Goffredo Petrassi

Goffredo Petra s s i A Master or Twentieth Century Italy

M us i c Theat re and Vi s ual A rt i s t s

Comitato Progetto Musica

Ministero per i Beni e le AttivitĂ Culturali Comitato Nazionale Patrimonio e Memoria nelle Culture del Mediterraneo Dipartimento dello Spettacolo Comitato Progetto Musica

Comune di Roma Assessorato alle Politiche Culturali Dipartimento Cultura-Spettacolo Accademia Filarmonica Romana

Goffredo Petrassi A Master or Twentieth Century Italy Music Theatre and Visual Artists

Exhibition sketches, costume designs, photographs, scores, affiches

Goffredo Petrassi A Master o/ Twentieth-Century Italy Music Theatre and Visual Artists Exhibition sketches, costume designs, photographs, scores, affiches planned by Gisella Belgeri, Sandro Cappelletto, Matteo D'Amico materials by courtesy of Archivio del Teatro di San Carlo, Naples; Archivio fotografico dell'Accademia Filarmonica Romana; Archivio dell'Accademia Nazionale di S. Cecilia, Rome; Direzione degli allestimenti scenici - Fondazione Arena di Verona; Archivio Storico della Fondazione Teatro del Maggio Musicale, Florence; Archivio bozzetti e figurini della Fondazione Teatro alla Scala, Milan; Archivio fotografico della Fondazione Teatro alla Scala, Milan; Archivio storico e audiovisuale della Fondazione Teatro dell'Opera, Rome; Direzione degli allestimenti scenici - Fondazione Teatro dell'Opera, Rome; Federazione delle Associazioni di Amici degli Enti Lirici e Assimilati; Istituto di Studi Musicali Goffredo Petrassi; Centro Studi dello Spettacolo Giancarlo Sbragia, Rome; Edizioni Suvini Zerboni, Milan; Mario Clementi; Corrado Maria Falsini; Silvia Lelli Masotti; Goffredo Petrassi The material relative to the "Ritratto di Don Chisciotte" at Teatro alla Scala, Milan is by courtesy of the exhibition "Centenario di Lucio Fontana"; planned by Vittoria Crespi Morbio; exhibition project, Luca Rolla; setting up of the exhibition, Vittorio Comi setting up o/ the exhibition Amedeo Frati, Michela Giovannelli, Antonio Trimani with the collaboration of Guido Barbieri and Cosimo Gomez Acknowledgements: Dino Belletti, Daniela Bennati, Lalla Brau, Moreno Bucci, Mauro Carosi, Anna Crespi Morbio, Vittoria Crespi Morbio, Emanuela Floridia, Paola Fontecedro, Patrizia Francescon, Renato Garavaglia, Rory Gazzara, Paola Orlandi, Carla Pappalardo, Raffaele Pozzi, Silvana Ravone, Francesco Reggiani, Enrico Tellini, Carlo Torresani, Carla Trifogli, Luisa Vinci

Catalogue edited by Michela Giovannelli Translations: Anne Ricotti Graphics: Maurizio Cappellari

cover: Giacomo Manz첫, sketch for "La follia di Orlando"

Portrait of Goffredo Petrassi by Orfeo Tamburri, 1942 (photo Corrado M. Falsini)

Goffredo Petrassi is an abstract composer who has never renounced the concreteness of formal elegance.

Opposed to overemphasis, motivated always by the search, through sounds, for unusual groupings of colours and of hesitant moods, unpredictable in digressions, fascinated by visionary characters like Don Quixote and the paladin Orlando, by purely surrealist plots such as that of Cordovano by Cervantes and in that "little man with his absurd parachute-dress" protagonist of Morte dell'Aria, he has created music which is compliant with the inventive skill of some of the most significant visual artists of twentieth century Italy. "I cannot even imagine a musician lacking all interest in the visual arts or in literature, but I cannot say however that a visual work exists which has directly influenced me in my music ": the words of the Maestro reveal the dual nature, reciprocalty fertile, of his relations with visual art. Petrassi composes in his studio surrounded by drawings, colours, abstract symbols.

