Castelnuovo-Tedesco, Mario (b Florence, 3 April 1895; d Beverly Beverly Hills, CA, 16 March 1968). !alian co"poser, pianis! pianis! an# $ri!er on "%sic. 1. &i'e. . or*s. +- /0 BB&+A2H 4AM /B Cas!eln%ovo/e#esco, Mario 1. Life. His 'or"al "%sical e#%ca!ion 7ean a! !he s!i!%!o M%sicale Cher%7ini in Florence in 199, $here he receive# his licenza liceale in liceale in 1913 an# his #eree in piano !he 'ollo$in year. n 1918 he co"ple!e# !he diploma di composizione a! composizione a! !he &iceo M%sicale o' Bolona. /he "os! i"por!an! "%sical 'i%re in Cas!eln%ovo/e# Cas!eln%ovo/e#esco:s esco:s early #evelop"en! $as 2ie!!i $i!h $ho" he 7ean !o s!%#y in 1915. 2ie!!i helpe# !o 7rin 7rin hi" hi" !o !he !he a!!e a!!en! n!io ion n o' Case Casell lla, a, $ho $ho 7eca 7eca"e "e an ar#e ar#en! n! s%ppor!er an# $hose pa!ronae $as cr%cial a! !he s!ar! o' his career. n 191< Casella, alon $i!h 2ie!!i, Malipiero, espihi, %i, Carlo 2erinello an# /o""asini, 'or"e# !he ocie!= !aliana #i M%sica (la!er oci ocie! e!= = 0ai 0aion onal ale e #i M%si M%sica ca Mo#e Mo#ern rna) a);; !ho% !ho%h h no! no! a 'o%n 'o%n#i #in n "e"7er, Cas!eln%ovo/e Cas!eln%ovo/e#esco #esco $as s!ronly i#en!i'ie# $i!h !he ro%p. His rep%!a!ion $as '%r!her enhance# 7y per'or"ances sponsore# 7y !he !alian 7ranch o' !he CM, $hich, over an 18year perio#, p%! on "ore "ore o' his his "%si "%sic c !han !han any any o!he o!herr !al !alia ian n co"p co"pos oser er o!he o!herr !han !han Malipiero. n a##i!ion !o co"posin, he $as a s%ccess'%l per'or"er (as solois!, acco"panis! an# ense"7le player), cri!ic an# essayis!. >escri7e# as a $ri!er $ri!er $ho $ho ?#e"on ?#e"ons!r s!ra!e a!e# # a @%ic* @%ic*$i! $i!!e# !e# co""on co""on sense sense an# a oo#na!%re# scep!icis" 'or !he ne$ an a!!i!%#e !ha! ca"e 'ro" his in7orn aversion !o any ar! !ha! is charac!eris!ically 'ana!icD (F. >:A"ico), >:A"ico), he con!ri7%!e# con!ri7%!e# cri!icis" cri!icis" eE!ensively eE!ensively !o La critica musicale (193), Il pianoforte (195) pianoforte (195) (la!er Revista musicale italiana) italiana) an# La rassegna musicale (19836). musicale (19836). By !he early early 193s 193s Cas!el Cas!eln%o n%ovo vo/ /e e#esco #esco 7eca"e 7eca"e increa increasin sinly ly concerne# 'or !alian 4e$ry, an# $hen Hei'e! approache# hi" 'or a concer!o (I (I profeti , 1931), he sa$ an oppor!%ni!y !o !a*e a s!an#, la!er co"" co""en en!i !in n (in (in 19G 19G)) ? 'el! 'el! pro% pro%# # o' 7elo 7elon nin in !o a race race so %n%s!ly persec%!e#; $an!e# !o eEpress !his pri#e in so"e lare $or* $or*,, lor lori'y i'yin in !he !he sple splen# n#o% o%rr o' !he !he pas! pas! #ay #ays an# an# !he !he 7%rn 7%rnin in inspira!ion $hich in'la"e# !he envoys o' o#, !he prophe!sD. A7o%! !he p%re $hich 7ean in !aly !al y in 4an%ary 1938 he $ro!e, happene# !o 7e !he IpioneerJ. My "%sic $as s%##enly 7anishe# 'ro" !he !alian ra#io an# so"e per'or"ances o' "y $or*s $ere cancelle#. A p%7lic per'or"ance o' I
