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Francesca Berlinzani Aristonothos 1, 2007

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Francesca Berlinzani Aristonothos 1, 2007 Aristonothos 1, 2007 STRUMENTI MUSICALI E FONTI LETTERARIE Francesca Berlinzani “Tutta l’affascinante storia millenaria della tromba narra del lento e faticoso tentativo umano, pienamente riuscito solo in epoca molto recente, agli inizi dell’Ottocento, di "addomesticare" questa terribile creatura sonora ultraterrena dai molti nomi (hasosrah, lur, šofar, salpinx, tuba, buccina) e dalle molte forme (diritta, ricurva, ritorta a spirale con campana più o meno svasata) che, fino al Medioevo e oltre, ebbe l’esclusivo incarico di presiedere alle cerimonie sacre o di incitare i guerrieri in battaglia producendo segnali, ma non musica. Tentativo di addomesticamento che passò attraverso l’ingegno dell’uomo: impiego di una tecnica costruttiva sempre più raffinata e di sofisticati marchingegni atti ad addolcirne la voce, a facilitare in essa l’emissione del suono, ad alleggerirne il peso e la struttura, ad aumentarne la maneggevolezza e soprattutto ad ampliarne la gamma sonora, per far sì che, da strumento-segnale, si trasformasse in strumento musicale vero e proprio, utilizzabile, come gli altri, nell’ambito delle più svariate formazioni orchestrali.” Cristiano Veroli Presentazione - La questione terminologica - Gli inventori - Polivalenze - Belli instrumentum : Salpinx e guerra nel mondo greco; Lituus e guerra nelle fonti latine. Un nesso reale? - Agoni e feste. Certaminis instrumentum - Instrumentum musicae - Suggellare il patto. Instrumentum sacrum - Aspetti formali, materiali, sonorità e simboli - Forma della tromba-lituo e richiami simbolici - Materiali, trasformazioni e artefici - Sonorità - Etruschi e strumenti a fiato - Conclusioni. Presentazione A fronte del lavoro di analisi condotto sulla più significativa tromba- lituo etrusca, rinvenuta nel deposito votivo del ‘complesso sacro-istituzionale’ di Tarquinia ad opera di Maria Bonghi Jovino, il presente studio si ripromette di raccogliere le testimonianze letterarie greco-latine inerenti allo strumento musicale ricordato dalle fonti con il nome di lituo, o più in generale agli strumenti a fiato senza ancia (la famiglia delle trombe), cui il lituo organologicamente appartiene, al fine di tracciarne la ‘fortuna’ e le 11 Aristonothos 1, 2007 rielaborazioni simboliche e funzionali entro il tessuto letterario e l’immaginario degli scriventi1. Si tratta dunque di percorrere un cammino preliminarmente ‘parallelo’ rispetto a quello indicato dai ‘litui archeologici’ di area etrusca, in particolare quello tarquiniense. Possiamo pertanto distinguere già in via introduttiva il ‘lituo archeologico’, frutto dei rinvenimenti e pregnante coefficiente di un inequivocabile complesso di elementi, dai ‘litui letterari’, evidenziando eventualmente i punti di contatto tra queste diverse entità concettuali2. Poiché le tracce letterarie dello strumento musicale denominato lituo risultano più discontinue e cursorie di quelle pertinenti ad altri organa antichi, l’indagine ad esse relativa deve aprirsi all’intera classe delle testimonianze in lingua greca inerenti alle trombe, aerofoni “senza ancia” dotati di un bocchino. Tale esigenza è motivata sia dalla natura stessa delle notizie antiche, che spesso offrono riferimenti generali (nonché generici) sull’intera famiglia degli aerofoni, sia, come vedremo, dalle discrepanze linguistiche e terminologiche tra il nome latino dello strumento, lituus o lituum3, e gli eventuali ‘adattamenti’ linguistici greci. Alla sostanziale indeterminatezza con cui le trombe, ed ancor più il lituo, ripercorrono le pagine degli autori greci, fa da pendant, nei testi latini, un altro e diverso tipo di difficoltà. Come ha provato Meucci in una serie di contributi, gli scrittori latini menzionando il lituus realizzano spesso una, volontaria o meno, trasposizione sinonimica, uno slittamento semantico che rende estranee al problema molte testimonianze apparentemente pertinenti. Per favorire la fruibilità del presente studio, si è scelto di presentare le fonti antiche relative alle trombe nel mondo antico secondo un criterio tematico, raccogliendo le attestazioni greche e latine sulla base degli argomenti relativi allo strumento in esse contenuti. Questa procedura 1 Sull’interpretazione della tromba-lituo entro l’articolato contesto archeologico dell’area della Civita, rinvio agli importanti contributi, incluso quello qui presente, dello scavatore, BONGHI JOVINO, alla cui esegesi sono ampiamente debitrice. Le eventuali discrepanze tra le fonti letterarie argomento della presente ricognizione e la situazione che il rinvenimento di Tarquinia illumina sono da ritenere, come vedremo, il frutto della prospettiva, lontana cronologicamente e spesso anche concettualmente, degli scrittori antichi. 