He chose them one by one to satisfy a taste which he had cultivated by himself and had subsequently known how to enrich, thanks to an assiduous association with the literary and pictorial trends characteristic of the twentieth century in Italy and Europe. A passion that had always kept clear of expressionist clamour and neo-baroque artificiality and instead turned towards lightness of line, shrewdness of spatial design and vivid colouristic fantasy.

Even in these preferences, Petrassi never was a conventional artist, he never raised his voice: the ranting exaggeration so dear to the Italian dictatorial regime of the Thirties and Forties never met with his approval. On the contrary, in 1942 his Coro di morti, a dramatic madrigal inspired by a poem of Giacomo Leopardi, was given at Rome with the scenes and unadorned wretched costumes of Mario Mafai, while Aurel Milloss created a choreographic vision which, in the classical abstraction typical of his style, confirmed the sombre intuition oj the music, one of the most sublime testimonies of the

civil duty felt by an artist in the exercise of his own profession.

And reconfirmed, in that same year (so tragic for Rome, besieged and violated) by the authoritative insistence of Petrassi to allow the first perjormance in Italy of Alban Berg's Wozzeck, already considered "degenerate music" (eintartete Musik) in Germany and therefore banned. We find once again the terse and constructive gesture of Milloss, together with the abstract scenery of Corrado Cagli- a trellis of steel wire - in the creation of Estri, a score which we are no longer able to imagine without its visual and choreographic offering.

Tbe list of artists who, thanks to the far-sightedness of artistic directors capable of suggesting creative associations, have responded to the music of Petrassi is really notable: Afro Basaldella, Lucio Fontana and Mischa Scandella for Ritratto di Don Chisciotte, Giulio Coltellacci, Maria Antonietta Gambaro and Emanuele Luzzati for Il Cordovano, Felice Casorati, Giacomo Manz첫 and Lorenzo Ghiglia for La follia di Orlando, Toti Scialoja and Carlo Savi for Morte dell'Aria. Painters, sculptors, scenographers, all different in their personal poetic choices; but the music of Petrassi is so lucid and sovereign that it offers itself to stimulate the visual sensibility of other creative artists. It imagines and allows others to imagine spatial dimensions and horizons, forms.

Sandro Cappelletto

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New values and new names were appearing at that time in the visual arts and in Italian literature - Guttuso and Moravia, Tamburi and Gadda, Mafai and Vittorini, the experiences of Corrente and of Solaria - and for the first time one had the impr ession that music was no longer trailing behind the other arts or, in the best of hypotheses, isolated in the specialization of its technical pr oblems, but through elements like Petrassi, like Dallapiccola, like Salviucci and Rosati was holding its own with the other arts and collaborating at an equal level in the creation of a moder n and Eur opean custom: which meant, even if at that time not e ver yone realiz ed it, non-fascist.

(Hommage Ă Petrassi - Article by M. Mil a; ed. Teatro dell 'Opera di R oma, 1 984)

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I am oft en asked to e xplai n t he r elati ons hi p bet we en mus ic and p a i n t i n g . I a lw a y s a n s w e r t h a t n o d i r e c t r e la t i o n s h i p e x i s t s t h a t c a n b e a n a lyz e d rati onally ; if anyt hi ng , th e r e lati ons hi p sh ould be vie we d wit hin an overall synthesis r egarding a pr ecise historical period, a style, artistic tr ends typical to a society of that time.

To s p e a k o f t h e m u s i c a l i t y o f a p a i n t i n g o r t h e p i c t o r i a l i s m o f a c o m p o s i t i o n has no m eani ng at all and runs t he ri sk o f banali ty ; t he values o f bot h ar e els ewh er e .

