GIOVANNI SALVIUCCI (1907 - 1937)
The Salviucci family had no background in music, but did have close ties to Rome’s clerical circles. Because of these, the young Giovanni enjoyed private music lessons with Ernesto Boezi, director of the Cappella Giulia at St Peter’s and a leading Palestrina scholar, who passed on to Salviucci the exceptional awareness and mastery of counterpoint which became the main identifying feature of his compositional style. This period of training, initially at least, kept Salviucci at a distance from the musical upheavals of the new century. After graduating in composition in 1931, he enrolled in the advanced course taught by Respighi at the Accademia di Santa Cecilia. Equally important, however, was his meeting with Iditta Parpagliolo, a fellow composer and student of Respighi’s. She later became Salviucci’s wife and opened his eyes to the world of new music, introducing him to Alfredo Casella and Goffredo Petrassi, among others.
From 1932 onwards, Salviucci’s career began to take off, as a number of his orchestral works were performed with increasing success in Italy and abroad, the finest among them perhaps being the Introduzione, Passacaglia e Finale (1934). His sudden death sadly prevented him from hearing his last two compositions performed, works judged by Fedele D’Amico and other critics to be his masterpieces: Alcesti (for chorus and orchestra) and the Serenata per 9 strumenti. When he died Salviucci also left three children, including a nine-month-old baby, Giovanna, who became famous in Italy and beyond as folksinger and composer Giovanna Marini.