La prigione nella memoria e la demitizzazione dell’eroico

Abstract

The paper focuses on three masterpieces of the twentieth-century musical production – Bèla Bartók’s Bluebeard’s Castle, Luigi Dellapiccola’s The Prisoner and Arnold Schoenberg’s A Survivor from Warsaw. In these, the central theme of captivity is made more lively thanks to the expressive power of a dreamlike setting. The purpose is to depict the relation between the dimensions of memory and dream, for that generation of composers who witnessed the transition between the two world conflicts, which dramatically marked the last century, and the political instability that followed or anticipated them.