profeti sche#%le# 7y !alian ra#io in /%rin, in 4an%ary 1938 $as s%##enly cancelle# 7y a "ys!erio%s !elephone or#er 'ro" o"e, an# !ha! happene# siE "on!hs 7e'ore !he an!ie"i!ic la$s $ere iss%e#. n !he s%""er o' 1939, shor!ly 7e'ore !he o%!7rea* o' $ar, he le'! $i!h his 'a"ily 'or 0e$ or*, s!ayin in &arch"on! 'or a year an# a hal' 7e'ore "ovin !o Cali'ornia. /here, in a%!%"n 19G, he sine# a con!rac! $i!h Me!rool#$ynMeyer, 7einnin a rela!ionship ('ro" 19G !o 1956) $i!h several Holly$oo# s!%#ios incl%#in Col%"7ia, Kniversal, arner Bro!hers, !hCen!%ry FoE an# CB. >%rin !his !i"e he also co"pose# over < concer! $or*s, incl%#in sons an# opera, !he hihpoin! o' his pos!$ar career occ%rrin in 1958 $hen !he opera The Merchant of Venice $as a$ar#e# 'irs! prie in !he Concorso n!ernaionale Ca"pari. ponsore# 7y &a cala, i! $as iven i!s 'irs! per'or"ance in 1961 a! !he G!h Maio M%sicale Fioren!ino. Cas!eln%ovo/e#esco ha# 7eco"e a K ci!ien in 19G6 an# %n!il his #ea!h $as a''ilia!e# $i!h !he &os Aneles Conserva!ory o' M%sic (la!er Cali'ornia ns!i!%!e o' !he Ar!s). He $as one o' !he "os! so%h!a'!er !eachers o' 'il" "%sic, his p%pils incl%#in ol#s"i!h, Mancini, 2revin, i##le an# 4ohn illia"s. Cas!eln%ovo/e#esco, Mario 2. Works. His early co"posi!ions, o'!en consi#ere# !oo ?proressiveD 7y a%#iences, $ere in'l%ence# 7y 2ie!!i:s a%s!ere con!rap%n!alis", >e7%ssy:s "pressionis" an# !he neoclassicis" o' avel. He also eEperi"en!e# $i!h %nconven!ional har"onies, an# #evelope# a #is!inc!ively re'ine# voca7%lary 7ase# on s%ccessions o' parallel chor#s, poly!onal 7loc*s o' so%n# an# a 'l%en! co%n!erpoin!. peci'ic i"aery is o'!en !he 7asis o' his $or*L Il raggio verde, 'or eEa"ple, represen!s !he s%n se!!in over !he sea, sen#in o%! a 'inal reen ray, $hile !he Tre fioretti di Santo Francesco $as conceive# as a se! o' 'rescoes !o in!erpre! io!!o:s pain!ins o' !he sa"e na"e. A con!e"poraneo%s acco%n! #escri7e# his "%sic as ?re'lec!in !he Floren!ine co%n!rysi#e $i!h so'! %n#%la!in lines, all #elica!ely !race# 7y !he $hole a"%! o' colo%rs, rays an# reens o' every h%eD (a!!i, 1918). Ho$ever, his 7ran# o' neoclassicis" also reveals a reliance on !ra#i!ional 'or"s an# an in!eres! in early !alian "%sic his!ory. /he Concerto italiano in "inor (19G) 'or violin an# orches!ra is a po!po%rri in !he s!yle o' ival#i $i!h !he"es "o#elle# on 16!h an# 1 (1939), a#op!s a Moar!ian concer!o s!yle, !he ins!r%"en!a!ion in!en#e#, as he p%! i!, ?!o ive "ore !he appearance an# !he colo%r o' !he orches!ra !han !he $eih!D. !s s%ccess $as i""e#ia!e, eovia consi#erin i! !he "ain $or* !ha! convince# o!hers o' !he via7ili!y o' 7alancin %i!ar $i!h orches!ra. /here is li!!le #o%7! !ha! Cas!eln%ovo/e#esco:s "os! reconie#
