Castelnuovo-Tedesco, Mario

(b Florence, 3 April 1895; d Beverly Hills, CA, 16 March 1968). Italian

composer, pianist and writer on music.
1. Life.
2. Works.
WORKS
WRITINGS
BIBLIOGRAPHY
JAMES WESTBY
Castelnuovo-Tedesco, Mario
1. Life.
His formal musical education began at the Istituto Musicale Cherubini
in Florence in 1909, where he received his licenza liceale in 1913 and
his degree in piano the following year. In 1918 he completed the
diploma di composizione at the Liceo Musicale of Bologna. The most
important musical figure in Castelnuovo-Tedesco's early development
was Pizzetti with whom he began to study in 1915. Pizzetti helped to
bring him to the attention of Casella, who became an ardent
supporter and whose patronage was crucial at the start of his career.
In 1917 Casella, along with Pizzetti, Malipiero, Respighi, Gui, Carlo
Perinello and Tommasini, formed the Societ Italiana di Musica (later
Societ Nazionale di Musica Moderna); though not a founding
member, Castelnuovo-Tedesco was strongly identified with the group.
His reputation was further enhanced by performances sponsored by
the Italian branch of the ISCM, which, over an 18-year period, put on
more of his music than any other Italian composer other than
Malipiero.
In addition to composing, he was a successful performer (as soloist,
accompanist and ensemble player), critic and essayist. Described as
a writer who demonstrated a quick-witted common sense and a
good-natured scepticism for the new [an] attitude that came from
his inborn aversion to any art that is characteristically fanatic (F.
D'Amico), he contributed criticism extensively to La critica musicale
(192023), Il pianoforte (19225) (later Revista musicale italiana) and
La rassegna musicale (192836).
By the early 1930s Castelnuovo-Tedesco became increasingly
concerned for Italian Jewry, and when Heifetz approached him for a
concerto (I profeti, 1931), he saw an opportunity to take a stand, later
commenting (in 1940) I felt proud of belonging to a race so
unjustly persecuted; I wanted to express this pride in some large
work, glorifying the splendour of the past days and the burning
inspiration which inflamed the envoys of God, the prophets. About
the purge which began in Italy in January 1938 he wrote,
I happened to be the pioneer. My music was suddenly
banished from the Italian radio and some performances
of my works were cancelled. A public performance [of I

profeti] scheduled by Italian radio in Turin, in January

1938 was suddenly cancelled by a mysterious
telephone order from Rome, and that happened six
months before the anti-Semitic laws were issued.
In the summer of 1939, shortly before the outbreak of war, he left with
his family for New York, staying in Larchmont for a year and a half
before moving to California. There, in autumn 1940, he signed a
contract with Metro-Goldwyn-Meyer, beginning a relationship (from
1940 to 1956) with several Hollywood studios including Columbia,
Universal, Warner Brothers, 20th-Century Fox and CBS. During this
time he also composed over 70 concert works, including songs and
opera, the high-point of his postwar career occurring in 1958 when
the opera The Merchant of Venice was awarded first prize in the
Concorso Internazionale Campari. Sponsored by La Scala, it was
given its first performance in 1961 at the 24th Maggio Musicale
Fiorentino.
Castelnuovo-Tedesco had become a US citizen in 1946 and until his
death was affiliated with the Los Angeles Conservatory of Music (later
California Institute of the Arts). He was one of the most sought-after
teachers of film music, his pupils including Goldsmith, Mancini,
Previn, Riddle and John Williams.
Castelnuovo-Tedesco, Mario
2. Works.
His early compositions, often considered too progressive by
audiences, were influenced by Pizzetti's austere contrapuntalism,
Debussy's Impressionism and the neo-classicism of Ravel. He also
experimented with unconventional harmonies, and developed a
distinctively refined vocabulary based on successions of parallel
chords, polytonal blocks of sound and a fluent counterpoint. Specific
imagery is often the basis of his work: Il raggio verde, for example,
represents the sun setting over the sea, sending out a final green ray,
while the Tre fioretti di Santo Francesco was conceived as a set of
frescoes to interpret Giotto's paintings of the same name. A
contemporaneous account described his music as [reflecting the
Florentine countryside] with soft undulating lines, all delicately traced
by the whole gamut of colours, grays and greens of every hue (Gatti,
1918).
