Dallapiccola's love and understanding of canonic devices
heard to better effect."^ The canon's subject first appears in red at the top ofthe
movement's page. It is then foUowed by the crab canon, entitled "Resolutio," which
copies the original subject verbatim and then repeats against the retrograde ofthe subject.
An example of this layout (in black and white) is seen in Example 3.1. In a crab canon,
"an entire passage of chords may be stated backwards untU the original chord reappears.
Retrogressive progressions bring new meaning to the original harmonic statement."
"Andantino Amoroso" may remind the listener of both "Simbolo" and
"Contrapunctus Primus." Movement seven begins with the same Tt(P) row
transformation as "Simbolo," but realized with different pitches. Even though several
movements have passed, the Ustener may well hear the similarity in soimd. "Andantino
Amoroso" is also auraUy similar to "Contrapunctus Primus" in that they are both very
slow and lyrical. The row realization begiimmg each ofthe two movements helps
2 Barfoot (1998:1).
^Persidietti(1961: 187).
58
Example 3.1
Edizioni Suvini Zerboni layout of no. 7 - "Andantino Amoroso e Contrapunctus Tertius'
N. 7 - ANDANTINO AMOROSO E CONTRAPUNCTUS .TERTIUS 11

(CANON CANOUZANS)
2?Yolta
RESOLUTIO
(J zSS).dolce; aempre parlante
m H m ^
^m
a
lis.
^ >i Uj' I ^ <j i

<9!|M*a /m/^ aU
WP
59
estabUsh this similarity as well since the first row in no. 3 is Te(P) and no. 7 begins with
Tt(P). This similarity is aurally discemable due to the fact that both rows appear in the
same register as each other. The latter begins exactly one semitone lower than the
previous.
3.2 Form
The movement begins with the subject, which repeats without any transformation
in m. 9. An entrance ofthe same subject in retrograde acconpanies this repetition, thus
creating a carwn cancrizans, or crab canon. Nevertheless, this compositional technique
creates a binary form; the A section consists ofthe canon's subject and the B section
consists ofthe subject performed against its retrograde. In regard to this movement,
Roman Vlad states, "this Canone retrogrado reconciles abstract formal strictness with a
power of communication and feeling that justifies the 'amoroso' ofthe description "'*
Section 3.3 provides an analysis ofthe A section, mm. 1-8. The B section begins
in m. 9 with a gradual change in tempo. Further discussed in Section 3.4, the B section is
marked by the entrance ofthe accompanying subject in retrograde. Example 3.2 shows
the form and row realizations of "Andantino Amoroso."
"Vlad (1957:48).
60
Example 3.2
Form of "Andantino Amoroso e Contrapunctus Tertius"
The braces indicate sections A and B and the brackets indicate the row forms.
Section A - Measures 1-8