con!ri7%!ion has 7een his 7o#y o' al"os! 1 $or*s 'or !he ins!r%"en!. /ho%h !he vario%s phases o' his "%sic s%es! cer!ain eneral ca!eories, Cas!eln%ovo/e#esco hi"sel', as he p%! i! in 195, ?never 7elieve# in "o#ernis" or in neoclassicis", or in any o!her is"sD. M%sic 'or hi" $as a7ove all a "eans o' eEpression, oin as 'ar as !o clai" !ha! every!hin co%l# 7e !ransla!e# in!o "%sical !er"sL ?!he lan#scapes sa$, !he 7oo*s rea#, !he pic!%res an# s!a!%es a#"ire#D. /hree !he"es $ere cen!ral his place o' 7ir!h (Florence an# /%scany), !he Bi7le an# ha*espeare. His 'irs! !hea!rical a!!e"p!s $ere all on Floren!ine s%7ec!s !he opera La mandragola, inci#en!al "%sic !o Savonarola an# !he 7alle! Bacco in Toscana, $hile ha*espeare le# hi" !o $ri!e so"e o' his "os! innova!ive an# #ra"a!ic "%sic incl%#in !$o operas, 11 over!%res an# n%"ero%s sons. As his s!yle evolve# i! 7eca"e 7o!h increasinly neoo"an!ic an# prora""a!ic. /he la!e !rin N%ar!e! no.3 (196G), 'or eEa"ple, eEhi7i!s a narra!ive s!r%c!%re, recallin a !rip !o his 'rien# Bernar# Berenson:s villa near e!!inanoL !he 'irs! "ove"en! por!rays !he hills a7ove Florence, !he secon# #escri7es an in!ac! "e#ieval a77ey, !he schero #epic!s a !rain !ha! ran 'ro" Florence !o allo"7rosa 7e'ore orl# ar , $hile !he 'inal "ove"en! recrea!es a conversa!ion 7e!$een Cas!eln%ovo/e#esco an# Berenson. +' his "%sic 'or 'il", Cas!eln%ovo/e#esco $as involve#, !o vario%s #erees, $i!h so"e 5 proec!s. /hey 'all in!o 'o%r ca!eoriesL scores 'or $hich he $as coco"poser or s%7or#ina!e co"poser (!hese 'or"in !he lares! n%"7er, par!ic%larly 'or MM); 'il"s 'or $hich he co"pose# !he co"ple!e score, incl%#in enO Clair:s nd Then There !ere "one; 'il"s 'or $hich he provi#e# speci'ic so%rce "%sic s%ch as !he 7alle! in #o$n to %arth (19G<) an# !he opera scenes in %ver&bod& #oes It (19G9) an# Strictl& #ishonorable (1951); an# ins!ances $here previo%sly co"pose# 'il" "%sic $as !rac*e# in!o ne$ 'il"s. >espi!e his e''or!s, he $as sel#o" iven screen cre#i!, an# #escri7e# hi"sel' as a ?hos! $ri!erD. Cas!eln%ovo/e#esco, Mario WORKS (selec!ive lis!)
dramatic +psL &a "an#raola (prol., , a'!er 0. Machiavelli), op., 193, enice, Fenice, May 196, rev., ac!s in er., ies7a#en, !aa!soper, 198; AllDs ell !ha! n#s ell (3, a'!er . ha*espeare), op.18, !. !rans., as ilie!!a #i 0ar7ona, %nper'.; /he Merchan! o' enice (3, a'!er ha*espeare), op.181, 1956, as l "ercan!e #i eneia, Florence, Co"%nale, 5 May 1961, in ori. n. version, &os Aneles, hrine A%#i!ori%", 13 April 1966; a%l (3, a'!er . Al'ieri), op.191, 19586, %nper'.; /he "por!ance o' Bein rnes! (co"ic op, 3, a'!er +. il#e), op.198, 1961, A, 19<, s!ae#, 0e$ or*, &a %ar#ia, Fe7 19<5 Balle!sL Bacco in /oscana (a'!er F. e#i), op.39, solo vv, chor%s, orch, 1956,