2 Sulla forma e sulle caratteristiche organologiche, cfr. ultra, pp. 50 ss. 3 Il sostantivo è declinato al genere neutro in Serv. in Verg. Aen. 7, 187, mentre nelle altre fonti latine ricorre il genere maschile. Al neutro sono anche il calco greco di Lyd. Mens. 4, 73 (cfr. ultra, p. 45), l’eventuale emendazione di una crux in Sch. Hom. Il. 18, 219 (cfr. ultra, pp. 19 e segg), nonché i riferimenti plutarchei non allo strumento musicale bensì al bastone di Romolo (cfr. ultra, p. 16, n. 9). 12 Aristonothos 1, 2007 comporta talora la reiterazione di alcune testimonianze in più punti dello scritto, ma ha il vantaggio di offrire un’agile panoramica dei temi essenziali toccati dalla prospettiva antica e moderna sull’argomento. Quando la diversa qualità documentaria delle fonti greche e di quelle latine lo ha richiesto, si è optato di trattare separatamente i due ambiti. In altri casi, è parso preferibile esporre insieme le testimonianze greche e latine, soprattutto laddove le une attestino di usi e costumi musicali relativi all’altra civiltà. Infatti, sia la meccanica separazione linguistica tra le fonti, così come la mera rassegna comune, non avrebbero permesso di saggiare asimmetrie e convergenze culturali, non soltanto terminologiche, che, nell’uso e nella percezione delle trombe, si rintracciano tra il mondo ellenico e quello latino. L’analisi prende avvio dal tema più trattato dagli scrittori greci e latini in merito agli aerofoni privi di ancia: quello degli inventori, identificati, soprattutto nella ricca e variegata tradizione greca, ora con una popolazione ora con singole personalità. In questo caso, il vaglio delle testimonianze deve confrontarsi con fenomeni complessi e di difficile scomposizione, frutto talvolta dell’intersezione tra aggregati narrativi di diversa origine, talaltra espressione di tradizioni inconciliabili. Meno intricata appare invece la seconda sezione, concernente la disamina delle valenze, simboliche e reali, della salpinx entro la tradizione letteraria greco-latina, disamina da cui emerge l’idea che tali rappresentazioni si intreccino con la sonorità dello strumento, con le sue funzioni pratiche, con aspetti formali e richiami analogici. In tale orizzonte sono state enucleate alcune testimonianze che paiono più direttamente implicate con il lituus. Seguono quindi alcune considerazioni generali sugli aspetti più propriamente organologici della tromba-lituo: forma, materiale e sonorità dello strumento. Ciascuno di tali fattori è stato osservato anche secondo una prospettiva più ampia, comprendente anche alcune indicazioni di antropologia musicale, al fine di ampliare il panorama interpretativo, ma senza pretese di conclusività. Si trovano infine riunite in un paragrafo le indicazioni antiche concernenti usi e funzioni degli strumenti a fiato nel mondo etrusco, nell’intento di mettere a confronto la valenza pratica e simbolica degli aerofoni in quella civiltà, come attestata dalle fonti letterarie, rispetto alla realtà messa in luce dai ritrovamenti archeologici. A questa più estesa parte relativa allo strumento musicale, fa seguito un rapido accostamento, operato sulla base delle notizie antiche, con il lituus bastone degli auguri, espressione di un potere di derivazione divina e riconosciuto dalla collettività. Come si è rilevato poc’anzi, la premessa indispensabile per una corretta stima delle testimonianze consiste nella presa di coscienza dei vari gradi e delle varie forme di distanza (geografica, culturale e temporale) tra le 13 Aristonothos 1, 2007 fonti a nostra disposizione, e gli strumenti o gli usi musicali (o ‘para- musicali’, quando più latamente implicati con la mera dimensione sonora) che esse descrivono. La lontananza tra le notizie pervenute fino a noi e la realtà oggetto dell’indagine, lontananza propria di quelle civiltà, quale è l’etrusca, per cui non disponiamo della possibilità di fruire ampiamente di testi diretti, rende necessario prendere atto dei problemi di deformazione interpretativa e culturale operati dai ‘tramiti’ letterari disponibili, valutandoli alla luce delle evidenze archeologiche e dei dati materiali, strumenti di un indispensabile confronto. Tuttavia, va messo in rilievo che l’’obliquità’ testimoniale delle nostre fonti non solo costituisce l’eloquente spia della loro stessa prospettiva, ma anche può gettare qualche luce, in virtù dell’inattuabile osmosi tra orizzonti mentali e culturali differenti, su reali prassi del mondo etrusco. Laddove le testimonianze letterarie - cronologicamente e spesso anche contestualmente irrelate al dato archeologico - , non mettono in rilievo forme e concezioni sempre congruenti rispetto a quelle evidenziate dall’eloquente ambito di ritrovamento del lituo tarquiniense, possiamo credere che esse rivelino variazioni d’uso e di rappresentazione mentale occorse allo strumento nel tempo. Le divergenze tra
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