Section B - Measures 9-end
RESOLUTIO
^ (J:58)Afogy aempreporionte
61
3.3 Measures 1-8
Section 3.3 provides a twelve-tone analysis ofthe A section of "Andantino
Amoroso." The row forms of Section A can be found in the first eight measures of
Example 3.2.
The movement begins with fluid lyrical lines composed of chords of unequal
length. Though composed entirely in 3/4 time, the movement never takes on a triple feel
due to the placement ofthe chords and their unequal lengths. The music is marked dolce;
sempre parlante. After hearing the movement, the listener may well be reminded of
someone speaking aloud or teUing a story. This is possibly due to the lack of a set
metrical pattern.
Section 3.3 is divided into two sections. Section 3.3.1 provides an analysis ofthe
row forms of mm. 1-8 and Section 3.3.2 discusses the tonal references.
3.3.1 Row Forms in Measures 1-8
The row ofthe movement is realized in thefirsttwo measures with a retum of
T,(P) = <t-e-3-6-8-2-l-5-7-0-9-4>, first heard in the beginning of no.l, "Simbolo." This
may not be auraUy discernible because the row form in "Andantino Amoroso" uses
different pitches. This row form can be seen in mm. 1-2 of Example 3.2.
Unlike earUer movements ofthe Quademo Musicale di Annalibera, many ofthe
row forms of this movement are realized in both therightand left hands. Both hands
reaUze the row at the beginning ofthe movement at the same time and later, separate
hands reaUze the two different rows. The second canonic entrance appears in the middle
62
ofthe second fuU measure, as seen in Example 3.2. This is an RT5(P) = <e-4-7-2-0-8-9-
3-l-t-6-5> realization. Half of the tones ofthe second entrance are composed with the
same pitches so the Ustener can auraUy discem the canonic feel even in a retrograded
transformation. The remaining six pes, {1, 3, 5, 6, t, e}, are composed within an octave
ofthe original row transformation.
Measure 5 marks the third row reaUzation, T3l(P) = <3-2-t-7-5-e-0-8-6-l-4-9>,
which can be seen in mm. 5-6 of Example 3.2. This row form shares invariant pes with
both the first and second row reaUzations, giving the T3l(P) realization aural similarities
with Tt(P) and RT5(P). Though these invariant pairs do not occur as pitches held together
at the same time, theoretically, the two row forms might weU sound similar. In
connection with the second realization ofthe row, pc 0 and pc 8 remain together in lx>th
transformations. Between Tt(P) and T3l(P), there are three invariants. Pes 4 and 9 stay
together, as do pes 5 and 7, and pes 6 and 8. There is likewise an invariant relationship
between the second row, RTsCP) and the third row T3l(P). This is between the pes 0 and
8. The invariant relationships among the three row forms are seen in Example 3.3.
Example 3.3
Invariant Relationship Between Tt(P) and T3l(P)

(first and third entrances ofthe movement)
T3l(P)= <3-2-t-|7-5l-^-0-j8-6|-l-K4-9:t-
X^P)= <t-e-3-[6^^^8P2-H5-7|-0fF^
63
Example 3.3 (continued)
Voice Exchanges Between T,(P) and T3l(P)
T3l(P)^
T.(P) = <t-e
Invariant Relationship Between RT5(P) and T3l(P)

(second and third entrances ofthe movement)
T3l(P) = <3-2-t-7-5-e-0-8-6-l-4-9>
RT5(P) = < e - 4 - 7 - 2 - 0-8 - 9 - 3 - l - t - 6 - 5 >
The fourth entrance begins in m. 6 with row form, RTel(P) = <5-0-9-2-4-8-7-l-3-
6-t-e>. This realization can be seen in the aforementioned Example 3.2. As seen in
Example 3.4, the RTel(P) realization has three invariant pairs with Tt(P). The pairs which
remain together are {0,9}, {3,6}, and {t, e}. RTJ(P) also shares invariant pc pairs 1 and
3, and 6 and t with RT5l(P). There are no invariants between RTel(P) and T3l(P). These
invariant pairs provide aural similarities among the canonic entrances.
64
Example 3.4
Invariant Relationship Between Tt(P) and RTel(P)

