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GIUSEPPE MILLICO Sonate Per Arpa · Canzonette Per Voce E Arpa Duetto Per Arpa E Violino

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GIUSEPPE MILLICO Sonate Per Arpa · Canzonette Per Voce E Arpa Duetto Per Arpa E Violino GIUSEPPE MILLICO Sonate per arpa · Canzonette per voce e arpa Duetto per arpa e violino E D E M K · D N 731303_Booklet.indd 1 28/07/17 16:00 Tactus Termine latino con il quale, in epoca rinascimentale, si indicava quella che oggi è detta «battuta». The Renaissance Latin term for what is now called a measure. k ℗ 2017 Tactus s.a.s. di Gian Enzo Rossi & C. www.tactus.it In copertina / Cover: Jean-Honoré Fragonard (1732-1806) The Fountain of Love, c. 1785 Si ringraziano / Many thanks to Alice Talignani per gli studi e le ricerche su Giuseppe Millico Comune di Voghiera - Delizia di Belriguardo Sound engineer, editing, mastering: Giuseppe Monari English translation: Marta Innocenti L’editore è a disposizione degli aventi diritto 731303_Booklet.indd 2 28/07/17 16:00 www.emanueladegliesposti-harp.com www.mihokamiya.com www.danielanuzzoli.com k Le Sonate per arpa di Vito Giuseppe Millico sono pubblicate dalle Edizioni Ut Orpheus di Bologna a cura di Alice Talignani. The Harp Sonatas of Vito Giuseppe Millico are edited by Alice Talignani, Bologna, Ut Orpheus. k I testi sono disponibili al seguente link / The texts are available on our website: www.tactus.it/testi Codice / Code: 731303 k 1 731303_Booklet.indd 1 28/07/17 16:00 Vito Giuseppe Millico: soave cantore sull’arpa Il nome di Vito Giuseppe Millico è principalmente legato a diverse raccolte di canzonette ed alla sua fama di virtuoso evirato. Che il genere vocale costituisca la parte più cospicua dell’attività compositiva di un cantante non meraviglia; tuttavia, oltre ad essere «uno de’ migliori cantanti de’ tempi suoi», Millico fu anche «eccellente nel sonar l’arpa» (così lo descrive il Marchese di Villarosa in Memorie dei compositori di musica del Regno di Napoli) e non trascurò di comporre sonate per questo strumento. Si può dire che l’arpa costituisca un fil rouge nell’intera produzione del compositore: spesso compare negli organici delle sue opere ed è ad essa che egli primariamente destina l’accompagnamento delle canzonette. Millico nacque a Terlizzi presso Bari il 19 gennaio 1737. Come spesso accadeva nelle famiglie pugliesi di umili condizioni, fu destinato all’evirazione e mandato a studiare canto in uno dei conservatori di Napoli, probabilmente al Sant’Onofrio, dove più tardi tornò ad insegnare armonia e contrappunto. La formazione che vi ricevette non risultò tuttavia adeguata ad intraprendere la brillante carriera per cui la sua virilità era stata sacrificata. Non avendo alternative, Millico si esercitò a tal punto da riuscire a migliorare notevolmente la qualità della sua voce e a passare dal registro di contralto a quello di soprano. Contro ogni aspettativa riuscì quindi ad intraprendere una carriera che lo portò ad esibirsi sulle maggiori piazze d’Europa: dopo il debutto a Roma nel 1757, tappa fondamentale fu il soggiorno a San Pietroburgo quale membro della troupe operistica italiana del teatro di corte, che costituì il suo primo ingaggio a lungo termine (1758-1765) e al ritorno dal quale gli fu attribuito l’appellativo di Moscovita. Ma l’evento cardine della sua vita fu l’incontro con Christoph Willibald Gluck a Parma nel 1769, in occasione dei festeggiamenti per le nozze tra il duca Ferdinando e Maria Amalia d’Austria. Millico interpretò la parte di Anfrisio nel Prologo e quella di Orfeo nell’ultimo atto de Le feste d ’Apollo, parte che fu trascritta per lui nel registro di soprano. Questo primo incontro fu l’inizio di una lunga amicizia che ebbe reciproci influssi sull’attività artistica dei due musicisti, soprattutto durante il soggiorno di Millico a Vienna (1770-1771), ospite in casa Gluck: se da un lato Millico, stimolato dalle idee riformatrici del maestro tedesco, sviluppò quelle grandi doti attoriali ed espressive che, più di quelle virtuosistiche, gli garantirono il successo, dall’altro lato il cantante terlizzese ebbe un certo peso sia quale 2 731303_Booklet.indd 2 28/07/17 16:00 interprete delle opere gluckiane, sia quale modello, vocale ed espressivo, per la creazione di nuovi ruoli, come quello di Paride nel Paride ed Elena (1770). Ritiratosi dalle scene, nel 1780 entrò al servizio della corte di Napoli, dove rimase fino alla morte, che lo avrebbe colto il 2 ottobre 1802. Qui, con la tranquillità garantitagli dall’impiego presso la corte borbonica, Millico si dedicò più seriamente alla composizione, attività con la quale aveva probabilmente cominciato a cimentarsi a Londra (1772-1774). Pur non abbandonando mai il genere delle canzonette, con cui aveva esordito e che costituisce la parte più cospicua della sua produzione, iniziò a misurarsi con generi di più ampio respiro, quali il dramma per musica (particolarmente degni di nota sono La pietà d ’Amore, su libretto di Antonio Lucchesi, e Ipermestra o Le Danaidi, soggetto fornitogli da Ranieri de’ Calzabigi), il dramma sacro e l’azione teatrale. La sua produzione annovera inoltre musica strumentale, sia solistica sia d’insieme: sonate per