Nazario Carlo Bellandi

Nazario Carlo Bellandi (February 24, 1919 in Rome – April 20, 2010 in Rome) was an Italian music composer, organist, pianist, harpsichordist.
Education.
Maestro Nazario Carlo Bellandi in 1942 obtained the Diploma in Composition at the Conservatory of St Cecilia in Rome. Two years later obtained the Diploma in Piano at the same Conservatory. In 1946 he specialized in Choral Conducting and in Film Music Composition at the Roman Academy of St Cecilia. In 1947 he got the Diploma in Gregorian Chant at the Pontifical Institute of Sacred Music. In 1948 he obtained the Diploma in Organ and Organ Composition at the Conservatory of St Cecilia. In 1949 he was awarded the Magistrum in Organ at the Pontifical Institute of Sacred Music and the specialization in Organ at the Academy Chigiana of Siena, Italy. He also specialized in Musical Paleography at the University of Bologna, Italy. He also studied at the Conservatory of Palermo and the Conservatory of Parma, Italy, during his frequent transfers.
He studied with Renzo Silvestri (piano), Ferruccio Vignanelli and Fernando Germani (organ), and Alessandro Bustini (composition). He was a fellow student for several years of Carlo Maria Giulini, Bruno Maderna, Armando Renzi and Guido Turchi.
Teaching activities.
From 1949 to 1989/90, Maestro Bellandi taught for 40 consecutive years. For the first 25 years of teaching he held the Chair of Professor of Organ and Organ Composition at the Conservatory of Santa Cecilia in Rome, Italy. Since 1974 he was Professor of Composition at the same Conservatory. He also held the chairs Professor of the Main Organ, Harmony, and Counterpoint. He also held the Chair of Complementary Harmony and Counterpoint at the Conservatory of Naples and taught at the Institute ST Alessio in Rome. He received several nominations for teaching in Italy: piano for the Conservatory of Turin, Gregorian Chant for the Conservatory of Bologna, Harmony and Counterpoint for the conservatory in Naples, 2nd place in the national ranking of qualified Professors for the teaching of the Harpsichord and the Organ and Organ Composition for the conservatories in Cagliari and in Rome.
Work.
Works for organ (for teaching purposes).
The cycle for organ is in part constructed with educational intent, aimed at solving problems related to specific subjects of study of the Chair of the Organ and Organ Composition. These are collections of "Fugues for organ" for the study of organ composition, the "Musical Flowers" in the imagery of Frescobaldi, Chorales inspired by Bach, the motets for solo voice and organ, a number of preludes and fugues in various tones (among them the composition for the study of the chromatic scale), and the "24 canonical Variations " for the study and the application of the "Guide to the Canon."
The three sonatas for organ.
Beyond the specific scope of teaching, there are other works aimed at contributing to the literature for the organ. These works are, among others, the three sonatas for organ and the two symphonies for choir and organ. The First Sonata is based on the "Canonical Tables" devised by the author. After the chorale, variations follow: canon on the eighth, canon on the seventh, canon on the second, canon on the sixth, canon on the fourth, canon on the fifth, canon on the third, a prelude to the fugue and finally a fugue. The Second Sonata uses musical mode as well as tonality, at times blending romantic mood with mathematical rationality. The third Sonata adopts the twelve-tone technique and serialism with unscrupulous critical rethinking, solving the alleged hypothetical atonality of the tonal system in a tonal panchromatism.
The Ecumenical Symphony.
The "Ecumenical Symphony" for choir and organ is constructed on the Latin literary text and music of the Introit of the Mass of the first Advent and of the Antifona ad laude of the Ascension Domini, as well as on the German text and music of the Chorale "Our Father" by Martin Luther. The symphony is called Ecumenical because, through the specific musical language and both the Latin and German texts, it surges to a new expressive synthesis of ancient and modern sources to symbolically show the transformation of the aspects of human life into the transcendent reality and unity. The first movement, on the text of the Gregorian Advent, is in the classic form of "first movement of sonata" with equal importance of the organ and the choir. The Gregorian and the Lutheran choral themes match and merge through traditional and nontraditional harmonic procedures, such as non-tonal, modal, polytonal, twelve-tone serial, and so on. The second movement (Adagio), all performed by solo organ, draws on the Antifona of the Ascension, and culminates in a melodic-recitative meditation of variations on the chorale of the Our Father with musical themes on twelve-tone series. The third movement (Vivace) for solo organ expresses a word of contrast, and culminates in the fourth movement (Final) in the form of an organ Fugue in a twelve-tone series, yet emersed in the context of a tonal-polytonal harmonic framework. Here the choir intervenes from time to time by interpolating with the German text of the Our Father, in a mono-rhythmic harmonic form.