(Omag gio a Goffredo Petrassi "Come si diventa compositore'; ed. Accademia di Santa Cecilia, Roma, 1994)

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Index of plates 1, 2

costume designs by Mario Mafai (photo Corrado M. Falsini) Coro di morti, dramatic madrigal; music, Goffredo Petrassi; choreographic vision, Aurelio M. Milloss; sets and costumes, Mario Mafai Rome, Teatro Reale dell'Opera, 1942

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drop curtain by Felice Casorati (photo Corrado M. Falsini) La follia di Orlando; music, Goffredo Petrassi; choreography, Aurelio M. Milloss; sets and costumes, Felice Casorati; conductor B. Bogo Milan, Teatro alla Scala, 1947

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costume design (Rinaldo) by Felice Casorati La follia di Orlando; music, Goffredo Petrassi; choreography, Aurelio M. Milloss; sets and costumes, Felice Casorati; conductor B. Bogo Milan, Teatro alla Scala, 1947

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costume design (Medoro) by Felice Casorati La follia di Orlando; music, Goffredo Petrassi; choreography, Aurelio M. Milloss; sets and costumes, Felice Casorati; conductor B. Bogo Milan, Teatro alla Scala, 1947

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set design by Giulio Coltellacci Il Cordovano, one-act opera; music, Goffredo Petrassi; sets, Giulio Coltellacci; production, Giorgio Strehler; conductor, Nino Sanzogno Milan, Teatro alla Scala, 1949

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sketch by Toti Scialoja (photo Corrado M. Falsini) Morte dell'Aria; music, Goffredo Petrassi; sets and costumes, Toti Scialoja Rome, Teatro Eliseo, Spettacoli dell'Anfiparnaso, 1950

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costumes designs by Toti Scialoja Morte dell'Aria; music, Goffredo Petrassi; sets and costumes, Toti Scialoja Rome, Teatro Eliseo, Spettacoli dell'Anfiparnaso, 1950

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costume designs by Afro Basaldella (photo Corrado M. Falsini) Ritratto di Don Chisciotte; music, Goffredo Petrassi; choreography, Aurelio M. Milloss; sets and costumes, Afro Basaldella Rome, Teatro dell'Opera, 1957

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costume design by Lorenzo Ghiglia La follia di Orlando; music, Goffredo Petrassi; choreography, Aurelio M. Milloss; sets and costumes, Lorenzo Ghiglia Florence, Boboli Gardens, 1959

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sketch for the unique scene by Emanuele Luzzati Il Cordovano, one-act opera; music, Goffredo Petrassi; choreography, Ugo Dell'Ara; sets and costumes, Emanuele Luzzati; production, Franco Enriquez; conductor, Nino Sanzogno Milan, Piccola Scala, 1959

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sketch by Giacomo Manz첫 La follia di Orlando, ballet in three scenes with recitatives for baritone; music, Goffredo Petrassi; choreography, Aurelio M. Milloss; sets and costumes, Giacomo Manz첫 Rome, Teatro dell'Opera, 1966/67

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costume design (Orlando) by Giacomo Manz첫 La follia di Orlando, ballet in three scenes with recitatives for baritone; music, Goffredo Petrassi; choreography, Aurelio M. Milloss; sets and costumes, Giacomo Manz첫 Rome, Teatro dell'Opera, 1966/67

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costume design (Guerriero) by Giacomo Manzù La follia di Orlando, ballet in three scenes with recitatives for baritone; music, Goffredo Petrassi; choreography, Aurelio M. Milloss; sets and costumes, Giacomo Manzù Rome, Teatro dell'Opera, 1966/67

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sketch for the unique scene by Lucio Fontana Ritratto di Don Chisciotte; libretto, Aurelio M. Milloss; music, Goffredo Petrassi; choreography, Mario Pistoni; sets and costumes, Lucio Fontana; conductor Piero Bellugi Milan, Teatro alla Scala, 1967

