Its appreciation has grown with the ensuing years and it is now considered a 20th-century classic.Dont miss this lyrical masterpiece This deluxe 2CD set includes a slow-tempo practice version to help you get up to speed with the concerto.The concerto is voluminously indexed for your practice and performance convenience.
ASK A QUESTION Indicates a required field Question: Reviews title body cant be empty. Your question will appear on the site once someone answers it. Reviews (0) Questions (0) write a review ask a question Updating Results. Castelnuovo-Tedesco was first introduced to the piano by his mother, and he composed his first pieces when he was just 9 years old. Mario Castelnuovo-Tedesco soon came to the attention of composer and pianist Alfredo Casella, who included the young composers work in his repertoire. Alfredo Casella also ensured that Castelnuovos works would be included in the repertoires of the Societa Nazionale di Musica (later the Corporazione delle Nuove Musiche), granting him exposure throughout Europe as one of Italys up-and-coming young composers. Works by him were included in the first festival of the International Society of Contemporary Music, held in Salzburg, Austria, in 1922. Another major source of inspiration for him was his Jewish heritage, most notably the Bible and Jewish liturgy. His Violin Concerto No. Jascha Heifetz, was also an expression of his pride in his Jewish origins, or as he described it, the splendor of past days, in the face of rising anti-Semitism that was sweeping across much of Europe. At the 1932 festival of the International Society of Contemporary Music, held in Venice, Mario Castelnuovo-Tedesco first met the Spanish guitarist Andrs Segovia. The meeting inspired Castelnuovo-Tedesco to write his Guitar Concerto No. Later on, Castelnuovo-Tedesco composed many other guitar pieces dedicated to Andrs Segovia, who was enthusiast of his style. The following year the Italian fascist government developed a program toward the arts, which were viewed as a tool for propaganda and promotion of racial ideas. Even before Mussolini officially adopted the Manifesto of Race in 1938, Mario Castelnuovo-Tedesco was banned from the radio and performances of his work were cancelled. The new racial laws, however, convinced him that he should leave Italy. Castelnuovo-Tedesco left Italy in 1939, shortly before the outbreak of World War II. In the meantime, he wrote his Cello Concerto in G minor, Op. ![]() It was premiered with the dedicatee under Arturo Toscanini in New York in 1935. For Piatigorsky he also wrote a Toccata (1935), and a piece called Greeting Card, Op. ![]() Like many artists who fled fascism, Mario Castelnuovo-Tedesco ended up in Hollywood, where, with the help of Jascha Heifetz, he landed a contract with Metro-Goldwyn-Mayer as a film composer. Over the next 15 years, he worked on scores for some 200 films there and at the other major film studios. Rita Hayworth hired him to write the music for The Loves of Carmen (1948), produced by Hayworth for her Beckworth Productions and released by Columbia Pictures. It is generally thought that he actually composed more film music than he is credited with, and that he was often called upon to ghost-write film music for other composers who were under time constraints or had other difficulties completing their assignments. Mario Castelnuovo-Tedesco was a significant influence on other major film composers, including Henry Mancini, Nelson Riddle, Herman Stein and Andr Previn. Jerry Goldsmith, Marty Paich and John Williams are all his pupils. His relationship to Hollywood was ambiguous: later in life he attempted to deny the influence that it had on his own work, but he also believed that it was an essentially American artform, much as opera was European.
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