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Articolo Di Antonio Caporaso

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Articolo Di Antonio Caporaso Musica “IL MAESTRINO” DEI MAESTRI: UN SANNITA SULLE NOTE D’EUROPA Nicola Sala, sannita, nativo di Tocco Caudio, fu tra i maggiori protagonisti della scuola musica- le napoletana del ’700. Autore di numerose composizioni, dettò i principi basilari del contrap- punto studiati in tutta Europa. A lui è intitolato il Conservatorio Musicale di Benevento di Antonio Caporaso La musica strumentale ed il melo- dramma ebbero grande diffusione in tutta l’Europa illuminista sino a divenire lo spet- tacolo più popolare ed amato del XVIII secolo. Il melodramma, di sicuro il gene- re che più d’ogni altro dominò in questo secolo - in particolar modo quello italia- no sia d’opera seria che comica -, risultò essere un vero fenomeno di costume oltre ad essere, ovviamente, un importante ca- pitolo culturale. Inoltre, il secondo ven- tennio del Settecento non fu solo quello durante il quale andarono perfezionando- si i meccanismi riformatori del genere, ma fu anche quello che vide fiorire i primi ger- mogli di quel vivaio di musicisti talentuo- si che era la Napoli del Settecento. Proprio tra essi annoveriamo Nicola Sala. Secondo Villarosa1, Fétis e Florimo, egli sarebbe nato in un piccolo villaggio “A chi muore per Dio” Autografo, Biblioteca del Conservatorio Statale di Musica “S. Pietro a Majella” di Napoli, segnatura 20.6.1/7, già presso l’Archivio del Real Collegio di Musica di presso Beneven- S. Sebastiano con la segnatura Musica Religiosa 3061 to; ma mentre il primo lo fa na- dell’antica città di Tocco (Benevento, che molto poveri, crearono uno stile che scere nel 1732, 1915) non avesse precisato esser nato durò a lungo, basato su una scuola di al- gli altri due in- Nicola Sala in Tocco Caudio il 7 aprile tissimo artigianato in cui i più importanti dicano come da- 1713. Non si sa dove e da chi abbia il Sala compositori erano anche insegnanti di se- ta di nascita il ricevuto i primi insegnamenti, ma è certa vero prestigio. 1701. Si sareb- la sua ammissione nel 1732 ad uno dei Nicola Sala era ancora maestrino alla be ancora nel- quattro conservatori napoletani, quello del- Pietà dei Turchini quando compose la sua l’incertezza la Pietà dei Turchini2, ove fu guidato da il- prima opera teatrale, Vologeso. Di que- se il Reve- lustri maestri quali Nicola Fago e Leonardo st’opera sembra non sia restata alcuna trac- rendo Don Leo, divenendo uno dei più dotti epigoni cia né nelle raccolte dei libretti né negli ar- Giuseppe di quest’ultimo. Essendo allievo del cor- chivi musicali, ma è molto probabile la sua Marcarelli so superiore, Nicola Sala fu nominato mae- esecuzione al Teatro Argentina di Roma nella sua strino; tale nomina, secondo la prassi nell’anno 1737. Ma se resta incerta que- Storia dell’epoca, permetteva di impartire lezio- sta rappresentazione romana, dall’enci- ni agli allievi dei corsi inferiori affiancan- clopedia di Lavignac4 si apprende che ta- do, e talvolta sostituendo, i maestri titola- le opera fu rappresentata nel 1739 al Teatro ri. Nello stesso istituto continuò l’attività novo da Rua dos Condes di Lisbona. Ciò didattica come secondo maestro dal 1787 dimostra la fama di Sala, così come altri succedendo a Fago e, come primo mae- musicisti della scuola napoletana, oltre i stro, ossia insegnante titolare dal 1793, in- confini nazionali. Purtroppo, fino al 1761, carico che svolse fino a due anni prima anno della rappresentazione della Zenobia Una immagine di Nicola Sala, olio su tela di Ciro Punzo (Napoli 1850-1911), Napoli, della sua morte avvenuta il 31 agosto del al Teatro San Carlo di Napoli, Nicola Sala Conservatorio Statale di Musica “S. Pietro a 18013. I conservatori napoletani, in cui stu- non compose alcuna opera teatrale, pro- Majella”, particolare diavano giovani molto talentuosi ma an- babilmente perché votato alla didattica per LA PROVINCIA SANNITA 35 Musica la quale sentiva una maggiore inclinazio- vimento di riforma ebbe uno dei suoi pun- seo ha digitalizzato e messo on line l’im- ne. Nel 1760, infatti, l’impresario del Reale ti di forza iniziali in Apostolo Zeno menso carteggio appartenente a padre Teatro di San Carlo, D. Gaetano Gros- (Venezia 1668 - 1750) il quale, approda- Giovan Battista Martini (1706-1784), teo- satesta, chiese al Re che una nuova opera to alla prestigiosa corte viennese, lanciò le rico, didatta e compositore, una delle fi- venisse commissionata a Nicola Sala; ma sue idee riguardanti soprattutto le caratte- gure di spicco nell’Europa del Settecento. il ritorno del sannita alla composizione tea- ristiche del libretto. Ma la riforma propo- All’interno si trova l’unica lettera auto- trale non avrebbe potuto trovare che l’in- sta da Zeno acquisì una fisionomia più pre- grafa finora conosciuta di Nicola Sala con vidia dei concorrenti e dubbi sulla buona cisa grazie all’opera del suo successore a la quale, il 29 giugno del 1759, egli scri- fattura della musica, quindi, sulla buona Vienna, Pietro