ABSTRACT
Although the works discussed in the two previous chapters all in some degree reflect the transformation which was asserting itself in Malipiero’s music in the years around 1950, not one of them can yet be called wholly characteristic of his final period. For a few years longer, indeed, his music was to continue to have a transitional air (though this was not always necessarily a bad thing for the aesthetic quality of the results); and only in 1955 did the opera Venere prigioniera bring his new language to maturity, thus marking the culmination of a process whose origins can be traced back at least to the mid-1930s. 1
