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Gli Orazi (C. Guastalla), Milan, 1941; L’organo di bambù (G. Artieri), Venice, 1955; I Shardana (Porrino), Naples, 1959.
Tartarin de Tarascon, 1932; Sardegna, 1932; 3 canzoni italiane, 1937; Sonata drammatica, 1947; Nuraghi, 1952; Concerto dell’Argentarola (guitar/orchestra), 1953; Sonar per musici, 1959; Concertino for trumpet and orchestra.
Altair (ballet), Naples, 1942; Mondo tondo (ballet), Rome, 1949; Il processodi Cristo (oratorio), 1949; Preludio, Aria e Scherzo (for trumpet).
Italian composer. He studied composition with Dobici and Mulé, took a diploma at the Rome Conservatory in 1932, and then attended a course under Respighi. After teaching at the conservatories of Rome and Naples, he was appointed director of the Cagliari Conservatory in 1956. The character of his music is Respighian: there is an indulgent use of illustrative color and a nationalistic rhetoric. A supporter of Salós Facist republic, he wrote for it the "Inno dei legionari" performed in Venice in 1945.
Source: The New Grove Dictionary of Music and Musicians, 1980, Volume 15
He was conductor and composer. His master was Respighi. His first compositions were the Ouverture "Tartarin de TarascoN" and the symphonic poem "Sardegna"; in all compositions wen can see the presence of the hand of his master Respighi. After this first experience he defined his style: a mix between the Gregorian Chant and the Popular Sardinian Chant. Among his compositions we can recall "Gli Orazi" (1941), "L’Organo di Bambu’" (translated: the bamboo organ) (1955), "I Sharadana" (1959), the primitive sardinian dances for orchestra "Nuraghi" (1952), "La Sonata Drammatica" (translated: the drammatic sonata) (1947) for piano and orchestra and the oratorio "Il Processo di Cristo" (1949).