However, his brand of neo-classicism also reveals a reliance on
traditional forms and an interest in early Italian music history. The
Concerto italiano in G minor (1924) for violin and orchestra is a
potpourri in the style of Vivaldi with themes modelled on 16th- and
17th-century Italian folksongs, while his finest neo-classical work, the
Guitar Concerto no.1 in D (1939), adopts a Mozartian concerto style,
the instrumentation intended, as he put it, to give more the
appearance and the colour of the orchestra than the weight. Its
success was immediate, Segovia considering it the main work that
convinced others of the viability of balancing guitar with orchestra.
There is little doubt that Castelnuovo-Tedesco's most recognized

contribution has been his body of almost 100 works for the
instrument.
Though the various phases of his music suggest certain general
categories, Castelnuovo-Tedesco himself, as he put it in 1950, never
believed in modernism or in neo-classicism, or in any other isms.
Music for him was above all a means of expression, going as far as to
claim that everything could be translated into musical terms: the
landscapes I saw, the books I read, the pictures and statues I
admired. Three themes were central his place of birth (Florence
and Tuscany), the Bible and Shakespeare. His first theatrical attempts
were all on Florentine subjects the opera La mandragola, incidental
music to Savonarola and the ballet Bacco in Toscana, while
Shakespeare led him to write some of his most innovative and
dramatic music including two operas, 11 overtures and numerous
songs.
As his style evolved it became both increasingly neo-Romantic and
programmatic. The late String Quartet no.3 (1964), for example,
exhibits a narrative structure, recalling a trip to his friend Bernard
Berenson's villa near Settignano: the first movement portrays the hills
above Florence, the second describes an intact medieval abbey, the
scherzo depicts a train that ran from Florence to Vallombrosa before
World War I, while the final movement recreates a conversation
between Castelnuovo-Tedesco and Berenson. Of his music for film,
Castelnuovo-Tedesco was involved, to various degrees, with some
250 projects. They fall into four categories: scores for which he was
co-composer or subordinate composer (these forming the largest
number, particularly for MGM); films for which he composed the
complete score, including Ren Clair's And Then There Were None;
films for which he provided specific source music such as the ballet in
Down to Earth (1947) and the opera scenes in Everybody Does It
(1949) and Strictly Dishonorable (1951); and instances where
previously composed film music was tracked into new films. Despite
his efforts, he was seldom given screen credit, and described himself
as a ghost writer.
Castelnuovo-Tedesco, Mario
WORKS
(selective list)

dramatic
Ops: La mandragola (prol., 2, after N. Machiavelli), op.20, 192023, Venice, Fenice,
May 1926, rev., 2 acts in Ger., Wiesbaden, Staatsoper, 1928; Alls Well that Ends
Well (3, after W. Shakespeare), op.182, It. trans., as Giglietta di Narbona, unperf.;
The Merchant of Venice (3, after Shakespeare), op.181, 1956, as Il mercante di
Venezia, Florence, Comunale, 25 May 1961, in orig. Eng. version, Los Angeles,