(first and fourth entrances of movement)
RTeI(P)= <5-|0-9-|2-4-8-7-l-|3-6|-t-e|>
< t
EH3 - 6 - 8 - 2 - 1 - 5 - 7 - 0 - 9 - - 4 >
Invariant Relationship Between RT5(P) and RTel(P)
(second and fourth entrances of movement)
RTel(P) = <5-0-9-2-4-8-7 l-3--6-t-e>
RT5(P)= <e-4-7-2-0-8-943-l4t-6^5>
3.3.2 Tonal References in Measures 1-8
The Quademo Musicale di Annalibera exhibits tonal references in several ways,
and the "Andantino Amoroso" movement is no different. When listening to the
movement for thefirsttime, the listener may well hear very consonant harmonies. These
harmonies are intervals of perfect fifths, major and minor thirds, and perfect fourths.
To begin, the row of "Andantino Amoroso" exhibits tonal references in its
ordering. The order, predetermined by earUer movements, is seen in thefirsttwo
measures of this movement. As illustrated in Example 3.5, the first four pes can be heard
as a BM^ chord, while the second, third, and fourth pes ofthe row can be heard as a B
major triad. The row also outlines an A minor triad with its last three pes and an Am^
chord with its last four pes.
65
Example 3.5
Measures 1 - 2 of "Andantino Amoroso e Contrapunctus Tertius"
BM7 Am7
r \ I \
Bracketed section shows the row Tt(P) = t-e-3-6-8-2-1-5- 7-0-9- 4
\ A I \ I
BM D/DbM Am
RESOLUTIO
(J=58) dolce; aempre parlante
If uiHXE mm
^ i <î ttj'
Tonal references can also be seen by way of triads and seventh chords voiced in
close position. While the "Andantino Amoroso" movement does not exhibit many
complete chords, there are many harmonic intervals of major and minor thirds as well as
perfect fourths and fifths. For example, in the second measure of "Andantino Amoroso,"
the harmonic interval of a perfect fifth occurs three times in a row. In the foUowing
measure, the fifth is then inverted to a perfect fourth interval, which is foUowed by a
major third interval and a diminished fifth. These tonal references can be seen in
Example 3.6.
66
Example 3.6
Measures 2-3 of "Andantino Amoroso e Contrapunctus Tertius'
Note the Perfect Fifth Intervals in Measure 2.
Intervals: P5 P5 P5 P4 M3 5
The Quademo Musicale di Annalibera also exhibits tonal references through local
tonic-dominant relationships, which are prevalent throughout the "Andantino Amoroso"
movement. These local tonal progressions can be seen in Example 3.7. Measure 5
begins with an E bM' (or E bM* including the F6) on beat one, the chord is stacked in
thirds, save for the G5, leaving the Ustener with no doubt of its tertian quality. This
aforementioned EbM' (or EbM^)figurein m. 5 then moves to the "tonic" Ab triad with
a missing fifth on the foUowing downbeat. Only the D \\ prevents onefromcalling the
E b chord "dominant." Though there is a B Ii 4 between the two chords, this "sol-do" or
"fifth" motion is easy to hear because the chords appear in the same register and in
relatively close position.
67
Example 3.7
Measure 5 of "Andantino Amoroso e Contrapunctus Tertius'
Eb"^' (Bk) Ab
Ab Major: V^'' I
*This Eb"^^chord can also he heard as EbM^.
3.4 Measures 9-end
Section 3.4 provides an analysis ofthe B section of "Andantino Amoroso." The
row forms of Section B can be seen in the aforementioned Example 3.2. Section 3.4 is
likewise divided into two sections. Section 3.4.1 discusses the row forms found in mm.
9-17 and Section 3.4.2 provides an analysis ofthe tonal references.
3.4.1 Row Forms in Measures 9-end
The pickup dyad to m. 9 marks the fifth canonic entrance and also the beginning
ofthe B sectiorL This division ofthe movement is clearly audible because the original
68
canonic entnince returns in its exact form as seen earUer in m. 1. Returning with identical
pitches and rhythm, this Tt(P) row form is joined by a left-hand accompaniment.
Thefifthentrance, though identical to the first even in p-space, is played by the
right-hand only, rather than by both hands together. This is also tme ofthe remaining
threeright-handentrances. RT5(P), TsKP), and RTel(P) aU retum before the end,
