Page 127 - Weiss, Jernej, ur./ed. 2025. Glasbena interpretacija: med umetniškim in znanstvenim┊Music Interpretation: Between the Artistic and the Scientific. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 8

vittorio radeglia and his serenade aux etoiles ...
that requires sensitivity, delicacy, lightness and aforementioned dreamy
character (in his description, the dreamy character refers especially to the
first theme). Radeglia was also influenced by similar motifs in other works,
for example in the compositions Danse de Sylphes, op. 47/1 (1910), Pále Etoile
du Soir, op. 47 (1915) for Mezzo-soprano or Baritone and piano or Les Elfes,
op. 49 (1915) for Soprano or Baritone and piano.
Furthermore, the composition is equipped with instructions for prac-
tice and interpretation (“How to study and interpret”) and very detailed
markings within the score itself – for tempo, agogics, dynamics, pedal
– which do not leave the performer in much doubt (freedom?). Text in-
structions are written clearly and thoroughly. In certain places character
is underlined in the composition, warnings are given about certain agog-
ic moments (which are marked in the notes themselves), and instructions
are given about the importance or need to highlight certain notes/phrases
in the left or right hand, grouping certain tones in the overall tissue of the
piece.
Radeglia uses gradual and undulating melodies, and exploits almost
the entire range of the keyboard (from D1 to g4). He builds the first theme
(con grazia e espressione, from bar 5) in a broad line, bringing it to a new cli-
max when repeated (bar 8, or bar 16). The themes are very melodious and
clear, often reinforced in octaves (e.g., bars 21–23) or in sixths (second theme
from bar 25). The twinkling of the stars from the poetic idea is reflected in
the use of high registers, as well as arpeggios (e.g., bar 53). The “swinging”
effect that characterizes the character of the second theme is transferred
to the left hand when the first theme is repeated (from m. 40). In the mid-
dle part, a contrasting mood is introduced – through key (B minor com-
pared to B major), tempo (Allegro agitato) and rhythm (fast sixteenth-note
passages) suggesting the spinning of the described fairy dance. It culmi-
nates with the combination and elaboration of the motifs of the first and
second themes of the B part (from bar 82). The dance-like B part ends with
a series of chords (dominant seventh chords and augmented chords) that
serve as chromatic colors to create tension before returning to the “swing-
ing” second theme from the beginning and the basic tonality of B major.
From m. 128 the piece once again strives for (starry) heights, but Radeglia
does not end there – he resorts to another elaboration of the motive of the
first theme, which he slowly exposes and brings lower (back down) from its
heights. The composition ends with a playful Coda (Allegro ma non trop-
po) in which we can hear glimpses of the dance character of the middle

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