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to maintain a natural unaffected style is what makes this lirica challenging. The phrases are even and lyrical throughout the piece. Each line of poetry is set to a musical phrase that is four measures in length. The dissonant harmonic palette that is characteristic of twentieth-century music is clearly illustrated in the accompaniment. EXAMPLE 4.1 Giorno per giorno measures 1-12 The introduction (Example 4.1) begins with an anacrusis on a dominant chord in first inversion and travels through a series of ambiguous chords that finally reach the dominant chord in root position setting up the vocal entrance on the tonic chord of A major. The dynamic marking for the voice is sempre pianissimo (always very soft) with the additional instruction of mezzo voce (half voice) in parenthesis. The voice is accompanied by blocked chords in the left hand with an eight-note rhythmic pattern in the right hand. The accompaniment has the same dynamic marking of the voice with the added instruction of dolcissimo (sweetly).The first eight 36
measures of the lirica are supported solely by tonic harmony. The melody is an elegant representation of the innocence of youth. EXAMPLE 4.2 measures 18-22 The harmony changes as the narrator instructs her companion to give a flower that she has taken from her hair to the subject of her crush (example 4.2) “Tieni amica, dagli un fiore. Questo fior che ho tra i capelli” (“Here friend, give him a flower. This flower that I have in my hair”) and immediately instructs her friend not to tell him who sent the flower, if he should ask: “Se ti domanda chi glielo dona, Oh! No! non dirgli, no non dirgli il nome mio, ti prego” (“If he asks you who gives it to him, Oh! No! do not tell, do not tell him my name, I beg you.”) Section B is twenty-four measures in length and contains more emotionally charged material than section A which consist of thirty-three measures. Details are shared in section B “Si siede in terra sotto l’albero” (“He sits on the ground under the tree”). The narrator wants him to be comfortable so she instructs her friend to “fagli un sedil di foglie e fiori!” (“make him a seat of leaves and flowers!”) Alfano clearly marks the phrasing throughout the score. Specific dynamic and tempo directions are given for more expressive phrases, as in example 4.3: poco stentando (a little retarding) above “occhi son tristi” (“eyes are sad”). Example 4.3, also illustrates the first time that the dynamic marking has changed from pianissimo to mezzo forte (half-loud). 37
Page 1 and 2: THE FLORIDA STATE UNIVERSITY COLLEG
Page 3 and 4: TABLE OF CONTENTS List of Examples
Page 5 and 6: 5.5 measures 68-70 ................
Page 7 and 8: EARLY YEARS AND EDUCATION Posillipo
Page 9 and 10: Up until this time, Alfano and his
Page 11 and 12: immerse himself in Leipzig’s cult
Page 13 and 14: with his aunt. The uncertainty that
Page 15 and 16: God of compassion, make him finally
Page 17 and 18: EXAMPLE 1.3 Katiusha’s Aria: “D
Page 19 and 20: cosmopolitan composer. Backed by on
Page 21 and 22: moon-lit nights.” 18 Alfano’s h
Page 23 and 24: ehind by Puccini. When he realized
Page 25 and 26: his life working as a composer and
Page 27 and 28: THE ART SONGS OF ALFANO Alfano belo
Page 29 and 30: Felicità is Alfano’s first liric
Page 31 and 32: EXAMPLE 2.4 measures 9 -14 The last
Page 33 and 34: tremolo in the right-hand that is a
Page 35 and 36: acket is used to indicate that the
Page 37 and 38: EXAMPLE 3.5 measures 34-35 The acco
Page 39 and 40: limited edition of Gitanjali that w
Page 41: Se ti domanda chi glielo dona, oh!
Page 45 and 46: EXAMPLE 4.5 measures 68-71 When sec
Page 47 and 48: death, the parting of two people wh
Page 49 and 50: The simple physical gesture of hold
Page 51 and 52: EXAMPLE 5.4 measures 51-54 Section
Page 53 and 54: the added direction of lontano (dis
Page 55 and 56: EXAMPLE 6.1 measures 1-4 Luce begin
Page 57 and 58: EXAMPLE 6.4 measures 24-25 The acco
Page 59 and 60: CONCLUSION As one of the most impor
Page 61 and 62: APPENDIX ART SONG CATALOGUE The fol
Page 63 and 64: Location: University of Alberta, Ca
Page 65 and 66: 123623). Gmin (modal quality); g'-
Page 67 and 68: Diff: fluctuation of tempo markings
Page 69 and 70: Articles BIBLIOGRAPHY Gattti, Guido
Page 71 and 72: BIOGRAPHICAL SKETCH A native of Bal

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