Vittorio Giannini - Selected Works

Selected Works

  • Stabat mater (1922), SATB and orchestra
  • "Tell Me, O Blue, Blue Sky" (1927), voice/piano
  • String Quartet (1930)
  • Suite (1931), orchestra
  • Piano Quintet (1932)
  • Lucedia (1934), opera, libretto K. Flaster
  • Piano Concerto (1935)
  • Symphony ‘In memoriam Theodore Roosevelt’ (1935)
  • Organ Concerto (1937)
  • Triptych (1937), soprano choir and strings
  • IBM Symphony (1937), orchestra
  • Requiem (1937), choir and orchestra
  • The Scarlet Letter (1938), opera, libretto Flaster after Nathaniel Hawthorne
  • Beauty and the Beast (1938), radio opera in one act
  • Blennerhassett (1939), radio opera in one act
  • Sonata no. 1 (1940), violin and piano
  • "Sing to My Heart a Song" (c. 1942), voice/piano
  • Sonata no. 2 (1944), violin and piano
  • Variations on a Cantus firmus (1947), piano
  • The Taming of the Shrew (1950), opera, libretto by Giannini and D. Fee after Shakespeare
  • Symphony no. 1 ‘Sinfonia’ (1950)
  • Divertimento no. 1 (1953), orchestra
  • Symphony no. 2 (1955), orchestra
  • Prelude and Fugue (1955), string orchestra
  • Preludium and Allegro (1958), symphonic band
  • Symphony no. 3 (1958), symphonic band
  • Symphony no. 4 (1959), orchestra
  • The Medead (1960), soprano and orchestra
  • The Harvest (1961), opera, libretto Flaster
  • Divertimento no. 2 (1961), orchestra
  • Antigone (1962), soprano and orchestra
  • Psalm cxxx (1963), bass/cello and orchestra
  • Variations and Fugue (1964), symphonic band
  • Symphony no. 5 (1965)
  • Servant of Two Masters (1966), opera, libretto B. Stambler, after C. Goldoni

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Famous quotes containing the words selected and/or works:

    The final flat of the hoe’s approval stamp
    Is reserved for the bed of a few selected seed.
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    Only the more uncompromising of the mystics still seek for knowledge in a silent land of absolute intuition, where the intellect finally lays down its conceptual tools, and rests from its pragmatic labors, while its works do not follow it, but are simply forgotten, and are as if they never had been.
    Josiah Royce (1855–1916)