Milan, 1931; 2esce !%rchino, Florence, 193< a'!er p' piece &a sirene!!a e il pesce !%rchino; Basrelie'L la reine 0e'er!i!i, 193<, 2aris, 1938; /he Bir!h#ay o' !he n'an!a (il#e), op.115, 19G, 0e$ +rleans, 19G<; /he +c!oroon Ball (-. >%nha"), op.136, 19G<9 nci# "%sicL avonarola (. Alessi), op.81, Florence, 1935; ian!i #ella "on!ana (&. 2iran#ello), op.9G, Florence, 193<; Mornin in o$a (. 0a!han), op.158, nar, cl, acc#n, %i, 7 viol, perc, 1953 Fil" scores (screen cre#i!s only; co"ple!e lis! in es!7y, 199G)L /he e!%rn o' !he a"pire (#ir. &. &an#ers), 19GG; An# /hen /here ere 0one (#ir. . Clair), 19G5; /i"e o%! o' Min# (#ir. . io#"a*), 19G<, colla7. M. Psa; /he &oves o' Car"en (#ir. C. i#or), 19G8; /he Mas* o' !he Avener (#ir. 2. -arlson), 1951; /he Brian# (#ir. -arlson), 195; /he >ay o' !he FoE, 1956; !i@%e!!e, 1956 +!her $or*sL A%cassin e! 0icole!!e ("arione!!e 'a7le, 1!hcen!%ry Fr.), 1 ins!s, op.98, 191938, Florence, 195; /he on o' ons (r%s!ic $e##in i#yll), op.1<, 195G5, Holly$oo#, 1963 orcestral ha*espeare ovs.L &a 7is7e!ica #o"a!a, op.61, 193; &a #o#icesi"a no!!e, op.<3, 1933; l "ercan!e #i eneia, op.<6, 1933; i%lio Cesare, op.<8, 193G; l raccon!o #:inverno, op.8, 193G; A Mi#s%""er 0ih!:s >rea" (+v. !o a Fairy /ale), op.18, 19G; -in 4ohn, op.111, 19G1; An!ony an# Cleopa!ra, op.13G, 19G<; /he /rae#y o' Coriolan%s, op.135, 19G<; M%ch A#o a7o%! 0o!hin, op.16G, 1953; As o% &i*e !, op.166, 1953; also G #ances 'or &ove:s &a7o%r:s &os!, op.16<, 1953 i!h o7 soloL Conc. #a ca"era, op.1G6, 3 hn an# !i"p a# li7, s!r, 195, arr. o7, p', 195, !ranscr. o7, vc, p'Q%i, 196G i!h p' soloL concs., op.G6, 19<, op.9, 1936< i!h %i soloL Conc., >, op.99, 1939; erena#e, op.118, ch7r orch, 19G3; Capriccio #ia7olico, op.85Q, 19G5 a'!er op.85, %i; Conc. sereno, op.16, 1953; Conc. op.1, %i, orch, 196 i!h vn soloL Conc. i!aliano, , op.31, 19G; ariaioni sin'oniche, op.G8, 198; Conc. ? pro'e!iD, op.66, 1931; 2oe" ?&arch"on! oo#sD, op.11, 19G, !ranscr. vn, p', 19G i!h vc soloL Conc., op.<, 1933; no!!a"7%li arr. piece vc, p', 19<, 196 +!her $or*sL n#ian ons an# >ances, op.116, 19G; 5 H%"ores@%es, op.11 on !he"es o' Fos!er, op.11, 19G3; An A"erican hapso#y, 19G3 coral +ra!sL l li7ro #i %!h, op.1G, 19G9; l li7ro #i iona, op.151, 1951; /he Boo* o' s!her, op., , /, Bar, B, nar, chor%s, orch, 196; /o7ias an# !he Anel, op.G (scenic ora!, a'!er ApocryphaL Tobit ), solo vv, chor%s, nar, "i"e, #ancers, orch, 196G5, 0e$ or*, 19<5 i!h ins!sL -ea!s ons, op.113, chor%s, p', 19G51; Kpon es!"ins!er Bri#e (. or#s$or!h), op.11G, chor%s, p', 19G; acre# ervice, op.1, Bar, chor%s, or, 19G3, enlare# 195; -ol ni#rei, can!or, chor%s, or, vc, 19GG; &i7er!y, Mo!her o' Eiles (&aar%s), chor%s, p', 19GG; /he +$l (A. /ennyson), chor%s, p', 19G58; A%7a#e (. >avenan!), Carol 'or Chris!"as >ay (anon., 1661), /o his on (. Cor7e!), op.16, chor%s, p', 19G56; 0ao"i an# %!h, op.13< (can!.), 'e"ale vv, p'Qor, 19G<; &on'ello$ ons, op.1G9, chor%s, p', 195; ons an# 2rocessionals 'or a 4e$ish e##in, op.15, chor%s, p'Qor, 195; o"ancero i!ano, op.15 (F.arcRa &orca), chor%s, %i, 1951; G Chris!ina osse!!i ons, op.153, 'e"ale vv, p', 1951; 3 helley ons, op.15G, 'e"ale vv, p', 1951;