identical to thefiirsthalf, even in p-space. The only exception to this is in thefirstchord
of T3l(P) transformation, where pes 2, 3, and t occur in the left-hand. The last chord of
the transformation RTJ(P) is notated on an additional staff but the entire chord is stUl
played by the right hand. Theright-handrow reaUzations of Section B can be seen in the
aforementioned Example 3.2.
The accompanying rows that appear in the second half of the movement are the
first four rows: T,(P), RT5(P), T3l(P) and RTel(P), transformed by retrograde and ordered
in retrograde. Therefore, thefinalfour rows ofthe movement, begiiming in m. 9, are
TeI(P), RT3l(P), T5(P), and RT,(P), respectively.
The first acconânying transformatron, Tel(P) = <e-t-6-3-l-7-8-4-2-9-0-5>, is
tocated on the second and third staves of m. 9. This marks the fourth ofthe canonic
entrances in retrograde.
The second accon^janying transformation occurs in m. 11 as RT3l(P) = <9-4-l -6-
8-0-e-5-7-t-2-3>. This row form, which is the retrograde ofthe previous T3l(P) row
form, is played against an RTsCP) row form in the top staff
69
Measure 13 marks the third accompaniment entrance as Ts(P) = <5-6-t-1-3-9-8-0-
2-7-4-e>. This entrance presents the RT5(P) row form first seen in the second half of m.
2 in retrograde.
The final accompanying transformation, which serves as the last row ofthe
movement, is RT,(P) = <4-9-0-7-5-l-2-8-6-3-e-t>. This is auraUy perceivable because it
is a retrograde transformation ofthe original row, Tt(P) = <t-e-3-6-8-2-l-5-7-0-9-4>,
appearing as the same pitches and rhythm. This RTK;P) row form, which begins in the
second half of m. 15, accompanies thefinalRTel(P) row form in the uppermost staff.
These final four accompanying row transformations can be seen in the left-hand part of
Section B in the aforementioned Example 3.2.
While a twelve-tone row is always combinatorial with its own retrograde, one
interesting observation in regard to "Andantino Amoroso" is that this relationship is seen
between thefirstandfinalrow forms ofthe movement due to its crab canon constmction.
Because thefinaltransformation ofthe movement is a retrograde ofthe first row without
transposition, the hexachords <t-e-3-6-8-2> and <l-5-7-0-9-4> can combine with their
complements to complete the aggregate. This is seen in Example 3.8.
Example 3.8
Retrograde-Combinatorial Relationships Between Tt(P) and RTt(P)
T.(P)-
RTt(P)
70
This is likewise true ofthe second and third row forms ofthe canonic entrance
beginning in the uppermost staff of m. 9. This can be seen in Example 3.9. The row
form RT5(P) begins in m. 10 and is foUowed by the row form T3l(P). These rows are
accompanied by the row forms RT3l(P) and T5(P), which are the second and third row
forms ofthe third canonic entrance. Because the RT5(P)rowform is played against
RT3l(P) in mm. 10-12 and the T3l(P) row form is played against TsCP) in mm. 13-15, the
retrograde-combinatorial relationship is auraUy present.
Example 3.9
Retrograde-Combinatorial Relationships
Between Row Forms RTsCP) and TsCP) and Row Forms T3l(P) and RT3ICP)
71
RT5(P) <e-4-7-2-0-8 -9-3-l-t-6-5: >
T5(P) = <5-6-t-l-3-9 -8-0-2-7-4-e>
TJKP) = <3-4-8-e-l-7 -6-t-0-5-2-9>
RT3ICP) <9-2-5-0-t-6 -7-l-e-8-4-3>
There are also several examples of invariance between the second and third
canonic entrances. The aforementioned TJCP) transformation, occurring in m. 9, is
auraUy similar to its accompanying row form, TtCP), due to the invariant pes {e,t}, {3,6},
and {0,9}. This is again seen in thefinalentrances ofthe movement between the row
forms RTJCP) and RT,CP)- The row forms RT3ICP) and RT5CP) as weU as their
retrograded counterparts, TsCP) and T3l(P) share the invariant pes {6,t}. The use ofthe
same pes causes these invariant pairs to be more perceptible to the ear. These invariant
relationships are seen in Example 3.10.
Example 3.10
Invariant Relationship Between Second and Third Canonic Entrances
TeI(P) < e-t 6 - 3 - 1 - 7 - 8 - 4 - 2 - - '9 - 0 - 5 >