Shrine Auditorium, 13 April 1966; Saul (3, after V. Alfieri), op.191, 195860, unperf.;
The Importance of Being Ernest (comic op, 3, after O. Wilde), op.198, 19612, RAI,
1972, staged, New York, La Guardia, 22 Feb 1975
Ballets: Bacco in Toscana (after F. Redi), op.39, 2 solo vv, chorus, orch, 19256,

Milan, 1931; Pesce turchino, Florence, 1937 [after pf piece La sirenetta e il pesce
turchino]; Bas-relief: la reine Nefertiti, 1937, Paris, 1938; The Birthday of the Infanta
(Wilde), op.115, 1942, New Orleans, 1947; The Octoroon Ball (K. Dunham), op.136,
19479
Incid music: Savonarola (R. Alessi), op.81, Florence, 1935; I giganti della montagna
(L. Pirandello), op.94, Florence, 1937; Morning in Iowa (R. Nathan), op.158, nar, cl,
accdn, gui, b viol, perc, 1953
Film scores (screen credits only; complete list in Westby, 1994): The Return of the
Vampire (dir. L. Landers), 1944; And Then There Were None (dir. R. Clair), 1945;
Time out of Mind (dir. R. Siodmak), 1947, collab. M. Rzsa; The Loves of Carmen
(dir. C. Vidor), 1948; The Mask of the Avenger (dir. P. Karlson), 1951; The Brigand
(dir. Karlson), 1952; The Day of the Fox, 1956; Etiquette, 1956
Other works: Aucassin et Nicolette (marionette fable, 12th-century Fr.), 10 insts,
op.98, 191938, Florence, 1952; The Song of Songs (rustic wedding idyll), op.172,
19545, Hollywood, 1963
orchestral
Shakespeare ovs.: La bisbetica domata, op.61, 1930; La dodicesima notte, op.73,
1933; Il mercante di Venezia, op.76, 1933; Giulio Cesare, op.78, 1934; Il racconto
d'inverno, op.80, 1934; A Midsummer Night's Dream (Ov. to a Fairy Tale), op.108,
1940; King John, op.111, 1941; Antony and Cleopatra, op.134, 1947; The Tragedy
of Coriolanus, op.135, 1947; Much Ado about Nothing, op.164, 1953; As You Like It,
op.166, 1953; also 4 dances for Love's Labour's Lost, op.167, 1953
With ob solo: Conc. da camera, op.146, 3 hn and timp ad lib, str, 1950, arr. ob, pf,
1950, transcr. ob, vc, pf/gui, 1964
With pf solo: 2 concs., op.46, 1927, op.92, 19367
With gui solo: Conc., D, op.99, 1939; Serenade, op.118, chbr orch, 1943; Capriccio
diabolico, op.85/2, 1945 [after op.85, gui]; Conc. sereno, op.160, 1953; Conc.
op.201, 2 gui, orch, 1962
With vn solo: Conc. italiano, g, op.31, 1924; Variazioni sinfoniche, op.48, 1928;
Conc. I profeti, op.66, 1931; Poem Larchmont Woods, op.112, 1942, transcr. vn,
pf, 1942
With vc solo: Conc., op.72, 19323; I nottambuli [arr. piece vc, pf, 1927], 1960
Other works: Indian Songs and Dances, op.116, 1942; 5 Humoresques, op.121 [on
themes of Foster], op.121, 1943; An American Rhapsody, 1943
choral
Orats: Il libro di Ruth, op.140, 1949; Il libro di Giona, op.151, 1951; The Book of
Esther, op.200, S, T, Bar, B, nar, chorus, orch, 1962; Tobias and the Angel, op.204
(scenic orat, after Apocrypha: Tobit), solo vv, chorus, nar, mime, dancers, orch,
19645, New York, 1975
With insts: Keats Songs, op.113, chorus, pf, 194251; Upon Westminster Bridge
(W. Wordsworth), op.114, chorus, pf, 1942; Sacred Service, op.122, Bar, chorus,
org, 1943, enlarged 1950; Kol nidrei, cantor, chorus, org, vc, 1944; Liberty, Mother
of Exiles (Lazarus), chorus, pf, 1944; The Owl (A. Tennyson), chorus, pf, 19458;
Aubade (W. Davenant), Carol for Christmas Day (anon., 1661), To his Son (R.