0aari!:cho, can!or, chor%s, or, 195; /he N%een o' he7a, op.161 (can!.), 'e"ale vv, p', 1953; on o' !he +ceani#es, op.1<1 (Aeschyl%s), 'e"ale chor%ses, 'l, hp, 195G, arr. 'e"ale vv, p', 195G; 3 helley ons, op.1<3, 'e"ale vv, p', 1955; /he Fiery F%rnace (Bi7leL #aniel ), op.183 (ch7r can!.), Bar (nar), chil#ren:s vv, p'Qor, perc, 1958; Me"orial ervice 'or !he >epar!e#, op.19, can!or, chor%s, or, 196; Bi!!er &e"ons (&. >%rrell), 'e"ale vv, p', 196 Knacc.L "a#riali a ala!ea (iril), chor%s, 1913; can!i reci (0. /o""aseo), 1916; &echS #o#i, op.9, can!or (/), "ale vv, 1936, arr. can!or (/), "iEe# vv, or, 19G3; occi%s (la%#i #i 'isio), op.96, , chor%s, 1939; enice (Cas!eln%ovo /e#esco, a'!er or#s$or!h), op.13, "ale vv, 19G6; 6 -ea!s e!!ins, op.15<, 195; /he Boo* o' 2rover7s, op.168, "ale vv, 1953; &a"en! o' >avi#, op.169, /, #o%7le chor%s, 1953; Cherry ipe (/. Ca"pion), chor%s, 1955; Mo!e!s, 'ro" !he ospel Accor#in !o ! 4ohn, op.1ay (! A%%s!ine), op., chor%s, 1963; Chil#ren:s on (#e aere), 'e"ale vv, 196< oter vocal !orks i!h orchL liriche #al ?iar#iniereD (. /aore), 1v, orch, 191<; 6 co!!ish ons, op.1 (. co!!), , /, hp, s!r, 1939, arr. chor%s, p', 19G3; &%lla7y, vv, orch, 19G3 on !he"es o' Fos!er; /he 2rincess an# !he 2ea, op.1, "inia!%re ov., nar, orch, 19G3; 0oah:s Ar*, nar, chor%s, orch, 19GG, 'or enesis %i!e, colla7. choen7er, !ravins*y an# o!hers ons 'or 1v, p'L Chansons rises (2. erlaine), 191; &e chan! #es !ene7res ("e#ieval Fr.), 1913; &e roi &oys, op.3 ("e#ieval Fr.), 191G, orch# 193; 0inna nanna, op.G (K. Cas!eln%ovo/e#esco), 191G, orch# 19<; l li7ro #i >olcina (&.M. Co"pare!!i), 1915; F%ori i 7ar7ari, op.5, 1915, orch# 19GG; !elle ca#en!i, op.6 (/%scan !ra#.), 191518; Coplas, op.< (p. !ra#.), 1915, orch# 196<; &a 7a!!alia T 'ini!a, 1916; Briciole, op.8 (A. 2alaeschi), 1916; 3 'iore!!i #i an Francesco, op.11, 1919; &a canone #ella !o"7ola (K. Cas!eln%ovo/e#esco), 19; !oile 'ilan!e (. 4ean A%7ry), 19; iro!on#o #ei olosi, op.1G, 19; &:in'ini!o, op. (. &eopar#i) 191; era, op.3 (>an!e), 19; 33 ha*espeare ons, op.G, 1915; 2iccino picciS, op.6 (C. 2avolini), 19; &a sera 'iesolana (. >:Ann%nio), 193; Balla!a, op.< (A. 2oliiano), 193; &a 7ar7a 7ianca, op.8 (Ber!elli), 193; prehiere per i 7i"7i #:!alia, op.9, 193; 8 scheri per "%sica, op.35 (F. e#i), 19G5; 183, op.36 (A. #e M%sse!), 195; n#ian erena#e, op.38 (2.B. helley), 195; 9 Heine &ie#er, op.G, op.6, 1969; G sone!!i #a ?&a vi!a novaD, op.G1 (>an!e), 196; 3 onne!s 'ro" !he 2or!%%ese, op.G (.B. Bro$nin), 196; Ca#iE, op.G5 (#e M%sse!), 196; illa sola (A. Carocci), 19<; +re sole, op.5 (2alaeschi), 198; Chan! hO7rai@%eL vocalise, op.53, 198, arr. vn, 198, vc, 198, #7, 196G; 3 vocalii, op.55, 198, arr. vn, p', 193; 6 o#i #i +raio, op.6, 193; Balla#e #es 7iens i""e%7les, op.68 (A. i#e), 1931, orch# 193G; 5 2e!rarch ons, op.an!e, op.11, 1939; 2ansies, op.13 (>.H. &a$rence), 1939; ec%er#o, op.15 (! . Millay), 19G; /he &een# o' 4onas Bronc*, 0e$ or*, op.16 (A. %i!er"an), 19G; Kpon his Blin#ness, op.19 (4. Mil!on), 19G; /he prin (/. 0ash), 19G1; Byron ons, 19G1; My love:s li*e a re# re# rose (. B%rns), 19G1; !evenson ons, 19G1; -iplin ons, 19G; &e ossinol,
