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(b Palermo, 13 May 1958). Italian composer. He studied music at the University of Palermo with Paolo Emilio Carapezza and Antonino Titone, and made his public début as a composer at the Teatro Politeama Garibaldi in Palermo with Mit höchster Gewalt for instrumental ensemble (1977). This work immediately characterized Incardona's initially delicate aphoristic style. After four years of further study and silence (during which he established friendships with Bussotti, Evangelisti, Nono, Togni and the musicologist Heinz-Klaus Metzger, who had a profound influence on him), he embarked on a particularly fertile period (1981–9). Avec un morne embrassement, his first chamber symphony, performed at the Venice Biennale in 1981, brought him to international attention. According to Restagno, the work displays, ‘dark, glutinous sonorities, filled with obscure echoes’ and the ‘will to sing … blunted by tragic exhaustion’. A striking series of extended pieces have followed, including Soave sia il vento for 6 instruments (1982), Des Freundes Umnachtung for large orchestra (1985), Postludio alle notti for large orchestra (1988) and Malor me bat ‘Graffito da Ockeghem: per Luigi Nono’ for string trio, three bottles and crotales (1995). The source and set of compositional rules for almost all these mature works lies in the 12-note row of Webern's projected third cantata, which remained unfinished at the time of his death. Incardona transforms the series into one of 24 quarter-tones, out of which darkly brilliant, sensuous textures are formed. He has written extensively on music, including numerous articles in L'ora.
WORKS
Orch: Avec un morne embrassement (Chbr Sym. no.1), 1981; Ritratto di giovane nel suo diciannovesimo anno d'età, chbr orch, 1981; Cercles mysterieux des adolescents (Chbr Sym. no.2), 1982; Des Freundes Umnachtung, sym. dialogue, 1985; Ognuno accanto alla sua notte, 1985; Oblioso, insensibile parvenza d'angelo ancora, chbr orch, 1987; Postludio alle notti, 1988; Levante, wind, perc, dbs, 1999Vocal: 2 frammenti da Kavafis, C, va, hn, cel, hp, 1976; 2 frammenti da Umberto Saba, T, pf, 1981; Oscuri sono i sentieri notturni dell'uomo (C. Kavafis, G.M. Hopkins), S, fl, pf, 1981; Canone a tre (Kavafis), C, b fl, vc, 1986; Frammento su testo di Giacomo Leopardi, S, vc, 1986; Postludio alle notti (J.W. von Goethe), S, orch, 1988; Mehr Licht (Kavafis), S, vn, pf, 11 insts, 1989 [rev. of chbr work]; Mit brechender Stimme, 1v, chbr orch, 1996Other inst: Memoria, str qt, 1976; Mit höchster Gewalt, ens, 1977; Soave sia il vento, hn, bn, vn, va, vc, db, 1982; Bocca, fl, pf, prep pf, 1984; Tranquilla sia l'onda, 2 fl, hn, va, vc, db, 1985; Mehr Licht, vn, pf, 1986; Sed nec lingua loqui, b fl, b cl, hn, 4 perc, va, vc, db, 1986 [in memoriam Joseph Beuys]; Sulla lontananza dell'amico dilettissimo, vn, fl, pf + cel, 1986; Secondo notturno, va, vc, 1988; Douce, b fl, 1989; Thema ‘Variazioni su 8 forme’, vc, 1989; Malor me bat ‘Graffito da Ockeghem: per Luigi Nono’, str trio, 3 bottles, crotales, 1995; Secretum douce, vn, 1999
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BIBLIOGRAPHY
A. Titone: ‘Musicisti nuovissimi a Palermo’, Acquario, no.1 (1982), 57–63
S.E. Failla: ‘La notti di Incardona’, Cronache musicali, xi/34 (1985), 15
F. Incardona: ‘Il tavolo di Webern’, Anton Webern, ed. P. Violante (Palermo, 1995), 176–7
P.E. Carapezza: ‘Sviluppi della dodecafonia nel meridone d'Italia’, Musica/Realtà, no.53 (1997), 65–76
F. Incardona: ‘Taj-will’ del suono (Palermo, 1997)
T. Tarmeku: Federico Incardone (Palermo, 1999)
PAOLO EMILIO CARAPEZZA
Incatenatura
(It.: ‘chaining’).
A term used by modern scholars to refer to the Quodlibet of 16th-century Italy. Torrefranca divided such works into two types: the villotta d'incatenatura, in which a succession of borrowed fragments in one part is accompanied homophonically by other free voices; and the incatenatura da villotta, in which every voice is a different patchwork of quotations. Examples of the former include L'ultimo dì di maggio, Che mangerà la sposa and P. da Hostia's Vray dieu d'amor. In the latter category are such works as Non dormite o cacciatori, Lodovico Fogliani's Fortuna d'un gran tempo, Matthias Werrecore's Horsu and Isaac's famous Donna di dentro. In the last piece, ‘Donna di dentro’ is skilfully combined with the well-known tune ‘Fortuna d'un gran tempo’ and a comical plea, ‘Dammene un pocho di quella maza crocha’. The printed and manuscript sources for the frottola repertory include examples of related procedures in which elements of independent songs are recombined either simultaneously or in formal juxtaposition. The incatenatura may have developed from an improvised practice of quoting popular villotta refrains at the ends of pieces, which often contain ‘lilolelas’ (onomatopoeic imitations of instruments). Patchwork refrain led to the filastrocca, a long villotta coda.
BIBLIOGRAPHY
EinsteinIM
K. Jeppesen: ‘Venetian Folk-Songs of the Renaissance’, PAMS 1939, 62–75
F. Torrefranca: Il segreto del Quattrocento (Milan, 1939)
B. Becherini: ‘Tre incatenature del codice fiorentino Magl.XIX.164, 65, 66, 67’, CHM, i (1953), 79–96
K. Jeppesen: La frottola, iii: Frottola und Volkslied (Århus, 1970)
W.F. Prizer: Courtly Pastimes: the Frottole of Marchetto Cara (Ann Arbor, 1980)
D.G. Cardamone: The Canzone villanesca alla napolitana and Related Forms, 1537–1570 (Ann Arbor, 1981)
For further bibliography see Quodlibet.
MARIA RIKA MANIATES/RICHARD FREEDMAN
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