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Vittorio Rieti Franco Carlo Ricci Vittorio Rieti www.liberliber.it Questo e-book è stato realizzato anche grazie al sostegno di: E-text Web design, Editoria, Multimedia http://www.e-text.it/ QUESTO E-BOOK: TITOLO: Vittorio Rieti AUTORE: Ricci, Franco Carlo TRADUTTORE: CURATORE: NOTE: Si ringrazia l'Autore per avere concesso di diritti di pubblicazione. DIRITTI D'AUTORE: sì LICENZA: questo testo è distribuito con la licenza specificata al seguente indirizzo Internet: http://www.liberliber.it/biblioteca/licenze/ TRATTO DA: “Vittorio Rieti”, di Franco Carlo Ricci - Napoli ; Roma, Edizioni Scientifiche Italiane, 1987 - 558 p., [20] c. di tav. : ill. ; 24 cm. - Collezione “La musica e la danza”. CODICE ISBN: non disponibile 1a EDIZIONE ELETTRONICA DEL: 1 ottobre 2009 INDICE DI AFFIDABILITA': 1 0: affidabilità bassa 1: affidabilità media 2: affidabilità buona 3: affidabilità ottima 2 ALLA EDIZIONE ELETTRONICA HANNO CONTRIBUITO: Sara Crestini Franco Carlo Ricci REVISIONE: Marco Calvo, http://www.marcocalvo.it/ Sara Crestini Franco Carlo Ricci PUBBLICAZIONE: Alberto Barberi, http://www.e-text.it/ Informazioni sul "progetto Manuzio" Il "progetto Manuzio" è una iniziativa dell'associazione culturale Liber Liber. Aperto a chiunque voglia collaborare, si pone come scopo la pubblicazione e la diffusione gratuita di opere letterarie in formato elettronico. Ulteriori informazioni sono disponibili sul sito Internet: http://www.liberliber.it/ Aiuta anche tu il "progetto Manuzio" Se questo "libro elettronico" è stato di tuo gradimento, o se condividi le finalità del "progetto Manuzio", invia una donazione a Liber Liber. Il tuo sostegno ci aiuterà a far crescere ulteriormente la nostra biblioteca. Qui le istruzioni: http://www.liberliber.it/sostieni/ 3 Sommario Sommario 4 Premessa 8 La formazione...........................................................11 L’incontro con Diaghilev..........................................46 Dopo Diaghilev.........................................................90 L’esperienza parigina................................................97 Il trasferimento negli Stati Uniti.............................123 Don Perlimplin.......................................................161 Gli anni cinquanta...................................................177 The Clock...............................................................225 Gli anni sessanta.....................................................240 Fino alla soglia dei novant’anni..............................263 Appendici 299 I CONVERSAZIONI CON VITTORIO RIETI..................................................300 Ravel...................................................................301 Poulenc e il «Gruppo dei Sei»............................303 Max Jacob...........................................................307 Christian Bérard..................................................308 Diaghilev............................................................309 Stravinsky...........................................................315 Prokofiev............................................................324 Schönberg...........................................................325 Berg....................................................................329 4 De Chirico..........................................................331 Cagli...................................................................332 Carlo Levi...........................................................335 Mirò....................................................................336 Monteux..............................................................338 Toscanini e Mitropulos.......................................339 Anserment...........................................................341 Balanchine..........................................................342 De Falla..............................................................345 Casella................................................................346 Respighi..............................................................347 Pizzetti................................................................348 Hindemith e Weill...............................................349 Nikolas Nabokov................................................351 Varèse.................................................................352 Rieti....................................................................353 II LETTERE DI E A VITTORIO RIETI....................357 Lettere ad Alfredo Casella..................................359 Lettera a Casella di Romain Rolland..................367 Lettere a Luigi Dallapiccola...............................368 Lettere a Sergej Diaghilev..................................410 Lettera a Manuel De Falla..................................419 Lettera a Louis