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costume designs (Dulcinea) by Lucio Fontana Ritratto di Don Chisciotte; libretto, Aurelio M. Milloss; music, Goffredo Petrassi; choreography, Mario Pistoni; sets and costumes, Lucio Fontana; conductor Piero Bellugi Milan, Teatro alla Scala, 1967

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Photograph of performance Estri (ballet version); music, Goffredo Petrassi; choreographic images, Aurelio M. Milloss; sets, Corrado Cagli; conductor, Marcelllo Panni Rome, Teatro Olimpico, 1969

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set design by Maria Antonietta Gambaro Il Cordovano, one-act opera based on the entremès by Miguel de Cervantes; music, Goffredo Petrassi; sets and costumes, Maria Antonietta Gambaro; production, Sandro Sequi; conductor, Nino Sanzogno Milan, Piccola Scala, 1971

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photo of performance (photo Erio Piccagliani) Il Cordovano, one-act opera based on the entremès by Miguel de Cervantes; music, Goffredo Petrassi; sets and costumes, Maria Antonietta Gambaro; production, Sandro Sequi; conductor, Nino Sanzogno Milan, Piccola Scala, 1971

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set design by Carlo Savi (photo Erio Piccagliani) Morte dell'Aria, one-act tragedy; libretto by Toti Scialoja, music, Goffredo Petrassi; production, Antonello Madau Diaz; sets and co stumes, Carlo Savi; conductor, Nino Sanzogno Milan, Piccola Scala, 1971

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photograph of performance (photo Erio Piccagliani) Morte dell'Aria, one-act tragedy; libretto by Toti Scialoja, music, Goffredo Petrassi; production, Antonello Madau Diaz; sets and costumes, Carlo Savi; conductor, Nino Sanzogno Milan, Piccola Scala, 1971

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sketch by Mischa Scandella (Agenzia Dufoto) Ritratto di Don Chisciotte, ballet in one act by Aurelio M. Milloss; music, Goffredo Petrassi; choreography, Ugo Dell'Ara; sets and costumes, Mischa Scandella Rome, Teatro dell'Opera, 1975/76

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photographs of performance (Agenzia Dufoto) Ritratto di Don Chisciotte, ballet in one act by Aurelio M. Milloss; music, Goffredo Petrassi; choreography, Ugo Dell'Ara; sets and costu mes, Mischa Scandella Rome, Teatro dell'Opera, 1975/76

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costume designs by Mischa Scandella (photo Corrado M. Falsini) Ritratto di Don Chisciotte, ballet in one act by Aurelio M. Milloss; music, Goffredo Petrassi; choreography, Ugo Dell'Ara; sets and costu mes, Mischa Scandella Rome, Teatro dell'Opera, 1975/76

Afro, the name by which Afro Basaldella' (Udine 1912 - Zurich 1976) is widely known. An Italian painter connected with cubist expressionism during the Forties who, in 1947, joined the Fronte Nuovo delle Arti. After a visit in America, which resulted in the dissolving of the inserts and shapes in his works into essential gestures, he adhered to the Gruppo degli Otto (1953). If, in one way, his painting approaches American action painting, the sophisticated tonal modulation and oriental-influenced brush strokes bring it back to·a personal area of intellectualistic elegance.

Corrado Cagli (Ancona 1910 - Rome 1976) - after completing his classical studies at Rome, Cagli attended the Accademia di Belle Arti. In 1932 he held his first exhibition at Rome and at the end of 1938 moved to Paris following the racial persecutions. He settled in New York in 1940 and remained there for a year. He was actively involved in World War II returning to New York in 1945 and finally to Rome again in 1948, where he remained for the rest of his life.

Cagli is one of the most important experimental artists of the twentieth century in Italy. His career as a scenery designer was a direct consequence of his ideas on the "perception" of shapes.

