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Il Kalevala E La Musica Finnica: Da Sibelius a Tuomela

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Il Kalevala E La Musica Finnica: Da Sibelius a Tuomela Conservatorio Statale di Musica “G.B. Pergolesi” – Fermo Progetto Erasmus A.A. 2009-2010 Lezione-Conferenza del prof. Vesa Matteo Piludu Institut for Art research, Faculty of Arts, Musicology, Helsinki University Il Kalevala e la musica finnica: da Sibelius a Tuomela Auditorium Giovedì 27 maggio 2010 ore 16.00-18.30 Venerdì 28 ore 10.00-12.30 Insegnante: Vesa Matteo Piludu Musicologia Dipartimento di Studi Filosofici, Storici, Culturali e Artistici Facoltà Umanistica Università di Helsinki Finlandia Il Kalevala e la musica finnica: da Sibelius a Tuomela Il corso ha un taglio storico e culturale. Tratta di un tema classico della ricerca musicale finnica e italiana: l’ispirazione che i miti hanno avuto sulla musica nazional-romatica. Il caso finnico è particolare, perchè il poema nazionale finnico, il Kalevala, tradotto in italiano da Pavolini nel 1909, ha ancora oggi una importanza fondamentale per la musica contemporanea. La lezione seguirà un percorso cronologico e proporrà numerosi ascolti. Considerando il fatto che Sibelius è il compositore finnico più conosciuto, avrà certamente più spazio. Il Kalevala Notizie generali sulla nascita del Kalevala, poema composto dall’etnografo Elias Lönnrot nel 1835-49. Notizie generali sui canti epici su cui si basa il poema: temi epici, ritmi e melodie di base. L’opinione dei fratelli Grimm sul Kalevala e l’importanza del poema per il movimento indipendentista finnico. Prima di Sibelius L’influenza del romanticismo germanico Temi kalevaliani nelle composizioni di Filip von Schantz (preludio a Kullervo), Fredrik Pacius (la principessa di Cipro) e Robert Kajanus (la marcia funebre di Kullervo, Aino). Il Kalevala di Sibelius (1865-1957) Quasi tutta l’opera di Sibelius è connessa, in una maniera o nell’altra, al Kalevala. In questa lezione tratteremo solo delle composizioni più rilevanti e delle opinioni di Sibelius sulla musicalità del Kalevala. Ascolto e analisi di brani da: - Kullervo (stile ibrido, fra poema sinfonico, cantata, oratorio e opera) – 1892 Kullervo è un eroe tragico, uno schiavo che non consce le sue nobili origini, ma nel profondo sa d’essere eroe. Dopo che viene a conoscenza di avervstuprato la (sconoscuta) sorella, si suiciderà con la spada. L’incontro fra Sibelius e la cantante folclorica Lauri Paraske. L’opinione di Robert Kajanus e Oskar Merikanto su Kullervo. La polemica politica su Kullervo. Ascolto e analisi di brani da: - Lemminkäinen (quattro leggende) 1895 – 1900 – 1939. Lemminkäinen è un eroe complesso: un don giovanni nordico che ha anche profonde conocenze magiche e sciamaniche. Ucciso nel suo viaggio nell’aldilà, sarà resucitato dai canti magici della madre. Il tema piú celebre della tetralogia è il Cigno di Tuonela, magistrale rappresentazione del freddo ade nordico. Le critiche di Flodin e Merikanto su Lemminkäinen. - Op49 La figlia del Nord - 1906 La bellissima, ma oscura, Figlia del Nord è l’oggetto del desiderio dei tre eroi finnici, che compieranno imprese impossibili per conquistarla. La madre, la Signora del Nord, propone gesta che richiedono abilità magiche e sciamaniche: viaggi nell’aldilà e scontri con animali fantastici. L’opinione di Finne su La figlia del Nord. Luonnotar - 1913 Si tratta della versione musicale di un brano del primo canto del Kalevala, che narra della fanciulla che crea il mondo, Luonnotar o Ilmatar (la figlia della Natura o del Cielo). L’ascolto propone la recente interpretazione di Karita Mattila (2000). Tapiola (1925) – opus 112 Quello che venne definito “l’ultimo capolavoro” di Sibelius fu commissionato da Walter Damrosh per la società filarmonica di New York. Si tratta di una magistrale interpretazione del mistero del regno di