Corbet), op.126, chorus, pf, 19456; Naomi and Ruth, op.137 (cant.), female vv,
pf/org, 1947; 2 Longfellow Songs, op.149, chorus, pf, 1950; Songs and
Processionals for a Jewish Wedding, op.150, chorus, pf/org, 1950; Romancero
gitano, op.152 (F.Garca Lorca), chorus, gui, 1951; 4 Christina Rossetti Songs,
op.153, female vv, pf, 1951; 3 Shelley Songs, op.154, female vv, pf, 1951;

Naaritz'cho, cantor, chorus, org, 1952; The Queen of Sheba, op.161 (cant.), female
vv, pf, 1953; Song of the Oceanides, op.171 (Aeschylus), 2 female choruses, 2 fl,
hp, 1954, arr. female vv, pf, 1954; 3 Shelley Songs, op.173, female vv, pf, 1955; The
Fiery Furnace (Bible: Daniel), op.183 (chbr cant.), Bar (nar), children's vv, pf/org,
perc, 1958; Memorial Service for the Departed, op.192, cantor, chorus, org, 1960;
Bitter Lemons (L. Durrell), female vv, pf, 1960
Unacc.: 2 madrigali a Galatea (Virgil), chorus, 1913; 2 canti greci (N. Tommaseo),
1916; Lech dodi, op.90, cantor (T), male vv, 1936, arr. cantor (T), mixed vv, org,
1943; Goccius (laudi di S Efisio), op.96, S, chorus, 1939; Venice (CastelnuovoTedesco, after Wordsworth), op.132, male vv, 1946; 6 Keats Settings, op.157, 1952;
The Book of Proverbs, op.168, male vv, 1953; Lament of David, op.169, T, double
chorus, 1953; Cherry Ripe (T. Campion), chorus, 1955; 2 Motets, from the Gospel
According to St John, op.174, chorus, 1955; 6 Carols on Early English Poems,
op.175, chorus, 1955; Endymion (J. Keats), op.184, chorus, 1958; Amours de
Ronsard, op.197, chorus, 1961; The Seventh Day (St Augustine), op.202, chorus,
1963; Children's Song (de Vaere), female vv, 1967
other vocal works
With orch: 2 liriche dal Giardiniere (R. Tagore), 1v, orch, 1917; 6 Scottish Songs,
op.100 (W. Scott), S, T, hp, str, 1939, arr. chorus, pf, 1943; Lullaby, vv, orch, 1943
[on themes of Foster]; The Princess and the Pea, op.120, miniature ov., nar, orch,
1943; Noah's Ark, nar, chorus, orch, 1944, for Genesis Suite, collab. Schoenberg,
Stravinsky and others
Songs for 1v, pf: Chansons grises (P. Verlaine), 1910; Le chant des tenebres
(medieval Fr.), 1913; Le roi Loys, op.3 (medieval Fr.), 1914, orchd 1930; Ninna
nanna, op.4 (U. Castelnuovo-Tedesco), 1914, orchd 1927; Il libro di Dolcina (L.M.
Comparetti), 1915; Fuori i barbari, op.5, 1915, orchd 1944; Stelle cadenti, op.6
(Tuscan trad.), 191518; Coplas, op.7 (Sp. trad.), 1915, orchd 1967; La battaglia
finita, 1916; Briciole, op.8 (A. Palazzeschi), 1916; 3 fioretti di San Francesco, op.11,
1919; La canzone della tombola (U. Castelnuovo-Tedesco), 1920; Etoile filante (G.