Metastasio (Roma 1698 - veva a padre Martini allegando un paio di riuscita. Gli intrighi e le influenze varie, Vienna 1782), indubbiamente il più gran- sue brevi composizioni - un piccolo can- fecero sì che a Nicola Sala venisse affida- de librettista del Settecento. La stragran- to fermo ed un canonetto - e chiedendo to, appunto, il libretto metastasiano della de maggioranza dei musicisti di questo se- anche un consiglio professionale. Zenobia che quattro anni prima era anda- colo musicò i libretti dei due poeti, e così Della produzione operistica di Nicola ta in scena allo stesso teatro musicata da fu anche per i compositori di scuola na- Sala si conosce quanto segue: Piccinni riscuotendo esito trionfale. poletana. Lo stesso Nicola Sala, dopo il Vologeso (A. Zeno), opera seria, Roma Secondo le aspettative dei compositori con- successo ottenuto dalla Zenobia, compo- Teatro Argentina, 1737 correnti, Sala avrebbe dovuto soccombe- se altre due opere per il Teatro San Carlo, Prologo, per la nascita del Re di Napoli, re, ma così non fu. Anzi, l’opera incontrò il Demetrio di Metastasio, andato in sce- 1761 un’approvazione tale da indurre Gros- na il 12 dicembre del 1762 e la Merope su Arie nell’Attilio Regolo di Jommelli, satesta, che conosceva Sala anche come libretto di Zeno, la cui prima rappresenta- Napoli Teatro San Carlo, 1761 gran virtuoso, a proporlo al Re per l’anno zione avvenne il 13 agosto del 1769. Zenobia (P. Metastasio), opera seria, seguente per “regolare e dirigere” l’Attilio La musica di Nicola Sala, oggi conser- Napoli Teatro San Carlo, 12 gennaio 1761 Regolo dell’assente Jommelli. La Giunta vata in forma manoscritta presso il Va ti consola addio, duetto per 2 so- dei Teatri appoggiò l’idea dell’impresario Conservatorio Statale di Musica “S. Pietro prani con violini, viola e basso continuo facendo notare che: “…essendo il Sala un a Majella” di Napoli, proviene dalla bi- dalla Zenobia Maestro di Cappella di molto merito e ri- blioteca del Real Collegio di Musica di S. Prologo, per la nascita del Re, Napoli, conosciuto anche per tale dal Publico, Sebastiano della stessa città, istituito nel 1763 mercè la musica da lui fatta nella Zenobia, 1806 quando venne disposta la fusione dei Demetrio, (P. Metastasio), opera seria, che può dirsi l’unica opera che sia pia- due ultimi Conservatori napoletani, quel- Napoli Teatro San Carlo, 12 dicembre ciuta a Napoli nello scorso anno, credia- lo della Pietà dei Turchini - dove già nel 1762 mo che possa farsi presente a S.M., non 1791 era stata fondata la biblioteca - e quel- Il Giudizio d’Apollo (G. Fenizia), sere- meno il merito e il valore del Sala che la lo di Santa Maria di Loreto a Capuana. nata, Napoli Teatro San Carlo, 1768 probabile speranza d’incontrare il gradi- Nel 1826 il Real Collegio, quindi anche la Merope (A. Zeno), opera seria in tre at- mento del Publico”. biblioteca, fu trasferito nella sede attuale ti, Napoli Teatro San Carlo, 13 agosto 1769 Il tipo d’opera settecentesco era il ri- del “S. Pietro a Majella” conservando ta- La bella eroina, prologo, Napoli Teatro sultato di quell’idea di razionalizzazione le denominazione fino al 1889 quando San Carlo, 13 agosto 1769 cominciata sul finire del Seicento e divul- l’istituto riprese il titolo di “Conservatorio”. Giuditta ossia La Betulla liberata (P. gata negli ambienti letterari di tutta Italia Ma, oltre alla musica manoscritta, sappia- Metastasio), oratorio in due parti, Napoli dall’Accademia dell’Arcadia che esigeva no di una lettera del musicista sannita che 1780 la semplificazione anche nel campo della si trova presso il Museo Internazionale e Arie, otto delle quali con violini, viola letteratura melodrammatica. Questo mo- Biblioteca della Musica di Bologna. Il mu- e basso continuo ed altre con più strumenti. Lettera autografa di Nicola Sala, Segnatura I.23.44, per gentile concessione del Museo Internazionale e Biblioteca della Musica di Bologna, proprietario del materiale riprodotto 36 LA PROVINCIA SANNITA Musica Ma Nicola Sala fu compositore profi- Solfeggi per voce di soprano e per vo- L’edizione francese conteneva delle ag- cuo anche nel genere sacro: ce di basso col solo basso, 1778 giunte e dei miglioramenti aventi preva- Messa in Fa a 4 voci e orchestra Partimenti Volume Primo lentemente lo scopo di chiarire alcuni pas- Messa in Mi a più voci Regole del contrappunto pratico, 1794 si dell’opera stessa, senza mutare in mini- Introduzione alla Messa in Sib a 4 vo- Il modo di far la fuga a due voci per li ma parte ciò ch’era stato fatto dall’autore. ci e strumenti studiosi scolari Tale opera risulta essere di notevole im- Justus ut palma florebit per 4 voci a can- Il modo di disporre a tre so- portanza proprio perché con- to fermo in Do pra la scala diatonica tiene quel contrappunto dop- O quam pulchra Disposizioni a tre per in- pio tradizionale che poteva es- Quem pulchi sunt troduzione alle fughe di tre sere messo in luce racco- In memoriam aeterna a 4 voci e vio- parti gliendo dai vecchi maestri.
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