Bibalo, Antonio (Gino)

Bibalo, Antonio (Gino), Italian-born Norwegian composer of Slovak descent; b. Trieste, Jan. 18, 1922. After training with Luciano Gante (piano) and Giulio Viozzi (composition) at the Trieste Cons, (graduated, 1946), he went to London in 1953 to complete his composition studies with Elisabeth Luytens. In 1956 he settled in Norway and in 1967 became a naturalized Norwegian citizen. In 1991 he was awarded Norway’s Prize for Culture for his opera Macbeth and was decorated with the St. Olaf Knight Cross of the King of Norway. In his music, Bibalo demonstrates a capacity for inventive tonal, melodic, and rhythmic writing with occasional excursions into serialism.

Works

DRAMATIC: Opera: The Smile at the Foot of the Ladder, after Henry Miller (1958–62; first complete perf. as Das Lächeln am Fusse der Leiter, Hamburg, April 6, 1965); Frøken Julie (Miss Julie), after Strindberg (Árhus, Sept. 8, 1975); Askeladden (Numskull Jack; 1976; Norwegian Radio, Dec. 26, 1977); Gespenster (Ghosts), after Ibsen (Kiel, June 21, 1981); Macbeth, after Shakespeare (1989; Oslo, Sept. 29, 1990); Die Glasmanenagerie, after Tennessee Williams (Trier, Nov. 3, 1996; in Eng. as The Glass Menagerie, Oslo, Oct. 9, 1998). ballet:Pinocchio (1967; Hamburg, Jan. 17, 1969); Nocturne for Apollo (1969); Flammen (1974). ORCH.: Pitture Astratte (1950–58); 2 piano concertos: No. 1 (1955; Oslo, Aug. 1, 1972) and No. 2 (1971; Bergen, April 27, 1972); 2 concerti da camera: No. 1 for Piano, Timpani, and Strings (1954) and No. 2 for Violin, Harpsichord, and Strings (1974); Fantasia for Violin and Orch. (1954); Pour “Marguerite Infante” (1955–70); Concerto Allegorico for Violin and Orch. (1957); Serenata for Chamber Orch. (1966); Ouverture pour “Le Serviteure de deux maîtres” (1968); 2 syms.: No. 1, Sinfonia Notturna (1968) and No. 2 (1978–79); Per Clavicembalo, violino concertante e orchestra d’archi (1974); Freithoff Suite (1974); Musica for Oboe, Strings, Percussion, and Harp (1986); Concertante for Wind Quintet and Orch. (1990); 5 Frammenti sinfonici (1997). CHAMBER: Autunnale for Flute, Vibraphone, Double Bass, and Piano (1968); Sonatina 1 A: Semplie (1971) and 2 A: Astrale (1972) for Flute, Oboe, Clarinet, Horn, and Bassoon; String Quartet (1972); Sonata: Quasi una fantasia for Accordion (1977); Sonata for Solo Violin (1978); Study in Blue for Guitar (1983); The Savage, “4 impressions” for 6 Players (1982–83); Hvitt Landskap for Violin, Cello, Flute, Clarinet, Piano, and Tape (1984); Racconto d’una Stagione Alta for Cello and Piano (1986); 4 Morceau for 7 Players (1990); Invenzione Evolutiva for Double Bass (1990). KEYBOARD: Piano: 3 Hommages (1953); 4 Balkan Dances (1956; also for Orch.); Toccata (1957); 2 sonatas (1974; La Notte, 1975); Piano “Solo” in the Evening (1977). Organ: Prelude ed Elegia (1989). VOCAL: Elegie einer Raum-Zeit for Soprano, Baritone, Chorus, and Orch. (1963); Nocturne for Apollo: A Ballet of Requiem for Chorus, Tape, and Orch. (1969); Serenata for Baritone and Men’s Chorus (1971); Cantico for Mezzo-soprano and Tape (1983); 2 Intermezzi for Baritone and Flute (198–85); Nocturne for Voice and Piano (1988).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire