![]() 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. Over the next 15 years, he worked on scores for some 200 films there and at the other major film studios. 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. 170/3, based on the spelling of Piatigorsky’s name. For Piatigorsky he also wrote a Toccata (1935), and a piece called Greeting Card, Op. It was premiered with the dedicatee under Arturo Toscanini in New York in 1935. In the meantime, he wrote his Cello Concerto in G minor, Op. Castelnuovo-Tedesco left Italy in 1939, shortly before the outbreak of World War II. He wrote to Arturo Toscanini, the former musical director of La Scala, who left Italy in 1933, explaining his plight, and Arturo Toscanini responded by promising to sponsor him as an immigrant in the USA. The new racial laws, however, convinced him that he should leave Italy. 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 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. Later on, Castelnuovo-Tedesco composed many other guitar pieces dedicated to Andrés Segovia, who was enthusiast of his style. 1, one of the first of almost one hundred compositions for that instrument, which earned him the reputation as one of the foremost composers for the guitar in the 20 th century. The meeting inspired Castelnuovo-Tedesco to write his Guitar Concerto No. 2 (1931), written at the request of 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.Īt the 1932 festival of the International Society of Contemporary Music, held in Venice, Mario Castelnuovo-Tedesco first met the Spanish guitarist Andrés Segovia. Another major source of inspiration for him was his Jewish heritage, most notably the Bible and Jewish liturgy. It was the first of his many works inspired by great literature, and which included interpretations of works by Aeschylus, Virgil, John Keats, William Wordsworth, Walt Whitman, Miguel de Cervantes, Federico García Lorca, and especially William Shakespeare. ![]() In 1926, Mario Castelnuovo-Tedesco premiered his opera La Mandragola, based on a play by Niccolò Machiavelli. Works by him were included in the first festival of the International Society of Contemporary Music, held in Salzburg, Austria, in 1922. Alfredo Casella also ensured that Castelnuovo's 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 Italy's up-and-coming young composers. ![]() Mario Castelnuovo-Tedesco soon came to the attention of composer and pianist Alfredo Casella, who included the young composers work in his repertoire. ![]() After completing a degree in piano in 1914 under Edgardo Del Valle de Paz (1861-1920), well-known composer and pianist pupil of Beniamino Cesi, he began studying composition under renowned Italian composer Ildebrando Pizzetti, and received a diploma in composition in 1918. Castelnuovo-Tedesco was first introduced to the piano by his mother, and he composed his first pieces when he was just 9 years old. ![]() The resprected Italian composer and teacher, Mario Castelnuovo-Tedesco, was descended from a prominent banking family that had lived in Florence since the expulsion of Jews from Spain in 1492. Mario Castelnuovo-Tedesco (Composer, Arranger) ![]()
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