ABSTRACT
If La Cena already anticipated Malipiero’s music of the 1930s fairly clearly, it nevertheless did so on a comparatively limited front. His post-1930 style could not fully take shape, in its active as well as its contemplative aspects, until after he had produced two exceptionally important works which stand on the threshold between two decades: they look both backwards and forwards, and – more securely than either Filomela e l’Infatuato or Merlino mastro d’organi – they succeed, on the whole, in getting the best of both worlds. Le aquile di Aquileia (1928) and Torneo notturno (1929) rank among Malipiero’s supreme creations, and together they form the second great peak in his musical development.