Felice Casorati (Novara 1886 - Turin 1963) - a jurisprudence graduate, Casorati devote himself exclusively to painting, studying with a Venetian painter, Giovanni Vianello. In 1907 he exhibited at the Biennale of Venice and, later, at the Ca' Pesaro Gallery. Settling in Turin after the end of the war, he was immediately absorbed into intellectual circles and became one of the leading spirits of the artistic activities promoted by the financer-patron. The association with Gualino led to an intensification of Casorati's specific interest in theatrical scenography which resulted, in 1933, in the Maggio Fiorentino's production of La Vestale. Casorati worked for the Teatro dell'Opera of Rome (Monteverdi's Orfeo, 1935; Malipiero's Ecuba, 1940), for Teatro alla Scala of Milan (Wagner's The Walkyrie, 1943; Beethoven's Fidelio, 1949; Falla's El amor brujo, 1950; Bartok's The wooden Prince, 1951) and for Teatro La Fenice of Venice (Mozart's Idomeneo, 1947); he also designed the costumes for the production of Sophocles' Electra which was staged at the Piccolo Teatro of Milan, with scenery from the Teatro Olimpico of Vicenza, in 1951. .

Giulio Coltellacci (Rome 1916 - 1983) - scenery and costume designer. He made his professional debut in 1945 when he realized the scenery of Rebecca, from the novel by Daphne Du Maurier. Immediately after the war he was in Paris, where he designed the covers for Vogue. His style is rich in vivid colours, luxurious interiors, echoes of Broadway, extravagant chothes, cultured references and concessions to popular taste. Garinei and Giovannini very quickly took him into partnership and for over thirty years he signed the scenography of all their most important spectacles, including: Rugantino, Enrico '61, Rinaldo in campo, Ciao Rudy, Alleluja brava gente, Aggiungi un posto a tavola. Between 1948 and 1953 he worked at the Piccolo Teatro of Milan, where he was one of Strehler collaborators for La famiglia Antropus, Tbe Taming of the Shrew, Richard III, Le Misantrope. During the same period he participated in several "premieres" in the world of music of great significance, from Il Cordovano of Petrassi (Scala 1949, producer Strehler) to Haydn's Orfeo ed Euridice(Florence, 1951). In the cinema he worked with Petri, Rosi and Monicelli. Operatic works also figure in his curriculum, for instance Aida (Verona Arena 1971, producer S. Bolchi) and La traviata which, in 1979, he reset in the form of a series story of the belle époque.

Lucio Fontana (Rosario di Santa Fè, Argentina 1899 - Varese 1968) - painter and sculptor whose work was essentially dedicated to research on spatialism.

He served his apprenticeship as a sculptor with his father, realized several works close to futurism and, from 1934 onwards, approached abstract art. In 1935, at Paris, he joined the Abstraction - Création group before meeting, in 1937, Constantin Brancusi, Joan Mirò and Tristan Tzara. He returned permanently to Italy in 1947 and in the same year drew up the first Manifesto of spatialism. The first "holes" of Fontana date back also to that year (Concetto spaziale, 1952, Fontana Collection, Milan). To the technique of perforation he then added that of laceration, inaugurating the series of "cuts" which dibouch into the celebrated slashes on monochrome canvases among which should be mentioned Concetto spaziale - Attesa (1958, Musée National d'Art Moderne, Centre Georges Pompidou, Paris).

Maria Antonietta Gambaro (Genoa 1929 - Milan 1981) - painter, scenery and costume designer. She made her theatrical debut with O. Del Buono's Niente per amore (producer F. Enriquez, Milan, Teatro Manzoni, 1962) and the theatre remained her prevalent passion, eventually becoming opera and ballet orientated.

