10 баллов, большой респект и уважуха за подробную биографию Отторино Респиги

Отторино Респиги (Respighi) (09.07.1879 - 18.04.1936) - итальянский композитор. Обучался игре на скрипке и фортепьяно; композицию изучал у Л. Торчи и Дж. Мартуччи. С 1899 года выступал как скрипач-солист. В конце 1900 года вместе с оркестром итальянской оперной труппы Респиги выехал на гастроли в Петербург. Здесь в течение пяти месяцев брал уроки композиции у Н. А. Римского-Корсакова. После окончания гастролей в России Респиги переехал в Берлин, где занимался у М. Бруха. В 1903 году Респиги оставил работу в оркестре. Интерес к старинной итальянской музыке привел его к работе над транскрипциями произведений Фрескобальди, Тартини, Витали, Вивальди и др. В эти же годы Респиги интересуется музыкой Р. Штрауса, К. Дебюсси, М. Равеля, оставившей значительный след в творчестве Респиги.

В 1908 году в Болонье состоялась премьера первой оперы Респиги "Король Энцио". С 1913 года он преподает музыкально-теоретические предметы в римской консерватории "Санта Чечилия", а в 1923-1925 годах состоит ее директором. Респиги много сочиняет; особенно большой успех имеет его симфоническая поэма "Фонтаны Рима" (1916), наряду с написанной позднее симфонической поэмой "Пинии Рима" (1924) она принадлежит к числу наиболее популярных произведений Респиги.

По заказу С. П. Дягилева Респиги написал балет на темы Россини "Лавка чудес", который был поставлен труппой Русского балета в Лондоне в 1919 году. В 1923 году на сцене "Ла Скала" была представлена лирико-комическая опера Респиги "Бельфагор". С 1925 года много гастролировал, выступая как дирижер собственных произведений.

Сначала расскажи, как баллы перекинешь?

Respighi was born in Bologna, Italy. He was taught piano and violin by his father, a local piano teacher. He continued studying violin and viola with Federico Sarti at the Liceo Musicale in Bologna, composition with Giuseppe Martucci, and historical studies with the early music scholar Luigi Torchi. In 1900, Respighi went to Russia as first violist in the orchestra of the Russian Imperial Theatre in St Petersburg during its season of Italian opera; while there he studied composition for five months with Rimsky-Korsakov. He also had composition lessons with Max Bruch in 1902 in Berlin. Until 1908 his principal activity was as first violin in the Mugellini Quintet, before turning his attention entirely to composition.

Respighi moved to Rome in 1913 and lived there for the rest of his life, after being appointed a teacher of composition at the Conservatorio di Santa Cecilia. He married a former pupil, singer Elsa Olivieri-Sangiacomo, in 1919. From 1923 to 1926 he was director of the Conservatorio. In 1925 he collaborated with Sebastiano Arturo Luciani on an elementary textbook entitled Orpheus.

Respighi maintained an uneasy relationship with Mussolini's Fascist Party during his later years. He vouched for more outspoken critics such as Arturo Toscanini, allowing them to continue to work under the regime.[1] Feste Romane, the third part of his Roman trilogy, could be seen as a response to the regime's demands to glorify Italy under the Fascists; however, as with much of the work of Shostakovich, the 'celebration' is ambiguous, if not satirical.[citation needed] This spectacular, sometimes showy, work was premiered by Toscanini and the New York Philharmonic Orchestra in 1929; Toscanini recorded the music twice for RCA Victor, first with the Philadelphia Orchestra in 1942 and then with the NBC Symphony Orchestra in 1949, and RCA released both versions, first on LP and then CD.

In his role as musicologist, Respighi was also an enthusiastic scholar of Italian music of the 16th-18th centuries. He published editions of the music of Claudio Monteverdi and Antonio Vivaldi, and of Benedetto Marcello's Didone. Because of his devotion to these older figures and their styles of composing, it is tempting to see him as a typical exponent of Neo-classicism. In fact, Neo-Renaissance or Neo-Baroque would probably more accurately describe his compositions that are based on earlier work. Respighi generally kept clear of the musical idiom of the classical period, unlike most neo-classical composers. He preferred combining pre-classical melodic styles and musical forms (like dance suites) with typical late 19th century romantic harmonies and textures.

He died in his Roman villa named "I Pini". A year after his burial, his remains were moved to his birthplace Bologna and reinterred at the city's expense.