Jean Aubry), 1920; Girotondo dei golosi, op.14, 1920; L'infinito, op.22 (G. Leopardi)
1921; Sera, op.23 (Dante), 1922; 33 Shakespeare Songs, op.24, 19215; Piccino
picci, op.26 (C. Pavolini), 1922; La sera fiesolana (G. D'Annunzio), 1923; Ballata,
op.27 (A. Poliziano), 1923; La barba bianca, op.28 (Bertelli), 1923; 2 preghiere per i
bimbi d'Italia, op.29, 1923; 8 scherzi per musica, op.35 (F. Redi), 19245; 1830,
op.36 (A. de Musset), 1925; Indian Serenade, op.38 (P.B. Shelley), 1925; 9 Heine
Lieder, op.40, op.60, 19269; 4 sonetti da La vita nova, op.41 (Dante), 1926; 3
Sonnets from the Portuguese, op.42 (E.B. Browning), 1926; Cadix, op.45 (de
Musset), 1926; Villa sola (A. Carocci), 1927; Ore sole, op.52 (Palazzeschi), 1928;
Chant hbraique: vocalise, op.53, 1928, arr. vn, 1928, vc, 1928, db, 1964; 3
vocalizzi, op.55, 1928, arr. vn, pf, 1930; 6 odi di Orazio, op.62, 1930; Ballade des
biens immeubles, op.68 (A. Gide), 1931, orchd 1934; 5 Petrarch Songs, op.74,
1933; 2 rondes (Gide), 19334; 5 romances viejos, op.75, 19335; Ballade des
amantes clbres (Gide); 3 pomes de la Plade, op.79, 1934; Chanson boire (F.
Rabelais), 1936; 3 fragments de Marcel Proust, op.88, 1936; Louisiana, Leaves of
Grass, Ocean, op.89 (W. Whitman), 1936; 6 pomes de Paul Valery, op.91, 1936;
Un sonetto di Dante, op.101, 1939; Pansies, op.103 (D.H. Lawrence), 1939;
Recuerdo, op.105 (St V. Millay), 1940; The Legend of Jonas Bronck, New York,
op.106 (A. Guiterman), 1940; Upon his Blindness, op.109 (J. Milton), 1940; The
Spring (T. Nash), 1941; 2 Byron Songs, 1941; My love's like a red red rose (R.
Burns), 1941; 2 Stevenson Songs, 1941; 2 Kipling Songs, 1942; Le Rossignol,

op.117 (Frre Joseph/du Tremblay), 1942, arr. female vv, pf, 1942, arr. unacc.
chorus, 1942; Ozymandias (Shelley), The Daffodils (Wordsworth), The Shadow (B.
Jonson), op.124, 1944; 28 Shakespeare Sonnets, op.125, incl. 3 for chorus, 1944
7, 4 more added, 1963; 5 poesie romanesche, op.131 (M. dallArco), 1946; De
amico ad amicam (anon., c1300), 1947; 3 Little Songs, 1958; Le voyage (J. du
Bellay), 1959; Il bestiario, op.188 (A. Loria), 1960; Poesa svedese, op.189, 1960
Songs for 1v, gui: Ballata dell'esilio (G. Cavalcanti), 1956; Vogelweide, op.186 (W.
von der Vogelweide), Bar, gui/pf, 1959; Platero y yo, op.190 (Father Jimnez), nar,
gui, 1960; The Divan of Moses-ibn-Ezra, op.207, 1966
Other works: 3 Shakespeare Duets, op.97, S, T, pf, 1937, orchd 1938; Songs of the
Shulamite, op.163 (Bible), 1v, fl, hp, str, qt, 1953; 2 Schiller Balladen, op.193, nar, 2
pf, perc, 1961
chamber
For 59 insts: Pf Qnt op.69, 19312; Concertino, op.93, hp, str qt, 3 cl/ww qt, 1936
7, arr. hp, chbr orch, 1938; Qnt, op.143, gui, str qt, 1950; Pf Qnt no.2, op.155, 1951
For 34 insts: Pf Trio, op.49, 1928; Str Qt, op.58, 1929; Pf Trio no.2, op.70, 1932;
Str Qt no.2, op.139, 1948; Str Trio, op.147, 1950; Chorale with Variations, op.162,
hn qt, 1953; Pastorale and Rondo, op.185, cl, vn, vc, pf, 1958; Quartettsatz,
op.170/28, 1960; Str Qt no.3 casa al dono, op.203, 1964; Eclogues, op.206, fl, eng
hn, gui, 1965
Sonatas: op.50, vc, pf, 1928; Sonata quasi una fantasia, op.56, vn, pf, 1929; Conc.