op.11< (FrTre 4osephQ#% /re"7lay), 19G, arr. 'e"ale vv, p', 19G, arr. %nacc. chor%s, 19G; +y"an#ias (helley), /he >a''o#ils (or#s$or!h), /he ha#o$ (B. 4onson), op.1G, 19GG; 8 ha*espeare onne!s, op.15, incl. 3 'or chor%s, 19GG <, G "ore a##e#, 1963; 5 poesie ro"anesche, op.131 (M. #allDArco), 19G6; >e a"ico a# a"ica" (anon., c 13), 19G<; 3 &i!!le ons, 1958; &e voyae (4. #% Bellay), 1959; l 7es!iario, op.188 (A. &oria), 196; 2oesVa sve#ese, op.189, 196 ons 'or 1v, %iL Balla!a #ell:esilio (. Cavalcan!i), 1956; oel$ei#e, op.186 (. von #er oel$ei#e), Bar, %iQp', 1959; 2la!ero y yo, op.19 (Fa!her 4i"One), nar, %i, 196; /he >ivan o' Mosesi7nra, op.<, 1966 +!her $or*sL 3 ha*espeare >%e!s, op.9<, , /, p', 193<, orch# 1938; ons o' !he h%la"i!e, op.163 (Bi7le), 1v, 'l, hp, s!r, @!, 1953; chiller Balla#en, op.193, nar, p', perc, 1961 cam"er For 59 ins!sL 2' Nn! op.69, 1931; Concer!ino, op.93, hp, s!r @!, 3 clQ$$ @!, 1936 <, arr. hp, ch7r orch, 1938; Nn!, op.1G3, %i, s!r @!, 195; 2' Nn! no., op.155, 1951 For 3G ins!sL 2' /rio, op.G9, 198; !r N!, op.58, 199; 2' /rio no., op.<, 193; !r N! no., op.139, 19G8; !r /rio, op.1G<, 195; Chorale $i!h aria!ions, op.16, hn @!, 1953; 2as!orale an# on#o, op.185, cl, vn, vc, p', 1958; N%ar!e!!sa!, op.1<Q8, 196; !r N! no.3 ?casa al #onoD, op.3, 196G; clo%es, op.6, 'l, en hn, %i, 1965 ona!asL op.5, vc, p', 198; ona!a @%asi %na 'an!asia, op.56, vn, p', 199; Conc. no.3, op.1, vn, p', 1939; op.1<, vn, va, 19G5; op.18, cl, p', 19G5; op.13, 7n, p', 19G6; op.1GG, va, vc, 195; op.1G8, vn, vc, 195; ona!as, op.1<9, !p!, p', 1955; op.5, 'l, %i, 1965; op.8, vc, hp, 196< +!her $or*s 'or ins!sL inorine, op.1, vn, p', 1918; i!"i, op.15, vn, p', 19; Capi!an Fracassa, op.16, vn, p', 19, orch#, 19G<; 0o!!%rno a#ria!ico, op.3G, vn, p', 19G; no!!a"7%li, op.G<, vc, p', 19<, orch# 196; /he &ar*, vn, p', op.6G, 1931; 0o!!%rno s%ll:ac@%a, cherino, op.8, vc, p', 1935; /occa!a, op.83, vc, p', 1936; Balla#e, op.1<, vn, p', 19G; Me#i!a!ion, vc, p', 19G1; -ol ni#re, vc, p', 19G1; &a 'ilia #el rei"en!oL a Fan!asy 'or iolin an# 2iano on !he"es 7y >onie!!i, op.11, 19G1; >iver!i"en!o, op.119, 'l, 19G3; Fan!asia, op.1G5, %i, p', 195; %i!e 58, op.1<Q1, va, p', 196 +rL 2rel%#io e 'an'araL !%#ies in 10o!e /echni@%e, 1951; /occa!a (n!ro#%c!ion, Aria an# F%%e), op.159, 1953; 2rayers "y ran#'a!her ro!e, 196; 3 i!e"s in op.1< series, 19596< HpL hapso#y, op.9, 196< #iano Arie an!iche, 195; nlish %i!e, p'Qhp#, 199; Cal"a a ira"on!e, 191; Cielo #i se!!e"7re, op.1, 191, orch# 1915; 2ri"avera 'ioren!ina, 1911; N%es!o '% il carro #ella "or!e, op., 1913; &%cer!olina, 1916, incorpora!e# in ona!ina ooloica, 196; l raio ver#e, op.9, 1916; Alhe, op.1, 1919; 0avian!i, op.13, 1919; Cipressi, op.1<, 19, orch# 191, rev. 1939; &a sirene!!a e il pesce !