Tt(P) = < t-e -3-6-8-2-1-5-7-0 9-4>
72
RT3l(P)= <9-2-5-0-fr^7-l-e-8-4-3>
RT5(P)= <e-4-7-2-0-8-9-3-1-it-6l-5>
TsCP)= <5-i-6-t-II-3-9-8-0-2-7-4-e>
T3l(P)= <3-4-8-e-l-7-J6-t-|-0-5-2-9>
< t-e- 3 - 6 - 8 - 2 - 1 - 5 - 7 -0-9-4>
TJ(P) = < e-t - 6 - 3 1-7-8-4-2-9-0 5>
Though the layout of "Andantino Amoroso" has the potential to act as a never-
ending movement, DaUapiccola chooses to end it after three complete expositions ofthe
subject. The first entrance appears in m. 1 while the third entrance appears in retrograde
against the second entrance in m. 9.
3.4.2 Tonal References in Measures 9-end
Many ofthe tonal references exhibited in thefirsthalf of "Andantino Amoroso"
are again present due to the form ofthe movement. As previously mentioned, tonal
references are exhibited in three ways: throughroworder, through triads and seventh
chords voiced in close position, and through local tonic-dominant relationships.
The order ofthe row was discussed in Section 3.3b. An example of tonal
references exhibited by way of triads and seventh chords voiced in close position occurs
73
in m. 9 of "Andantino Amoroso." This can be seen in Example 3.11. The second eighth
note chord of m. 9 exhibits an E b minor triad in root position Though the chord appears
on paper asan{Eb4, Gb4} dyad, the Bb5 ofthe previous dyad is auraUy perceivable and
carries over to give the foUowing chord the sound of an E b minor triad. This same idea
is seen in the final eighth note chord ofthe measure. The {Db4, F4} dyad may well be
perceived as a D b major triad in root position because thefifthofthe chord is carried
overfromthe previous dyad. This is easy to hear due to thefeetthat the chord is stacked
in thirds and played in close position
Example 3.11
Measure 9 of "Andantino Amoroso e Contrûnctus Tertius'
Ebm Db
74
The foUowing measure likewise exhibits triads and seventh chords played in close
position. Example 3.12 shows three examples of triads and seventh chords found in m.
10. The measure begins with a C minor triad stacked in thirds and played in close
position. This triad is foUowed by an A'^'^^ chord, which is then foUowed by an E^'^ major
triad. The aforementioned E^'^ major triad originally appears without the third ofthe
chord in the right-hand Une, but is later joined by G#4 in the left hand. All of these
chords are quite easy to hear, for they all occur in close position. Many of these tonal
references are Ukewise exhibited in local harmonic progressions as well
Example 3.12
Measure 10 of "Andantino Amoroso e Contrapunctus Tertius"
cggerzss.
Cm-A^'^-E^'^
3.5 Conclusion
The Quaderno Musicale di Annalibera, though a twelve-tone composition,
contains many tonal references. While a Ustener is able to discem arowor its
75
transformations after several hearings, one must put forth effort to really detect these
rows. The beauty, serenity, cahnness, and placidity disguise the compositional technique.
"Andantino Amoroso" imparts just these qualities. These qualities unfold through
canons, lyrical melodies, and expressive writing. The row, which serves as a basis of aU
eleven movements, aUows forfleetingmoments of tonaUty. Through his use of tonal
references, DaUapiccola is able to manipulate the row to provide the listener with a sound
that, at times, seems both tonal and atonal.
76
CHAPTER IV
CONCLUSION
While theorists and musicologists agree that Luigi Dallapiccola was influenced by
members ofthe Second Viennese School these same scholars are aware that his music
does not in fact belong to any one particular style of composition. DaUapiccola may well
have been influenced by the music of Schoenberg and the Viennese school but at the
same time, his conqx)sitions contrast with other twelve-tone works. Because he does not
fit into any one specific category, the music of DaUapiccola has often been left
untouched. It is rarely played, especiaUy in Italy, and it has yet to be thoroughly
researched. According to Brian Alegant,
"Theorists agree that Luigi Dallapiccola is one ofthe most accomplished