no.3, op.102, vn, pf, 1939; op.127, vn, va, 1945; op.128, cl, pf, 1945; op.130, bn, pf,
1946; op.144, va, vc, 1950; op.148, vn, vc, 1950; 2 Sonatas, op.179, tpt, pf, 1955;
op.205, fl, gui, 1965; op.208, vc, hp, 1967
Other works for 2 insts: Signorine, op.10, vn, pf, 1918; Ritmi, op.15, vn, pf, 1920;
Capitan Fracassa, op.16, vn, pf, 1920, orchd, 1947; Notturno adriatico, op.34, vn,
pf, 1924; I nottambuli, op.47, vc, pf, 1927, orchd 1960; The Lark, vn, pf, op.64,
1931; Notturno sull'acqua, Scherzino, op.82, vc, pf, 1935; Toccata, op.83, vc, pf,
1936; Ballade, op.107, vn, pf, 1940; Meditation, vc, pf, 1941; Kol nidre, vc, pf, 1941;
La figlia del reggimento: a Fantasy for Violin and Piano on themes by Donizetti,
op.110, 1941; Divertimento, op.119, 2 fl, 1943; Fantasia, op.145, gui, pf, 1950; Suite
508, op.170/21, va, pf, 1960
Org: Preludio e fanfara: 2 Studies in 12-Note Technique, 1951; Toccata
(Introduction, Aria and Fugue), op.159, 1953; Prayers my Grandfather Wrote, 1962;
3 items in op.170 series, 195967
Hp: Rhapsody, op.209, 1967
piano
Arie antiche, 1905; English Suite, pf/hpd, 1909; Calma a Giramonte, 1910; Cielo di
settembre, op.1, 1910, orchd 1915; Primavera fiorentina, 1911; Questo fu il carro
della morte, op.2, 1913; Lucertolina, 1916, incorporated in Sonatina zoologica,
1960; Il raggio verde, op.9, 1916; Alghe, op.12, 1919; I Naviganti, op.13, 1919;
Cipressi, op.17, 1920, orchd 1921, rev. 1939; La sirenetta e il pesce turchino,
op.18, 1920; Cantico, op.19, 1920; Vitalba e Biancospina, op.21, 1921; Epigrafe,
op.25, 1922; Alt Wien, op.30, 1923, arr. 2 pf; Piedigrotta 1924, op.32, 1924, arr. 2
pf; Le stagioni, op.33, 1924; Le danze del Re David, op.37, 1925; 3 corali su
melodie ebraiche, op.43, 1926; 3 poemi campestri, op.44, 1926; Sonata, op.51,
1928; Passatempi, op.54, 1928; BABA, variazioni sopra un tema infantile, op.57,
1929; Crinoline, op.59, 1929; Fantasia e fuga sul nome di Ildebrando Pizzetti,
op.63, 1930; Media difficolt, op.65, 1930; Mila, 1931; 2 Film Studies, op.67,

1931; Preludio, 1934; 3 preludi alpestri, op.84, 1935; Onde, op.86, 1935; Terrazze,
1936; Stars, op.104, 1940; Nocturne in Hollywood, 1941; Homage to Paderewski,
1941; Candide, op.123, 1944; Suite nello stile italiano, op.138, 1947; Evanglion,
op.141, 1949; 6 Canons, op.142, 1950; Ninna-nanna, 1952; 6 Pieces in Form of
Canons, op.156, 1952; El encanto, op.165, 1953; 17 items in op.170 series 1953
64; The Stories of Joseph, op.178, 1955; Sonatina zoologica, op.187, 1960
guitar
Variazioni attraverso i secoli, op.71, 1932; Sonata omaggio a Boccherini, op.77,
1934; Capriccio diabolico, op.85, 1935; Tarantella, Aranci in fiore, op.87, 1936;
Variations plaisantes sur un petit air populaire, op.95, 1937; Rondo, op.129, 1946;
Suite, op.133, 1947; 21 items in op.170 series 195467; 3 preludi mediterranei,
op.176, 1955; La guarda cuydadosa, Escarraman, after Cervantes, op.177, 1955;
Passacaglia: omaggio a Roncalli, op.180, 1956; 3 preludi al Circeo, op.194, 1961;
24 caprichos de Goya, op.195, 1961; Appunti, op.210, 19678, vol.3 inc.