%rchino, op.18, 19; Can!ico, op.19, 19; i!al7a e Biancospina, op.1, 191; pira'e, op.5, 19; Al! ien, op.3, 193, arr. p'; 2ie#iro!!a 19G, op.3, 19G, arr. p'; &e s!aioni, op.33, 19G; &e #ane #el e >avi#, op.3<, 195; 3 corali s% "elo#ie e7raiche, op.G3, 196; 3 poe"i ca"pes!ri, op.GG, 196; ona!a, op.51, 198; 2assa!e"pi, op.5G, 198; BABA, variaioni sopra %n !e"a in'an!ile, op.5<, 199; Crinoline, op.59, 199; Fan!asia e '%a s%l no"e #i l#e7ran#o 2ie!!i, op.63, 193; Me#ia #i''icol!=, op.65, 193; Mila, 1931; Fil" !%#ies, op.6<,
1931; 2rel%#io, 193G; 3 prel%#i alpes!ri, op.8G, 1935; +n#e, op.86, 1935; /errae, 1936; !ars, op.1G, 19G; 0oc!%rne in Holly$oo#, 19G1; Ho"ae !o 2a#ere$s*i, 19G1; Can#i#e, op.13, 19GG; %i!e nello s!ile i!aliano, op.138, 19G<; vanOlion, op.1G1, 19G9; 6 Canons, op.1G, 195; 0innananna, 195; 6 2ieces in For" o' Canons, op.156, 195; l encan!o, op.165, 1953; 1< i!e"s in op.1< series 1953 6G; /he !ories o' 4oseph, op.1<8, 1955; ona!ina ooloica, op.18<, 196 $uitar ariaioni a!!raverso i secoli, op.<1, 193; ona!a ?o"aio a BoccheriniD, op.<<, 193G; Capriccio #ia7olico, op.85, 1935; /aran!ella, Aranci in 'iore, op.8<, 1936; aria!ions plaisan!es s%r %n pe!i! air pop%laire, op.95, 193<; on#o, op.19, 19G6; %i!e, op.133, 19G<; 1 i!e"s in op.1< series 195G6<; 3 prel%#i "e#i!erranei, op.1<6, 1955; &a %ar#a c%y#a#osa, scarra"an, a'!er Cervan!es, op.1<<, 1955; 2assacaliaL o"aio a oncalli, op.18, 1956; 3 prel%#i al Circeo, op.19G, 1961; G caprichos #e oya, op.195, 1961; App%n!i, op.1, 196<8, vol.3 inc. For %iL ona!ina canonica, op.196, 1961; &es %i!ares 7ien !e"pOrOes, op.199, 196; F%a eleiaca, 196< M in 'S(!c 2rincipal p%7lishersL BTr7en, Carisch, Chan!erelle, Fischer, Forlivesi, &yra, icor#i, cho!!
Cas!eln%ovo/e#esco, Mario WR%T%&'S ?&a 2isanella #i . 2ie!!iD, La critica musicale, iiQ91 (1919), 15<69 ?&a sona!a per violino e piano'or!e #i . 2ie!!i,D Il pianoforte, iQ< (19), 15 ?l#e7ran#o 2ie!!i e la s%a "%sica coraleD, Il pianoforte, ii (191), 33G ?I>e7ora e 4aOleJ #i . 2ie!!i alla calaD, Musica d)oggi , v (193), 1 6 ?l @%ar!e!!o "o#ernoD, Critica musicale, vi (193), 5969 ?M%sicis!i con!e"poraneiL Man%al #e FallaD, Il pianoforte, iv (193), 8 16 ?M%sicis!i con!e"poraneiL Al're#o Casella e il s%o I!ero s!ileJD, Il pianoforte, vi (195), G1< ?0eoclassicis"o "%sicaleD, *+gaso, iQ (199), 19<G ?Casella operis!aD, *+gaso, ivQG (193), G818 ?Firene "%sicale ai pri"i #el :9D, Illustrazione toscana e dell)%truria, n# ser., EiQ1 (1933), 18 ?Moar! a FireneD, Illustrazione toscana e dell)%truria, n# ser., Eiii (1935), 3<G ?A Co"poser on ri!in Concer!osD, "e$ ,or- Times (9 +c! 1939) La penna perduta, 1939, %p%7# essay collec!ion ?/he 4e$ish Chap!er o' "y A%!o7ioraphyD, 19G, %np%7# ?/he !alian +ver!%reD, "e$ ,or- Times (1G April 19G) ?ha*espeare an# M%sicD, Sha-espeare ssociation Bulletin, Ev (19G), 166
