Malipiero, Gian Francesco, 1882-1973

Italian composer.

From the description of Autograph letters signed (17) and autograph postcards signed (6), one letter partly in the hand of Anna Malipiero, one card also signed by Anna Malipiero, Alfredo Casella, Manuel de Falla, and Lionel Tertis, dated : Venice, Asolo, Rome, Milan, Paris, Naples, [and other places], 1919-1926, to Louise Alvar, 1919-1926. (Unknown). WorldCat record id: 270581657

From the description of Autograph letter signed, dated : Paris, 24 March 1919, to [Otto M. Kling at J. & . W. Chester?], 1919 Mar. 24. (Unknown). WorldCat record id: 270581663

From the description of Autograph letter signed, dated : Venice, 15 November 1951, possibly to Dorle Soria, 1951 Nov. 15. (Unknown). WorldCat record id: 270943198

From the description of Autograph letters signed (2), dated : Asolo, 20 March 1954 and 9 April 1955, probably to Dario Soria, 1954 Mar. 20. (Unknown). WorldCat record id: 270943765

Libretto by Malipiero, after Shakespeare; first performed in Genoa at the Carlo Felice, 8 February 1936. Cf. New Grove online.

From the description of Giulio Cesare : 3 atti e 7 quadri da Shakespeare : G. Francesco Mailpiero : manuscript, 1934 Dec. 2. (Harvard University). WorldCat record id: 671539310

Composed originally for piano 1920.--Cf. Fleisher Collection.

From the description of À Claudio Debussy / G.F. Malipiero ; orch. by C. O'Connell. [19--?] (Franklin & Marshall College). WorldCat record id: 50556569

The second part of the trilogy L'Orfeide: libretto by the composer, French adaptation "Sept chansons" by Henry Prunières; composed between 1918 and 1919. Cf. New Grove online; published vocal score (London, 1919).

From the description of Sette canzoni : sette espressioni drammatiche : G. Francesco Mailpiero : manuscript, 1918 Aug. 28. (Harvard University). WorldCat record id: 671537759

First performance Hollywood Bowl Concert, Hollywood, 23 July 1933, Nicolas Slonimsky conductor. Edited 1944. Title on the ms materials varies: Fanfare for a momentous declaration, Fanfare for an ominous proclamation, as well as Fanfare for an ominous declaration, which appears on the program of the first performance.--Cf. Fleisher Collection.

From the description of Fanfare for a momentous declaration / G. Francesco Malipiero ; edited by Arthur Cohn. [19--?] (Franklin & Marshall College). WorldCat record id: 50556497

From the opera with libretto by the composer. Composed 1925. First performance Stadttheater, Mainz, 8 March 1928. Forming a triptych Il Mistero de Venezia, in 1928, with the addition of two other operas: Le Aquile di Aquileia (Part I of the triptych) and I Corvi di Venezia (Part III of the triptych).--Cf. Fleisher Collection.

From the description of Il finto Arlecchino = The false harlequin : symphonic fragments / G. Francesco Malipiero. [19--?] (Franklin & Marshall College). WorldCat record id: 50556504

"The firm of Ricordi was founded in Milan in 1808 by Giovanni Ricordi (1785-1853); it was directed from 1853 to 1888 by his son Tito (1811-1888), from 1888 to 1912 by Tito’s son Giulio (1840-1912) and from 1912 to 1919 by Giulio’s son Tito (1865-1933). The firm was managed from 1919 to 1940 jointly by Renzo Valcarenghi and Carlo Clausetti, from 1940 to 1944 by Valcarenghi and Alfredo Colombo and from 1944 to 1952 by Colombo, Eugenio Clausetti and Camillo Ricordi. In 1952 it became a limited company, under the presidency first of Colombo, then of Guido Valcarenghi (from 1961), Carlo Origoni (from 1976), Gianni Babini (from 1982) and Guido Rignano (from 1988 to 1995). In June 1995 the company merged with BMG Ariola forming a new company BMG Ricordi S.p.a., of which Casa Ricordi is a division managed by Mimma Guastoni."

"During his first decade in business Giovanni Ricordi issued an average of 30 publications a year; in his second the yearly average was about 300. This expansion was largely the result of a succession of contracts starting from December 1814, which he won as prompter and exclusive copyist to La Scala, giving him the right to publish the music performed there; in 1825 he purchased their entire musical archives. In 1816 he had a similar contract as copyist to the Teatro Re, and in the 1830s and 1840s concluded highly favourable agreements with the opera houses of Venice and Naples. By the end of 1837 he had not only purchased the stock and plates of Ferdinando Artaria but was able to boast more than 10,000 publications, the exclusive rights to operas written for Milan and Naples, an archive of 1800 autograph manuscripts and a branch in Florence."

"In the entire history of music publishing there has been no other firm that through its own efforts, astuteness, initiative and flair has achieved a position of dominance such as Ricordi enjoyed in Italy in the 19th century, nor of power such as it has been able to maintain (on account of its rights on Verdi’s and Puccini’s operas) in the 20th." -- Richard Macnutt.

From the guide to the Collection of Ricordi records, 1810-1959, (Music Library)