The Eucharist Symphony.
The "Eucharist Symphony" starting from the first movement (Fugue for organ) is expressed with musical themes that recur from various technical aspects. There is a gradual process that, starting from the exaggerated and dark (even atonal) chromatism of the first two movements, is resolved in lyrical simplicity and clarity in the third movement, and leads to the triumphant and bright choral meditation in the fourth movement, to represent the mystery of a renewed humanity in the Eucharist. This symphony ends with a finale on the medieval text "Pange Lingua" in 45 variations.
The Fugue for Organ on the Name of BACH.
The Fugue for organ based on the name of Bach, on the scheme B-A-C-H, is a contrapuntal study with chromatic harmony.
Other works for organ.
The above list of works also includes works for organ other than those discussed so far.
Works for choir, orchestra, piano, strings and other instruments.
The Maestro has composed several works for different instruments apart from the organ, such as compositions for strings, quartets, sonatas for violin, piano, orchestra and soloists, etc.
Particularly noteworthy are the "Canticle of Creatures" by St Francis of Assisi Lauda and Drama, music for orchestra, soloists and choir, with text by Jacopone da Todi.
The hymn "Holy Mary, Mother of Peace" was written on express request of the Mayor of Circello, David Nava, author of the literary text, for the Feast of the emigrants in Circello Italy which takes place in early August.
The Rosary Music.
The Rosary Music is the most complex of his works, from the point of views of both size and musical procedures, for choir, solo voices and organ, partly interspersed, music in instrumental choral-symphonic structures, according to the tradition of the Mysteries of the Rosary. A piece of instrumental music for solo organ precedes each mystery as an introduction to the literary texts that follow. Thereafter, there are the songs on the Latin text of the prayer of the Ave Maria, for each mystery, which are expressed in ever-changing combinations and musical procedures. Each cycle of "Mysteries" ends with a symphonic orchestra song that expresses the ideal and technical-musical synthesis of what solo voices and the organ have previously done. The general introduction to the Work includes music for soprano and organ with verses taken from Canto XXXIII of "Paradise" of Dante Alighieri's "Virgin mother daughter of your son".
Theoretical and didactic works.
The Canonical Tables.
These tables are an original mathematical method for the composition of the technique of canons, with examples from 2 to 8 voices.
The Method of Study for the Organ Pedals.
The method, in three volumes, illustrates rational and physical procedures for the acquisition in a few months of a safe and natural technique for playing pedals.
The Rhythm, Tritone, Sound, Word with Music towards Unity.
This study explains in simple terms the basic mysteries of rhythm, tritone, sound, word, time and space underlying the unity of every musical composition.
Concerts.
At the age of seven years, Nazario Carlo Bellandi gave his first violin concerto. In particular, he was a fine scholar and performer of music by J. S. Bach. He also performed the complete works for organ by César Franck.
The following list of concerts given by the Maestro has been reconstructed from the few programs found:
Below are some of the concerts of works composed by Nazario Carlo Bellandi:
Organ construction.
The Maestro built a pipe organ of three keyboards and pedals with 55 registers. He also consulted on pipe organ renovations.
Technical and aesthetic approach.
The technical and aesthetic approach of his works is recognized as characterized by cultural and professional freedom and independence in the research, critical knowledge and practical testing of musical processes. His musical proposal has always tended to reveal, through sounds, human and universal values of life centered in God's unity. He has repeatedly called for educational policy on music to promote a wide and effective movement to go outside of the powers of the existing private and public schools.