About Lino Liviabella
Lino Liviabella was born in Macerata on April 7, 1902, and died in Bologna on October 21, 1964.
He came from a family of musicians: his paternal grandfather, Livio, was a student of Rossini and served as the maestro of the Musical Chapel of the Basilica of St. Nicholas in Tolentino. His father, Oreste, graduated from the Royal Academy of St. Cecilia in Rome and was the organist and director of the Musical Chapel of the Cathedral of Macerata.
He came from a family of musicians: his paternal grandfather, Livio, was a student of Rossini and served as the maestro of the Musical Chapel of the Basilica of St. Nicholas in Tolentino. His father, Oreste, graduated from the Royal Academy of St. Cecilia in Rome and was the organist and director of the Musical Chapel of the Cathedral of Macerata.
He studied at the Santa Cecilia Conservatory in Rome, where he graduated in piano, organ, and composition under Ottorino Respighi. Respighi himself considered him one of his finest students.
He continued his career, leaving behind an impressive catalogue of compositions that earned him numerous awards. Notably, he won second prize at the 1936 Berlin Olympics with the symphonic poem Il Vincitore. For this event, Liviabella conducted the Berlin Philharmonic Orchestra. A recording of this performance was recently rediscovered.
He wrote theoretical works, taught composition, and served as director of the conservatories in Parma, Pesaro, and finally Bologna.
He continued his career, leaving behind an impressive catalogue of compositions that earned him numerous awards. Notably, he won second prize at the 1936 Berlin Olympics with the symphonic poem Il Vincitore. For this event, Liviabella conducted the Berlin Philharmonic Orchestra. A recording of this performance was recently rediscovered.
He wrote theoretical works, taught composition, and served as director of the conservatories in Parma, Pesaro, and finally Bologna.
Rome, 1923 – Composition class of Ottorino Respighi (Liviabella first on the right)
The renowned critic and musicologist Quirino Principe, in an article, described Liviabella’s music as: “…dense, complex, and crafted with austere passion.”
He further stated: “…his chamber music ranks among the finest in the Italian musical tradition… Liviabella manages to be profoundly Italian—indeed, his work exudes Italian character both culturally and temperamentally—while at the same time mastering the major influences of other national traditions.”
He further stated: “…his chamber music ranks among the finest in the Italian musical tradition… Liviabella manages to be profoundly Italian—indeed, his work exudes Italian character both culturally and temperamentally—while at the same time mastering the major influences of other national traditions.”