For 2 gui: Sonatina canonica, op.196, 1961; Les guitares bien tempres, op.199,
1962; Fuga elegiaca, 1967
MSS in US-Wc
Principal publishers: Brben, Carisch, Chanterelle, Fischer, Forlivesi, Lyra, Ricordi, Schott

Castelnuovo-Tedesco, Mario
WRITINGS
La Pisanella di I. Pizzetti, La critica musicale, ii/910 (1919), 15769
La sonata per violino e pianoforte di I. Pizzetti, Il pianoforte, i/7
(1920), 15
Ildebrando Pizzetti e la sua musica corale, Il pianoforte, ii (1921),
23340
Debora e Jale di I. Pizzetti alla Scala, Musica d'oggi, v (1923), 1
6
Il quartetto moderno, Critica musicale, vi (1923), 5969
Musicisti contemporanei: Manual de Falla, Il pianoforte, iv (1923), 8
16
Musicisti contemporanei: Alfredo Casella e il suo terzo stile, Il
pianoforte, vi (1925), 2417
Neoclassicismo musicale, Pgaso, i/2 (1929), 197204
Casella operista, Pgaso, iv/4 (1932), 4818
Firenze musicale ai primi del '900, Illustrazione toscana e
dell'Etruria, 2nd ser., xi/1 (1933), 1822
Mozart a Firenze, Illustrazione toscana e dell'Etruria, 2nd ser., xiii
(1935), 3740
A Composer on Writing Concertos, New York Times (29 Oct 1939)
La penna perduta, 1939, upubd [essay collection]
The Jewish Chapter of my Autobiography, 1940, unpubd
The Italian Overture, New York Times (14 April 1940)
Shakespeare and Music, Shakespeare Association Bulletin, xv
(1940), 16674
The Overture-Form in the Music of Today, Musical America, lx
(1940), 10810

Modern Composer Tells Story of Life, Jewish Press (21 June 1940),
2, 5; also pubd as Jewish Background of an Exiled Musician,
American Jewish Outlook (26 July 1940), 4 only
Music and Poetry: Problems of a Songwriter, MQ, xxx (1944), 102
11
Music under Italian Fascism, 1944, unpubd [lecture]
The Composer Speaks, The Book of Modern Composers, ed. D.
Ewen (New York, 1950), 3923
Pizzetti, ibid., 2017
My Experiences in Jewish Music, Jewish Music Notes (1951), 34
Voci aggiunte e rivedute per un dizionario di compositori viventi:
Mario Castelnuovo-Tedesco, RaM, xxiii (1953), 4255
Alfredo Casella, RaM, xxvii (1957), 201
Kurvenaldo in Testimonianze per Loria, Letteratura, v/30 (1957),
2230
Pizzetti Visto da Lontano, La citt dannunziana a Ildebrando Pizzetti,
ed. M. la Morgia (Milan, 1958), 15763
Under the Sign of Orpheus: the Milestones of Opera, 1959, unpubd
[lectures]
The Song of Songs, Music Journal, xxi/8 (1963), 214
Una vita di musica, 1967, unpubd [autobiography]
Castelnuovo-Tedesco, Mario
BIBLIOGRAPHY
EwenD
MGG1 (F. D'Amico)
G.M. Gatti: Mario Castelnuovo-Tedesco, La critica musicale, i/1011
(Florence, 1918), 197205; repr. in Musicisti moderni d'Italia e di
fuori (Bologna, 1920, 2/1925), 4152; Eng. trans. as Some
Italian Composers of Today: I Castelnuovo-Tedesco, MT, lxii
(1921), 4035
F. Liuzzi: Mario Castelnuovo-Tedesco, Musikbltter des Anbruck, vii
(1925), 40810
G. Rossi Doria: Mario Castelnuovo-Tedesco, The Chesterian, vii