Jouvet.........................................421 Lettere a Mario Labroca.....................................423 Lettere a Paola Masino.......................................432 Lettere a Darius e Madeleine Milhaud...............454 Lettere a Claire Nicolas White...........................479 Lettera a Marc Pincherle.....................................483 5 Lettere a Jacques Rouché...................................485 Lettere a Henri Sauguet......................................497 Lettere di Henri Sauguet a Rieti.........................516 Lettere di Igor Stravinsky...................................523 Lettera di Toscanini a Rieti.................................552 III SCRITTI DI VITTORIO RIETI.............................553 Le caratteristiche della cattiva musica................554 Tributo a Stravinsky...........................................571 Teresa nel bosco..................................................573 Cataloghi.................................................................592 Catalogo generale in ordine cronologico............593 Catalogo delle opere secondo il genere musicale ............................................................................647 Bibliografia.........................................................659 Discografia.........................................................673 Apparato iconografico............................................681 6 Franco Carlo Ricci Vittorio Rieti A quanti mi sono cari ed ho sacrificato per scrivere questo libro 7 Premessa «Mi eseguono poco ma in tutto il mondo»: con queste semplici espressioni Rieti è solito riassumere, significativamente, il grado di conoscenza e di diffusione della sua musica che, se non ha mai mancato infatti di suscitare consensi, a volte anche ampi, nei pubblici più diversi – il suo balletto The Night Shadow, con la coreografia di Balanchine, ha già superato le duemila rappresentazioni – a tutt’oggi però non è stata studiata, com’era lecito attendersi, dagli storici della musica limitatisi ad indicarla genericamente come espressione, anche se personale, di una certa stagione del neoclassicismo. Strano destino per un musicista che pure fu eseguito ed apprezzato da Casella, Reiner, Mengelberg, Mitropulos, Stokowski, Kubelik, Molinari, Toscanini e, nella realizzazione scenica dei suoi lavori, ebbe la collaborazione di Cagli, De Chirico, De Pisis, Utrillo, Léger per le scene ed i costumi e di Balanchine per le coreografie! Per non dire dei balletti Barabau e Le Bal, gli unici su musiche originali commissionati da Diaghilev ad un italiano per i Ballets Russes! Ho conosciuto Rieti per caso, prima della sua musica, alla quale mi sono in un secondo momento accostato, inizialmente per curiosità, poi con interesse crescente a mano a mano che ne andavo scoprendo la 8 freschezza, l’autenticità, lo stile che egli ha saputo serbare intatti, nell’ampio arco della sua creatività, senza lasciarsi condizionare dai suoi grandi contemporanei tra i quali è sufficiente ricordare Stravinsky, Prokofiev, Hindemith, Schönberg, Ravel, Varèse, Poulenc, Milhaud, De Falla, Casella, Respighi, con la maggior parte dei quali fu anche in rapporti di profonda amicizia. Non è stato facile scrivere questo libro sia per la mancanza assoluta di studi su Rieti – salvo qualche breve saggio su alcuni suoi balletti – che mi fossero di conforto nelle analisi e nelle valutazioni, o almeno le mettessero in dubbio, sia per la necessità di compiere ricerche a Parigi ma soprattutto a New York dove ho avuto anche una lunga ed indimenticabile frequentazione con il musicista. Il lavoro si articola sostanzialmente in due parti: la prima è dedicata alla vita ed alle opere di Rieti, l’altra ai documenti, in particolare alle lettere da lui scritte e ricevute, quasi tutte inedite. Il racconto biografico è contestuale all’analisi delle composizioni per seguire il più possibile da vicino lo svolgimento naturale della vita dell’uomo e dell’artista. Se gli anni fino al 1940 sono di gran lunga più ricchi di notizie e di dati che non il successivo periodo americano, dipende non solo dal fatto che fino ai quarant’anni l’esistenza di Rieti è stata più vivace e densa di avvenimenti ma anche dalla sua riluttanza a far conoscere le successive vicende private che, a suo 9 giudizio, non hanno avuto incidenza rilevante sull’attività creativa. Credo non sia inopportuno anche ricordare che ho rivisto l’intera materia con il musicista con il quale ho avuto la possibilità di definire non pochi particolari. Non posso per questo che ringraziarlo vivamente così come gli sono molto grato per aver messo a mia disposizione l’archivio personale ed avere comunque reso più agevole il mio studio. Ringrazio ancora sentitamente la Public Library – Music Division, Lincoln Center – di New York, la Bibliothèque
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