Mario Castelnuovo-Tedesco (1895-1968)
Piano Music
The Italian composer, critic and pianist Mario
Castelnuovo-Tedesco derived his family name from the Spanish district of
Castilla Nueva, from which his ancestors had been expelled in 1492, with the
scattering of Sephardim throughout the Mediterranean world. Born in Florence in
1895, he was introduced to music by his mother and in 1908 entered the
Cherubini Conservatory in Florence. He completed his piano studies with Del
Valle de Paz in 1914, and had become a composition pupil of Ildebrando Pizzetti
two years earlier, graduating in 1918. He then studied privately for the
diploma in composition at Bologna Conservatory. He owed much to Pizzetti, who
was instrumental in introducing him to leading contemporary composers,
including Alfredo Casella, who included Castelnuovo-Tedesco's 1916 Il raggio
verde in his piano recitals.
In the period between the wars Castelnuovo-Tedesco
established himself as a pianist, appearing as a soloist, accompanist and
participant in chamber music, and as a critic for various musical journals. In
1920 he won the prize offered by Il pianoforte for the best piano composition
with his Cantico, Op.19. His compositions were also heard abroad, notably at
the festivals of the ISCM. After the racial legislation of 1938 and with the
support of Heifetz, Toscanini and Albert Spalding, and with the assurance of
employment, he moved to America. From 1940 to 1956 he worked for various film
studios in Hollywood, contributing to some 250 productions. At the same time he
continued his own work as a composer, with a series of some seventy works of
all kinds, including oratorios and cantatas, songs, operas, concertos, guitar
music and compositions for the piano. His 1959 opera Il mercante di Venezia
(The Merchant of Venice) won the La Scala Concorso internazionale Campari prize
and was given its first performance in Florence in 1961 at the Maggio musicale.
His interest in Shakespeare is further suggested by his series of Shakespeare
overtures, his Shakespeare songs (Marco Polo 8.223729), and his opera All's
well that ends well. Other works show his wide literary interests, from an
opera based on Oscar Wilde's The Importance of Being Earnest to the ballet The
Birthday of the Infanta, music for Pirandello's I giganti della montagna and
settings of Schiller, Keats, Wordsworth, Shelley, Heine and Petrarch. In 1946
he had become an American citizen and until his death in 1968 he taught at the
then Los Angeles Conservatory, where his pupils included Henry Mancini, Jerry
Goldsmith, John T. Williams and Andre Previn.
Cipressi, Op.17, later transcribed by the composer for
orchestra, is an evocative piece, suggested by the cypress trees at Usigliano,
where he spent many summers, staying at the Villa Forti. In 1924 he married
Clara Forti, but the Forti family properties did not survive the depredations
after 1938. Il raggio verde, Op.9, written in 1916, suggests the influence of
Debussy or Ravel in its musical language. The gently reflective Alghe, Op.12,
composed in 1919, has a delicate simplicity in its suggestions of the sea,
again with suggestions of contemporary French writing. I naviganti, Op.13,
dates from the same year and is in a largely similar mood. These three works
form a trilogy of sea-pieces. Lucertolina, written in 1916, evokes the creature
of the title, the little lizard, later included in a Sonata zoologica.
La sirenetta e il pesce turchino, Op.18, the sea fable of
the little mermaid, was the basis of a later ballet in 1937. Once again
Castelnuovo-Tedesco depicts the sea, here in the terms of a fairy-story, in
which the mermaid encounters the growing amatory difficulties usual to her
kind, before the serene conclusion. To this the five little waltzes of
Passatempi, Op.54, offer a light-hearted contrast, the first an off-key Un poco
mosso, leading to a second in burlesque mood. The third waltz is imbued with
melancholy and the fourth is pastoral in feeling. The dances end with a
mock-Viennese waltz.
Vitalba e Biancospino, Op.21, of 1921 takes its
starting-point from the story of the two plants of the title, specifically the
clematis and the common hawthorn, as so often suggesting the composer's
facility in improvisation. The earlier Questo fu il carro della Morte, Op.2,
was written in 1913, suggested by the Trionfi della Morte by Piero di Cosimo,
as described by Vasari in his life of the painter. Epigrafe, written in 1922,
is in a musical language that by now is familiar. It is here followed by the
prize-winning Cantico, Op.19, of 1920, a piece written Per una statuetta di
S.Bernadino di Niccolò dell'Arca (For a statuette of St Bernardino by Niccolò
dell'Arca), music that rises to a final dynamic climax in its reflection of the
work of the fifteenth century artist.
Keith Anderson
(For much of the biographical information on
Castelnuovo-Tedesco I am indebted to the article by Mila De Santis in Musik in
Geschichte und Gegenwart, Personenteil Bd.IV, Barenreiter, 2000.)