(19256), 11419
G.M. Gatti: Four Composers of Present-Day Italy: Mario
Castelnuovo-Tedesco, MQ, xii (1926), 44971
C. Valabrega: Musicisti contemporanei: Mario CastelnuovoTedesco, Il pianoforte, vii (1926), 6879
F. Liuzzi: Mario Castelnuovo-Tedesco, Solaria, ii/11 (1927), 6065
H. Antcliffe: Some Songs of Mario Castelnuovo-Tedesco, MT, lxviii
(1927), 218
R.B. Hall: An Interview with Mario Castelnuovo-Tedesco, Musical
Leader (1928)
A. Lualdi: La mandragola di M. Castelnuovo-Tedesco alla Fenice di
Venezia, Serate musicale (Milan, 1928), 2625
W. Lyle: The Shakespeare Songs of M. Castelnuovo-Tedesco, The
Chesterian, xvii (19356), 140
D. de Paoli: La crisi musicale italiana (19001930) (Milan, 1939),
113ff, 164ff, 27980, 3045

G. Saleski: Mario Castelnuovo-Tedesco, Famous Composers of

Jewish Origin (New York, 1949), 314
A. Damerini: Il mercante di Venezia di Mario Castelnuovo-Tedesco,
Musica d'oggi, iv (1961), 11417
F. D'Amico: Castelnuovo-Tedesco a Santa Cecilia: un ritratto dipinto
sul pianoforte, L'espresso (6 April 1969)
G.M. Gatti: Ricordo di Mario Castelnuovo-Tedesco, Accademia
nazionale di Santa Cecilia: Annuario 1969 (Rome, 1969), 310
A. Soltes: A Fine Italian Hand: Mario Castelnuovo-Tedesco, Off the
Willows: the Rebirth of Modern Jewish Music (New York, 1970),
98105
J.L. Thiel: The Stylistic Trends Found in a Comparative Analysis of
Three Published Organ Works by Mario Castelnuovo-Tedesco
(diss., U. of Missouri, 1970)
G. Gavazzeni: Un saluto a Mario Castelnuovo-Tedesco, Non
eseguire Beethoven e altri scritti (Milan, 1974), 23441
M.L. Holmberg: Thematic Contours and Harmonic Idioms of Mario
Castelnuovo-Tedesco, as Exemplified in the Solo Concertos
(diss., Northwestern U., 1974)
P.A. Higham: Castelnuovo-Tedesco's Works for Guitar (diss., U. of
Alberta, 1977)
N. Rossi: Catalogue of Works by Mario Castelnuovo-Tedesco (New
York, 1977)
B. Scalin: Operas by Mario Castelnuovo-Tedesco (diss.,
Northwestern U., 1980)
D.L. Alt: An Analysis of Five Shakespearean Settings by Mario
Castelnuovo-Tedesco (diss., U. of Iowa, 1980)
S. Prechtl: A Stylistic and Vocal Analysis of the Shakespeare Songs
of Mario Castelnuovo-Tedesco (diss., Indiana U., 1981)
C. Otero: Mario Castelnuovo-Tedesco: su vida y su obra para
guitarra (Mexico City, 1987)
H. Sachs: Una vita di musica: brani dalle memorie inedite di Mario
Castelnuovo-Tedesco, NRMI, iii (1989), 379409
A. Gilardino: Osservazioni sulla Sonata-omaggio a Boccherini de
Mario Castelnuovo-Tedesco, Il fronimo, no.71 (1990) 1130
L. Afshar: I 24 caprichos de Goya per chitarra op.195 di Mario
Castelnuovo-Tedesco e il loro rapporto con le incisioni di Goya,
Il Fronimo, no.73 (1990), 1126
N. Rossi: A Tale of Two Countries: the Operas of Mario CastelnuovoTedesco, OQ, vii/3 (1990), 89121
J. Westby: Castelnuovo-Tedesco in America: the Film Music (diss.,
UCLA, 1994)