Between 1969 and 1973 (with the scenery and costumes for Bellini's Norma, producer F. Enriquez, Catania, Teatro Bellini, 1969; Sibelius' Pélleas et Mélisande, producer B. Menegatti, Milan Teatro alla Scala, 1970; F. Schmitt's La tragedia di Salomè, producer B. Menegatti, Florence, Teatro Comunale, 1973) she lightened the mood of the decor frequently exploiting perspective effects together with a specific use of stage lighting; subsequently (for instance with the ballet Ricercare a nove movimenti, music by Vivaldi, Milan, Teatro alla Scala, 1975) the space became function of the action on stage in a style which continued to develope up to the point of conceiving structures (like the cubes of the celebrated Il trovatore of Verdi, producer G. De Bosio, Genoa, 1980) which support with balanced emotiveness the progress of events.

Lorenzo Giglia (Florence 1936) - scenery and costume disigner. He made his debut at the Teatro delle Novità with B. Rigacci's Il Prof. King (producer E. Rugoni, Bergamo, 1956), ivincing a marked predilection for simple solutions of the fixed type. Devoting himself to ballet and opera, he worked at Naples, Venice, Catania and Milan, where he met F. Enriquez at the Piccola Scala and realized with him an extensive series of spectacles (including Puccini's La Bohème, 1960-61 and Verdi's Il trovatore 1962-63) His environmental references, like the successful Candido of R. Guicciardini based on Voltaire (1962)

which confirmed his coilaboration with the producer, a collaboration that continued with Puccini's Suor Angelica (Milan, Teatro alla Scala, 1972-73), Shakespeare's Antony and Cleopatra (Vicenza, Teatro Olimpico, 1977) and more recently Hòlderlin's Empedocles (Segesta, Teatro Antico, 1993) Emanuele Luzzati (Genoa 1921) - painter, ceramist, scenographer, poster - designer and i!lustrator who is active mainly in the field of theatre and publishing, with designs and illustrations dedicated to fairy tales and to children. He studied at the École des Beaux - Arts of Lausanne and was also interested in animated cartoons, creating the costumes and scenvery for Alfred Jarry's Ubu re in 1968 and founding in 1975, together with Aldo Trionfo and Tonino Conte, the Teatro della Tosse at Genoa (Nel campo dei miracoli o il sogno di Pinocchio, based on the book by Carlo Collodi). Amusing and expressive, the work of Luzzati alternates, in few essential strokes, thicks of perspective and elaborate designs in showy colours.

Mario Mafai (Rome 1902 - 1965) - painter, member of the "Roman school". His meeting with the artists Scipione and Antonietta Raphäel marked a decisive turning-point in his painting. Mafai began by interpreting reality in an expressionist style, exacerbating the significance of his words with a foundation tonality of a red-brown colour (Trinità dei Monti, Galleria d'Arte Moderna, Rome) The immediate emotive impact of his artistic language acquired emphasized dramatic tones in the Thirties and Forthies when, to run counter to official art, the painter exhibited paintings devoid of thetoric and of formalism, as in the series of Demolizioni (1936) and of Fantasie (1941-1943) which draw inspiration from the works of Goya, accentuating the more tragic and grotesque aspects.

Giacomo Manzù (pseudonym of Giacomo Manzoni; Bergamo 1908 - Rome 1991) - sculptor and painter. In 1930 he settled in Milan, where he executed the decorations of the Chapel of the Università Cattolica and met Aligi Sassu and Renato Birolli. His discovery of the work of Medardo Rosso and a visit to Paris led him to abandon the archaizing style of his first periodo During this period, the female figure and religious subjects were among the themes he preferred. At the end of the Thirties, Manzù began the famous series of Cardinali and in 1941, for a short time, he held the chair of sculpture at the Brera Academy. From 1952 to 1964 he worked on the Porta della morte, dedicated to Pope John XXIII, for the Basilica of San Pietro in Rome. He also created during these years the Passo di danza (1954, Stadtische Kunsthalle, Mannheim), Porta dell'amore for Salzburg Cathedral (1955 - 1958) and Ritratto d'Inge (1960, Schnabel Collection, Ardea).