?Mo#ern Co"poser /ells !ory o' &i'eD, .e$ish *ress (1 4%ne 19G), , 5; also p%7# as ?4e$ish Bac*ro%n# o' an Eile# M%sicianD, merican .e$ish /utloo- (6 4%ly 19G), G only ?M%sic an# 2oe!ryL 2ro7le"s o' a on$ri!erD, M0, EEE (19GG), 1 11 ?M%sic %n#er !alian Fascis"D, 19GG, %np%7# lec!%re ?/he Co"poser pea*sD, The Boo- of Modern Composers, e#. >. $en (0e$ or*, 195), 393 ?2ie!!iD, i7i#., 1< ?My Eperiences in 4e$ish M%sicD, .e$ish Music "otes (1951), 3G ?oci ai%n!e e rive#%!e per %n #iionario #i co"posi!ori viven!iL Mario Cas!eln%ovo/e#escoD, RaM , EEiii (1953), G55 ?Al're#o CasellaD, RaM , EEvii (195<), 1 ?I-%rvenal#oJ in I/es!i"oniane per &oriaJD, Letteratura, vQ3 (195<), 3 ?2ie!!i is!o #a &on!anoD, La citt1 dannunziana a Ildebrando *izzetti , e#. M. la Moria (Milan, 1958), 15<63 'nder the Sign of /rpheus2 the Milestones of /pera, 1959, %np%7# lec!%res ?/he on o' onsD, Music .ournal , EEiQ8 (1963), 1G 'na vita di musica, 196<, %np%7# a%!o7ioraphy Cas!eln%ovo/e#esco, Mario (%(L%O'R)*+ %$en# M334 5F6 #)mico7 '.M. 'attiL ?Mario Cas!eln%ovo/e#escoD, La critica musicale, iQ111 (Florence, 1918), 19<5; repr. in Musicisti moderni d)Italia e di fuori (Bolona, 19, Q195), G15; n. !rans. as ?o"e !alian Co"posers o' /o#ayL Cas!eln%ovo/e#escoD, MT , lEii (191), G35 . LiuiL ?Mario Cas!eln%ovo/e#escoD, Musi-bl8tter des nbruc- , vii (195), G81 '. Rossi /oriaL ?Mario Cas!eln%ovo/e#escoD, The Chesterian, vii (1956), 11G19 '.M. 'attiL ?Fo%r Co"posers o' 2resen!>ay !alyL Mario Cas!eln%ovo/e#escoD, M0, Eii (196), GG9<1 C. 0ala"re$aL ?M%sicis!i con!e"poraneiL Mario Cas!eln%ovo /e#escoD, Il pianoforte, vii (196), 68<9 . LiuiL ?Mario Cas!eln%ovo/e#escoD, Solaria, iiQ11 (19<), 665 +. )ntcliffeL ?o"e ons o' Mario Cas!eln%ovo/e#escoD, MT , lEviii (19<), 18 R.(. +allL ?An n!ervie$ $i!h Mario Cas!eln%ovo/e#escoD, Musical Leader (198) ). LualdiL ?I&a "an#raolaJ #i M. Cas!eln%ovo/e#esco alla Fenice #i eneiaD, Serate musicale (Milan, 198), 65 W. LleL ?/he ha*espeare ons o' M. Cas!eln%ovo/e#escoD, The Chesterian, Evii (19356), 1G /. de *aoliL La crisi musicale italiana 549::;49<:7 (Milan, 1939), 113'', 16G'', <98, 3G5
'. SaleskiL ?Mario Cas!eln%ovo/e#escoD, Famous Composers of .e$ish /rigin (0e$ or*, 19G9), 31G ). /ameriniL ?Il mercante di Venezia #i Mario Cas!eln%ovo/e#escoD, Musica d)oggi , iv (1961), 11G1< . /)micoL ?Cas!eln%ovo/e#esco a an!a CeciliaL %n ri!ra!!o #ipin!o s%l piano'or!eD, L)espresso (6 April 1969) '.M. 'attiL ?icor#o #i Mario Cas!eln%ovo/e#escoD, ccademia nazionale di Santa Cecilia2 nnuario 49=9 (o"e, 1969), 31 ). SoltesL ?A Fine !alian Han#L Mario Cas!eln%ovo/e#escoD, /ff the !illo$s2 the Rebirth of Modern .e$ish Music (0e$ or*, 19<), 9815 3.L. TielL The St&listic Trends Found in a Comparative nal&sis of Three *ublished /rgan !or-s b& Mario Castelnuovo(Tedesco (#iss., K. o' Misso%ri, 19<) '. 'avaeniL ?Kn sal%!o a Mario Cas!eln%ovo/e#escoD, "on eseguire Beethoven e altri scritti (Milan, 19armonic Idioms of Mario Castelnuovo(Tedesco? as %@emplified in the Solo Concertos (#iss., 0or!h$es!ern K., 19
