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301 D François Dagincourt (1684–1758) France Dagincourt studied with Lebègue in Paris and later became a disciple of François Couperin, who exerted a great influence on him. Pièces de clavecin (H. Feguson—Heugel). Forty-three short pieces, highly ornamented . Fine edition. M-D. Ingolf Dahl (1912–1970) USA, born Germany Dahl received much recognition for his skill as a composer, conductor, and pianist , and taught for a quarter century at the University of Southern California. Pastorale Montano 1943 (Boonin 1936–43). An alpine landscape. Strong tonal organization . M-D. Hymn and Toccata 1947 (Boonin 1943–47). Hymn 71/2 min. Toccata 41/2 min. Hymn is chordal with big, gong-like sonorities; syncopation helps delineate melodic line. Much eighth-note figuration throughout Toccata; a slower, dramatic midsection provides contrast before eighth-note figuration returns. Both works use chromaticism freely. D. Sonata Seria 1953 (TP 1955) 32pp. 24 min. Allegro energico: exciting SA. Largo and Presto scorrevole: interior fantasies on the opening theme of the first movement. Adagio cantabile e Coda: lyrical; tender reflections of the cantabile second theme of the first movement. Modal, much use of the whole step and minor seventh, weighty material, ideas convincingly handled, free dissonant counterpoint. D. Fanfares 1958. See Anthologies and Collections, U.S.A., New Music for the Piano (LG). Sonata Pastorale 1959 (PIC 1959). Moderato—Allegretto comodo; Elegia—Adagio ma non troppo; Scherzino—Allegretto leggiero; Fête champêtre—Allegro con brio. Infectious tunes; jazzy rhythms; movements spaced a fifth apart; variation technique combined with free association of ideas; constantly evolving phrases. M-D to D. Reflections 1967 (Boonin 1967). A miniature, based on an eleven-note row that suggests A, with transpositions to D and E. M-D. First, Second, Third March (TP). Published separately. Interesting form. Third March has an indefinite tonal center. M-D. Luigi Dallapiccola (1904–1975) Italy Dallapiccola used the twelve-tone system in a highly personal manner. He exploited the sensuous qualities of sound more insistently than most other dodecaphonic composers. Some of his melodies contain elements of great beauty. 302   Damase Sonatina Canonica on Paganini Caprices 1942 (SZ 1946) 14pp. 91/2 min. Four movements in a “tour de force” of contemporary canonic writing. Highly effective work. M-D. Quaderno Musicale di Annalibera 1953 (SZ; MMP) 14 min. Eleven pieces conceived as one large work, based on a lyrically conceived row. The intervallic structure of the row permits the interlacing of Impressionistic sounds with free or strict contrapuntal devices. One of the finest serial works for piano. Dedicated to the composer’s daughter for her eighth birthday. M-D. See: David Burge, “Dallapiccola’s Quaderno Musicale,” Keyboard 9 (April 1983): 61, 80. Sue Burnett Petito, “The Piano Works of Luigi Dallapiccola (1904–1975): An Analysis for Performance” (PhD diss., New York University, 1989), 426pp. Jean-Michel Damase (1928–2013) France Damase studied at the École Normale de Musique with Cortot and at the Paris Conservatory with Ferté, winning the premier prix in piano from the latter at the age of fifteen. He won the Prix de Rome in 1947 and made his piano debut; his American debut was in 1954. Introduction et Allegro 1992 (ESC 1992) 17pp. 8 min. Written for the Concours International Marguerite Long, 1992. A five-page Introduction filled with right-hand arpeggio figurations and full left-hand chords leads to the Allegro : broken-chord figuration, fughetto-like, strong rhythms, repeated chords, freely tonal, like a toccata. Broad arpeggio gestures end the piece. D. Petites corvées (Billaudot 2001) 21pp. Ten études, each 2 pp. in length, designed as preparation for advanced studies. Invigorating. Int. to M-D. Dédicace (Billaudot 2001) 8pp. 3 min. Dedicated to Germaine Mounier, whose name is spelled out in the introductory six measures using an extended musical alphabet. Songlike with flourishes of rapid passagework. M-D. Aurore 2005 (Lemoine 2006) 10pp. In one movement, marked Allegretto. Neoclassic with flowing melody, broken-chord patterns, and sweeping lines. Cadenza-like ending in scalar patterns from lower to upper registers at pp. M-D. Jean-François Dandrieu (1682–1738) France Music for Harpsichord (J. White—PSM 1965). Contains three suites: Nos. 1 and 4 from the Pièces de Clavecin of 1728, and No.6 from Dandrieu’s last volume of 1734. The first three movements of No.4 are entitled La Lully, La Corelli, and Double la Corelli. M-D. Les Clavecinistes Français (L. Diemer—Durand) Vol.II. Over-edited. M-D...


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