next opera, Giulio Cesare, to Mussolini, but this did not help him. He was a professor of composition at the Parma Conservatory from 1921 to 1924. In 1932 he became professor of composition at the then Venice Liceo Musicale, which he directed from 1939 to 1952. Among others, he taught Luigi Nono and his own nephew Riccardo Malipiero. After permanently settling in the little town of Asolo in 1923, Malipiero began the editorial work for which he would become best known, a complete edition of all of Claudio Monteverdi's oeuvre, from 1926 to 1942, and after 1952, editing much of Vivaldi's concerti at the Istituto Italiano Antonio Vivaldi. Compositions Malipiero had an ambivalent attitude towards the musical tradition dominated by Austro-German composers, and instead insisted on the rediscovery of pre-19th-century Italian music. His orchestral works include seventeen compositions he called symphonies, of which however only eleven are numbered. The first was composed in 1933, when Malipiero was already over fifty years old. Prior to that, Malipiero had written several important orchestral pieces but avoided the word "sinfonia" (symphony) almost completely. This was due to his rejection of the Austro-German symphonic tradition. The only exceptions to that are the three compositions Sinfonia degli eroi (1905), Sinfonia del mare (1906) and Sinfonie del silenzio e della morte (1909–1910). In such early works, the label "symphony" should not, however, be interpreted as indicating works in the Beethovenian or Brahmsian symphonic style, but more as symphonic poems. When asked in the mid-1950s by the British encyclopedia The World of Music, Malipiero listed as his most important compositions the following pieces: Pause del Silenzio for the orchestra, composed in 1917 Rispetti e Strambotti for string quartet, composed in 1920 L'Orfeide for the stage, composed between 1918 and 1922, and first performed in 1924 La Passione, a mystery play composed in 1935 his nine symphonies, composed between 1933 and 1955 (he would compose additional symphonies in the years after this list was made) He regarded Impressioni dal vero, for orchestra, as his earliest work of lasting importance. Musical theory and style Malipiero was strongly critical of sonata form and, in general, of standard thematic development in composition. He declared: {{cquote |As a matter of fact I rejected the easy game of thematic development because I was fed up with it and it bored me to death. Once one finds a theme, turns it around, dismembers it