Tapio, il dio della foresta degli antichi finni. Sibelius lo compose “immerso” nei suoni della foresta di Järvenpää, dove aveva la sua casa estiva, che oggi è un celebre museo dedicato al compositore. Melartin, Madetoja, Merkikanto Erkki Melartin compose il primo capolavoro dell’opera finnica: Aino (1912). Aino era una fanciulla che sarebbe dovuta andare in sposa al vecchio eroe Väinämöinen. Per sottrarsi a questo destino, si getta nelle gelide acque del lago e si trasformerà in un salmone. Melartin interpretò il mito in maniera originale sia dal punto di vista musicale che da quello tematico. L’influenza della mistica teosofica è evidente. Leevi Maadetoja è un altro autore della generazione nazional-romantica. Il suo poema sinfonico Kullervo (1913) rivela l’influenza di Liszt e Tchaikovsky. Sämmön ryöstö (1915), composizione per orchestra, coro maschile e baritono, è basato sul quarantaduesimo Runo del Kalevala, che narra il furto del sampo (un oggetto misterioso, simile al graal) da parte dei tre eroi. Il poema sinfonico Lemminkäinen (1916 ) di Aarre Merikanto è un opera particolarmente ambiziosa che tenta di tradurre in musica l’intero ciclo delle avventure di Lemminkäinen. Uno Klaami e il modernismo: la serie del Kalevala Klaami, nato in un villaggio in Karelia del Sud, vicino all’area in cui i canti kalevaliani erano stati raccolti, è un altro autore che ha fatto del Kalevala un progetto “vitalizio”, cominciato negli anni ’20, a Parigi. La sua opera piú celebre è la serie del Kalevala, composta in più fasi (in particolare 1930-33 e 1943). Il linguaggio musicale di Klaami è però completamente diverso da quello di Sibelius. Klaami ha forti influenze moderniste e primitiviste e l’uso di dissonanze, sfumature cromatiche e cellule ritmiche particolari lo distingue ulteriormente dalla generazione romantica. Einojuhani Rautavaara: la trilogia operistica del Kalevala degli anni ’70 e ‘80 Per Rautavaara, il Kalevala aveva un sostrato più universale, sciamanico. La rilevanza nazionale del poema era già considerata accquisita dalla generazione di Sibelius. Andavano dunque analizzati gli aspetti più antichi e più internazionali. Rautavaara, compositore ancora in attività, ha dedicato al Kalevala una trilogia vocale. La prima opera Marjatta, matala neiti (1975) è incentrata sulle voci femminili e il flauto. Per Rautavaara si trattava di un “mistero finnico” connesso al periodo mediovale, quando il cristianesimo si faceva strada fra le foreste pagane. L’opera Sammon ryöstö (1982) è completamente differente: incentrata sulle voci maschili e i solisti sono i tre eroi maschili del Kalevala. Il coro è sempre presente, ma ha più di una funzione narrativa. Il sampo, il graal finnico, è rappresentato mescolando voci, musica acustica ed elettronica. Thomas (1985) è un’opera ancora più complessa, che narra dello scontro fra la cultura sciamanica e il cattolicesimo in Finlandia. Aulis Sallinen: il Kalevala cinematografico e operistico Aulis Sallinen, altro compositore in piena attività, ha composto la colonna sonora per il film dedicato al Kalevala Rauta Aika (1982). In tutto il film la musica è parte integrante della narrazione. L’opera Kullervo, con l’acclamata prémiere a Los Angeles nel 1992, ha riportato il Kalevala all’attenzione del pubblico internazionale. Sallinen, nonostante sia un compositore proficuo in diversi generi, è conosciuto soprattutto per le sue opere. Il Kalevala del nuovo millennio L’opera kalevaliana più rilevante del nuovo millennio è forse Madri e Figlie (2000) di Tapio Tuomela, che esplora la dimensione femminile del poema, in ombra nel periodo nazional romantico. Il 2009, anno kalevaliano, è stato particolarmente fertile per la produzione di nuove composizioni dedicate al Kalevala, che non cessa di essere una straordinaria fonte di ispirazione anche per la nuova generazione di compositori. .
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