Tonal references in Luigi Dallapiccola's Quaderno musicale di annalibera



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Texas Tech University


This paper investigates the tonal references in Luigi Dallapiccola's Quaderno 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 Quaderno Musicale di Annalibera is a twelve-tone composition, these fleeting moments of tonality can be seen throughout "Simbolo" 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.



Tonality, Dallapiccola Luigi -- 1904-1975, Quaderno musicale di Annalibera