12-tone composers. His output con:q)rises a variety of frequently
performed and highly respected works, including ballets, choral music,
concertl film scores, piano music, song cycles, operas, and chamber
pieces. In addition, he enjoyed intemational fame as a lecturer, teacher,
author, and member ofthe national academies of arts in the U.S., France,
and England. And yet, little has been written about Dallapiccola's music
in general and virtuaUy nothing has been said about his use of harmony.
The literature consists of a handful of studies that focus primarily on his
rh3^hmic or melodic organization and one close reading of one movement
from an early work."'
This thesis has argued that DaUapiccola's only twelve-tone composition for piano,
Quademo Musicale di Annalibera, can be analyzed using both serial and tonal
approaches. These analyses are shown in the study of two movementsfromthe
Quademo, no. 1, "Simbolo" and no. 7, "Andantmo Amoroso e Contrapunctus Tertius."
Grashoff(1999).
77
The Quaderno Musicale di Annalibera, though twelve-tone in composition,
exhibits many tonal references. These references are Ulustrated in this thesis in three
ways. First, Dallapiccola presents triads and seventh chords within the ordering of row.
Second, chordal transformations are presented in close position to encourage the listener
to perceive them as triads or seventh chords in the reaUzation ofthe row. Third, tonal
references are also present in the local tonic-dominant relationships, which are prevalent
throughout movements nos. 1 and 7 as weU as the entire composition.
While a Ustener may generaUy be able to discem a row or its transformations after
several hearings, one must put forth effort to reaUy detect these rows. DaUapiccola's
compositional technique adds beauty, serenity, and placidity to his work and the
Quademo Musicale di Annalibera imparts just this. These qualities unfold in the present
composition through canons, lyrical melodies, and expressive writing.
Theorists and musicologists examine the music of Dallapiccola, as weU as other
members of the Second Viennese School to study the compositionalframeworkot rows
and transformations. Understanding thisfi-ameworkof a composition can lead to a
greater appreciation for the musician and non-musician alike. The twelve-tone row,
which serves as a basis of all eleven movements ofthe composition, aUows for fleeting
moments of tonality. Through his effective use of tonal references, DaUapiccola is able
to manipulate therowto provide the Ustener with a sound that, at times, seems ahemately
tonal and atonal
78
BIBLIOGRAPHY
Alegant, Brian. 2001. "Cross-Partitions as Harmony and Voice Leading in Twelve-Tone