Carlo Savi (Parma 1944) - scenery and costume designer. After completing his artistic studies he worked first as a scenographer, developing an analytical style which gave preference to the meaning more than to the reconstruction of a milieu. His interests were directed in particular towards opera: for the Piccola Scala of Milan (Morte dell'Aria of G. Petrassi, producer A. Diaz, 1971; La favola di Orfeo of A. Casella, producer F. Crivelli, 1975; The Beggar's Opera of Britten, producer F. Crivelli, 1977). He was also successful with Galuppi's Arcadia in Brenta (producer G. Belledi, Parma, Teatro Regio 1980), played in an almost metaphysical space with a gloomy horizon strewn with obelisks, seats and swings, Rossini's Il barbiere di Siviglia (producer G. Belledi, Parma, Teatro Regio, 1983), where puppett-like characters in white costumes wander vaguely round the stage among old chests and antique mechanical devices as in a workshop of memories and the most recent Verdi's Giovanna d'Arco (producer F Crivelli, Verona, Teatro Filarmonico, 1988) Mischa Scandella (Mario S.; Venice, 1921 -1983) - scenery and costume designer. His debut at the Teatro Universitario of Padua gave him the opportunity of collaborating with G. Poli (with whom he later realized L'amore delle tre melarance of Prokofiev, Turin, Teatro Regio, 1977-78 season, with a remarkable mobile platform on which rested three large fruits) and with G. De Bosio, with whom he subsequently directed the Teatro Ruzzante. Since Scandella was in fact considered an expert of Ruzzante (and of Goldoni), his repertoire as scenographer remained characteristically linked to Venetian culture with a traditional style particularly suitable to the staging of the works of these two playwrights. Nevertheless, the prolific activity of the years during and after he reached his full development led him to a successful confrontation with modern writers (Brecht, Moravia, Anouilh), with opera (Verdi's Macbeth, Turin, Teatro Regio, 1977-78 season; Ernani, Trieste, Teatro Verdi, 1979) and ballet (Myaskovsky's La cimice).

Toti Scialoja (Rome 1914) - painter, important above all for the informal production starting from the middle Fifties. In 1947 he designed the scenery for John Gay's The Beggar's Opera. In 1949 he exhibited at the XX Century Italian Art Exhibition at New York and in 1950, 1952 and 1954 at the Biennale of Venice. These five years coincided with the cubist period of the paioner, which terminated in 1955 with the discovery of the American expressionistic formulation of abstract art, according to. In 1956, on the occasion of a one-man show held in New York, he extended his knowledge of the painting of Pollock, by whom he was profoundly influenced: in the summer of 1957, at Procida, he began to create his Impronte, a series of informal paintings obtainded through a special technique of reproducing the image which included swinging strokes, drips, scattered drops, in the manner of Pollock. The period of the Impronte lasted up to the middle of the Sixties when Scialoja adopted a style of painting that was more orderly and geometric.

Comitato Progetto Musica Presidente Gisella Belgeri Vice presidenti Luigi Ceccarelli, Enrico Cocco Associazioni aderenti ACCADEMIA FILARMONICA ROMANA ANIMATO CENTRO RICERCHE MUSICALI GRUPPO STRUMENTALE MUSICA D'OGGI FREON-SCUOLA POPOLARE DI MUSICA DI TESTACCIO I SOLISTI DI ROMA MUSICA OGGI-ISTITUTO ITALIANO DI INFORMATICA MUSICALE MUSICA VERTICALE NUOVA CONSONANZA NUOVE FORME SONORE NUOVi SPAZI MUSICALI Segreteria organizzativa Patrizia Francescon, Michela Giovannelli Ufficio Stampa Evelina De Stefani, Maruzza Loria Ufficio diffusione Anna Rita Pappalardo

Finito di stampare: novembre 1999 Tipo-Lito Aurelia 72 s.r.l., Roma