clavicembalo, preludi e sonate per arpa, duetti per arpa e violino, che egli compose con ogni probabilità a scopo didattico. Per l’insegnamento, sia in ambito vocale che strumentale, pare che egli avesse una rara predisposizione, sperimentata in primo luogo su se stesso una volta uscito dal conservatorio ed abbandonato da tutti gli insegnanti. Il secondo miracolo che gli era riuscito era stato quello di rendere all’ammirazione dell’Europa la voce della nipote di Gluck, Marianna, inizialmente sottovalutata dallo zio. Cominciò e concluse la sua carriera didattica calcando i parquet dell’aristocrazia: a San Pietroburgo aveva ricevuto l’incarico di dare lezioni di clavicembalo allo zarevič Pavel Petrovič, mentre a Napoli furono sue allieve di canto Emma Hamilton e le principesse Borbone Maria Teresa e Maria Luisa. Maria Teresa apprese inoltre da lui a suonare l’arpa, così come la sorella minore Maria Cristina. Il necrologio di Millico riporta tuttavia che, nonostante la cecità che lo aveva colpito negli ultimi anni della sua vita, «non isdegnò pure di occuparsi assiduamente ad istruire chiunque mostrava genio per la Musica, soccorrendo ancora generosamente, chi dalle povertà sarebbe stato impedito di applicarsi a tale studio». La versatilità di Millico è da attribuirsi alla poliedrica formazione ricevuta dai giovani cantanti dei conservatori napoletani, che comprendeva lezioni di strumento e di composizione. Non è chiaro tuttavia in che modo egli avesse imparato a suonare l’arpa, sulla quale si accompagnava nell’eseguire le sue canzonette (l’arpa non entrò a far parte della regolare istruzione 3 731303_Booklet.indd 3 28/07/17 16:00 conservatoriale di Napoli sino alla terza decade dell’Ottocento). È verosimile che egli si fosse formato su di un’arpa ‘viggianese’, tipica della tradizione popolare napoletana, e che solo più tardi, grazie agli ingaggi operistici europei, avesse conosciuto l’arpa a pedali. Le testimonianze dell’epoca lo ricordano nell’atto di cantare accompagnandosi sul suo strumento prediletto e, non a caso, il letterato napoletano Francesco Saverio De Rogati così lo definisce: «maestro di musica, ed uno de’ primi cantori d’Italia sull’arpa». Le sonate per arpa e il duetto per arpa e violino Per le principesse Borbone egli compose le sonate per arpa. Molto eterogenee, la maggior parte di esse è costituita da due soli movimenti piuttosto brevi e bipartiti (di ascendenza scarlattiana). Di andamento contrastante, sono accomunati dalla tonalità. Di una rimane un movimento isolato, mentre altre hanno proporzioni maggiori. In particolare l’undicesima sonata, dedicata alla principessa Maria Teresa, futura imperatrice d’Austria, ha dimensioni piuttosto estese: è costituita da tre movimenti (Larghetto - Allegro - Minuetto), due dei quali si rifanno alla forma-sonata classica bitematica e tripartita, ai quali si aggiunge un movimento di danza. Anche il Duetto è dedicato alla principessa Borbone, pertanto l’arpa non figura come un semplice strumento di accompagnamento, ma ha un ruolo fondamentale nel suo dialogare con il violino. La dodicesima sonata non compare invece tra le raccolte manoscritte di Maria Teresa, bensì in un’edizione a stampa pubblicata a Londra intorno al 1820, diversi anni dopo la morte di Millico. Non è possibile perciò pronunciarsi con certezza riguardo alla sua autenticità. Le canzonette Fu il primo genere con cui Millico si rese noto come compositore, pubblicando la prima raccolta a Londra nel 1774. Le canzonette costituiscono la parte più copiosa della sua produzione e, come dimostra l’ingente numero di manoscritti e stampe giunti fino a noi, circolarono in tutta Europa sotto diverse denominazioni (Aria, Arietta, Barcarola, Canzoncina, Canzone, Canzonet, Canzonetta, Cavatina, Notturno, Romanza, Song) e con variazioni di organico per l’accompagnamento: arpa, clavicembalo, pianoforte o chitarra. 4 731303_Booklet.indd 4 28/07/17 16:00 Che esse però fossero primariamente pensate per l’arpa e che la commutabilità dello strumento avesse il mero scopo di raggiungere un pubblico più ampio, lo dimostra il racconto del pittore ed architetto Johann Christian von Mannlich: nelle sue Mémoires, ricorda una serata a casa di una nobildonna parigina, in cui era stato chiesto a Millico di interpretare alcune delle sue composizioni; egli si era scusato dicendo che non avrebbe potuto eseguirle, dato che non aveva un’arpa a disposizione, strumento al quale aveva destinato l’accompagnamento. Tuttavia, incoraggiato da Gluck, trovò un valido sostituto nel clavicembalo. Oltre ad essere molto apprezzate dai dilettanti nei saloni dell’aristocrazia, grazie alla loro semplicità sia dal punto di vista vocale che strumentale, si dimostrarono molto fruibili anche quali strumenti didattici. Millico compose più di ottanta canzonette, aventi tutte caratteristiche molto simili: una melodia morbida e gradevole anche quando il testo si fa drammatico, un’armonia che si limita a toccare i gradi principali di tonica, sottodominante e dominante, un accompagnamento semplice, che comincia e finisce insieme alla voce, privo di imitazioni, costituito da arpeggi spesso in terzina o accordi consonanti con la melodia.
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