Music." Mitf/c Theory Spectrum 23.1 (Spring): 1-40.
Barfoot, Terry. 1998. Notes to Luigi Dallapiccola: The Solo Piano Music. ASV CD-
DC A-1034.
Boros, James. 1991. "A Conversation with Donald Martino." Perspectives of New
Music 29.2 (Summer): 212-278.
Burkhart, Charles. 1994. Anthologyfor Music Analysis, 5* ed. Fort Worth, TX:
Harcourt Brace CoUege PubUshers.
Burkholder, J. Peter, Andreas Giger, & David C. Birchler, ed. 2001. Musical
Borrowing: An Annotated Bibliography, <http://www.music.indiana.edii/
borrowing/browseab.html>
Ciceran, Marisa, ed. 2001. "Prominent Istrians: Luigi DaUapiccola." Istrianet.org.

<http://www.istrianet.org/istria/iUustri/daUapiccola/> Mirror page at
<http://vyvyw. istrianet.org/istria/ mustri/dallapiccola/brittanica.html>[5/c] See
also "DaUîccola, Luigi." Encyclopcedia Britannica. <http://vyvyw.britannica.
com/eb/article?eu= 29059& tocid=0&query=luigi%20dallapiccola>
DaUapiccola, Luigi 1953. Quademo Musicale di Annalibera. Milan, Italy: Edizioni

Suvini Zerboni.
Dembski, Stephen and Joseph N. Straus, ed. 1987. Milton Babbitt: Words About Music.
Madison, WI: University of Wisconsin Press.
Eckert, Michael 1985. "Octatonic Elements in the Music of Luigi DaUapiccola." Music
/?mew 46/1: 35-48.
Grashofii Linda. 1999. Brian Alegant Receives NEH Grant to Research the 12-Tone
Music of Luigi Dallapiccola. <http://vyww.oberUn.edu/news-info/99jan/
alegant_neh.html>
Grout, Donald J. and Claude V. PaUsca. 1988. A History of Western Music, 4* ed. New
York: W. W. Norton & Company.
Headlam, Dave. 1996. The Music ofAlban Berg. New Haven, CT: Yale University
Press.
79
Hermann, Richard. 1997. "Reflexive Postmodem Anthropology Meets Musical
'Modemism': Georgia Bom's Rationalizing Culture: IRCAM, Boulez, and the
Institutionalization ofthe Musical Avant-Garde."' Music Theory Online 3.5
(September). Society for Music Theory: <http://vyvyw.societymusictheory.org/
mto/issues/mto.97.3.5/mto.97.3.5.hermann.html>
Kostka, Stefan. 1999. Materials and Techniques of Twentieth Century Music, 2"^ ed.
Upper Saddle River, NJ: Prentice HaU.
Lewin, David. 1993. Musical Form aruJ Transformation: 4 Analytic Essays. New
Haven, CT: Yale University Press.
Machlis, Joseph. 1979. Introduction to Contemporary Music, 2"^ ed. New York: W.W.
Norton & Company.
Morgan, Robert P., ed. 1993. Modem Times: From World War I to the Present.
Englewood CUffs, NJ: Prentice HaU.
Morris, Robert D. 1991. Class Notes for Atonal Theory. Lebanon, NH: Frog Peak
Music.
. 1995. Review of David Lewin, Musical Form and Transformation: 4

Analytical Essays. Journal of Music Theory 7)9.2 (FaU): 342-383.
Nathan, Hans. 1958. "The Twelve-Tone Compositions of Luigi Dallapiccola." The

Musical Quarterly 44.3 (July): 289-310.
. 1974. s.v. 'TtaXlzpiccohi," miohD.V'\rAon,ed., Dictionary of Contemporary

Music. New York: E. P. Dutton & Company, Inc. pp. 163-165.
Nicolodi Fiamma. 1975. Luigi Dallapiccola: saggi, testimonianza, carteggio, biogrqfia,

e bibliograjia. MUan, Italy: Edizioni Suvini Zerboni.
Perle, George. 1996. Twelve-Tone Tonality, 2"^ ed. Berkeley, CA: University of
CaUfomia Press.
Persichettl Vincent. 1961. Twentieth Century Harmony: Creative Aspects and Practice.
New York: W. W. Norton & Conqjany.
Randel, Don Michael 1978. Harvard Concise Dictionary of Music. Cambridge, Mass.:
Belknap Press.
Straus, Joseph N. 2000. Introduction to Post-Tonal Theory, 2"^ ed. Upper Saddle River,
NJ: Prentice HaU.
80
Vlad, Roman. 1957. Luigi Dallapiccola. Milan, Italy: Edizioni Suvini Zerboni.
Waterhouse, John C. G. 2000. s.v. "DaUapiccola, Luigi," in Stanley Sadie, ed., The New
Grove Dictionary of Music and Musicians. 2*ed. VI, pp. 852-859.
White, John D. 1995. "Theories of Musical Texture in Westem History." Perspectives

in Music Criticism and Theory, v.l. From: Garland Reference Library ofthe
Humanities, v. 1678. New York: Garland Publishing, Inc.
Wright, David. 1999. "Book Review on Music Web: Luigi Dallapiccola. On Opera.
With a Forward by Antal Dorati." <http://wvyw.miisicweb.force9.co.uk/music/
classrev/ may99/dallapiccola.html>
81
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What is the thesis investigating?

What is the thesis investigating?

What are the three ways tonal references are presented in the work?

What are the three ways tonal references are presented in the work?

TONAL REFERENCES IN LUIGI DALLAPICCOLA'S

QUADERNO MUSICALE PI ANNALIBERA

RACHEL ELICE MANN, B.M.

Submitted to the Graduate Faculty

received following my presentation proved to be invaluable. Finally, I would like to

me to strive for excellence andfiirthermy education.

II. ANALYSIS OF MOVEMENT NO. 1:"SIMB0L0" 14

III. ANALYSIS OF MOVEMENT NO. 7: "ANDANTINO AMOROSO

This paper investigates the tonal references in Luigi Dallapiccola's Quademo

Musicale di Annalibera (1952), particularly movements 1 and 7, "Simbolo" and

"Andantino Amoroso e Contrapunctus Tertius." Tonal references are present in three

While the Quademo Musicale di Annalibera is a twelve-tone conqK)sition, these

fleeting moments of tonality can be seen throughout "Simboto" and "Andantino

times, seems both tonal and atonal.

Luigi Dallapiccola's twelve-tone piece Quademo Musicale di Annalibera (1952)

The Quaderno Musicale di Annalibera presents these tonal references in three

prevalent throughout the entire composition.

Quaderno Musicale di Anruilibera. Section 1.2 provides biographical information about

same genre and style period.

the Quademo Musicale di Annalibera. An overview of the entire work is given in

e Contrapunctus Tertius" found in later chapters.

1.1.1 History and Overview of the Quademo Musicale di Annalibera

The Quademo Musicale di Annalibera was composed for the Pittsburgh

Italy."' This Musical Notebookfor Annalibera, which Dallapiccola dedicated to his

daughter on her eighth birthday, recalls J. S. Bach's Das KlavierbUchleinfiir Anna

motive.^ This is fiirther explained in Chapter H.

^Burkhart( 1994: 512).

thematic material for Dallapiccola's Canti di liberazione (Songs of Liberation), a

1.1.2 General Overview

The Quademo Musicale di Annalibera is Dallapiccola's only twelve-tone piece

Also recalling J. S. Bach's Das KlavierbtichleinfUr Anna Magdalena Bach, the

Quademo Musicale di Annalibera combines nwvements in strict contrapimtal style with

seconds. Thisfi-eemovement is characterized by accented patterns of harmonic chords

and tone clusters. "Accenti" then moves to a contrapuntal movement entitled

" Barfoot (1998: 1).

other, the three-part canon ends as unobtrusively as it begins.

The fourth piece, "Linee," is marked tranquillamente mosso. Thisfi-eemovement

is characterized by a slurred eighth-note melodicfigureplayed over single sostenuto

tones. It is followed by a second contrapuntal piece, "Contrapunctus Secundus (Canon

Contrario Motu)." Thispoco allegretto; "alia Serenata" movement is a canon with

The sixth nwvement, "Fregi," follows the "Contrapunctus Secundus." This

returns in the lower voice in inversion. The third andfinalcontrapuntal movement,

"Andantino Amoroso e Contrapimctus Tertius (Canon Cancrizans)," follows as the

seventh movement of the Quaderno. This piece is discussed in Chapter III.

' Vlad (1957:47).

1.2 Biographical Sketch of Dallapiccola

of Dallapiccola as a composer. Section 1.2.2 describes the Quaderno Musicale di

Annalibera in reference to other works by the composer.

1.2.1 Biographical Sketch

Yugoslavia. A year earlier thefemilyhad been forcibly transferred to Graz, Austria, as

Luigi'sfetherwas deemed to be a dangerous nationalistic agitator."*

the local school, which made him politically siispect. Dallapiccola'sfemilywasfirstheld

^ Vlad (1957: 48).

studies, he received a degree in composition in 1931. Dallapiccola was later named to

the Intemational Society for Contenporary Music. Dallapiccola became interested in