GUIDA ALLA MUSICA DA CONCERTO IL REPERTORIO PER SOLISTA E ORCHESTRA a Cura Di Claudio Bolzan

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GUIDA ALLA MUSICA DA CONCERTO IL REPERTORIO PER SOLISTA E ORCHESTRA a Cura Di Claudio Bolzan Le Guide Zecchini GUIDA ALLA MUSICA DA CONCERTO IL REPERTORIO PER SOLISTA E ORCHESTRA a cura di Claudio Bolzan presentazione di Roberto Prosseda Premessa Presentazione di ROBERTO PROSSEDA Il repertorio cosiddetto ‘‘concertante’’ ha da sem- acume critico e dovizia di particolari ripercorre pre occupato un posto particolare nelle preferenze l’evoluzione delle forme concertanti nell’arco di del pubblico, in virtu` del rapporto dialettico che si ben 500 anni. crea tra il solista e l’orchestra, unendo l’elemento Ilpregiodiquestovolumevabenoltrelasuaen- virtuosistico alla ricchezza della scrittura sinfonica. ciclopedica completezza: se, da un lato, e`certa- Non e` un caso, del resto, che la forma del Concer- mente considerabile un catalogo molto esauriente to sia stata protagonista della storia della musica del genere concertante, al contempo esso rappre- per vari secoli, attraversando numerosi ambiti stili- senta un prezioso strumento per migliorare l’espe- stici e assumendo di volta in volta specifiche con- rienza di ascolto, sia dal vivo, sia su disco, grazie ai notazioni estetiche e formali. numerosi e precisi cenni sulle ambientazioni La presente Guida e` la prima pubblicazione in ita- espressive e sulle proprieta` stilistiche di ciascun liano che abbraccia in modo cosı` completo questo brano trattato. A tale proposito, sono di grande tipo di repertorio. Tra le oltre mille voci qui trat- utilita` i riferimenti discografici, che fanno tesoro tate non troviamo soltanto i Concerti propriamen- dell’imponente archivio della rivista MUSICA. te detti, ma anche tante altre composizioni concer- Questo libro occupa gia` un posto fondamentale tanti, ciascuna corredata di preziose informazioni nella mia personale biblioteca, nella collocazione utili sia al professionista del settore che all’ascolta- piu` vicina al pianoforte, pronto per essere consul- tore meno esperto. tato quotidianamente. E non mi e` difficile immagi- Grazie alla trasversalita` dell’argomento trattato, la nare che molti altri ne faranno un uso altrettanto Guida fornisce anche una visione di vasto respiro assiduo, scoprendo come possa rendere ancora su vari aspetti della storia della musica, come e` piu` consapevole e gratificante l’ascolto della gran- evidente nell’ampio capitolo introduttivo che con de musica. V Premessa Avvertenze del curatore Nella stesura di questa nuova Guida alla musica da spetto a quella degli altri generi trattati, offrendo concerto ho seguito, in linea di massima, l’imposta- comunque una trattazione senz’altro ‘‘sintetica’’, zione della precedente Guida alla musica da came- ma, almeno spero, non superficiale. Va sottolinea- ra, soprattutto per quanto riguarda il linguaggio to, al riguardo, che l’ampiezza delle singole schede adottato, il taglio delle schede destinate ai singoli non e` direttamente proporzionale all’importanza compositori e le inevitabili esclusioni dovute al nu- dei musicisti e delle opere: anzi, in diversi casi e` mero elevatissimo di musicisti (soprattutto sette- stato necessario ampliare il profilo dei ‘‘minori’’ centeschi) dediti ai generi concertanti. Anche in (o, comunque, dei ‘‘meno noti’’), allo scopo di ov- questo caso ho cercato di tener conto sia del letto- viare alle carenze (o ai vuoti) della bibliografia in re tecnicamente agguerrito in ambito musicale, sia lingua italiana (ove, peraltro, mancano testi e mo- del semplice appassionato, dotato comunque di nografie aggiornate anche per alcuni dei personag- un’adeguata preparazione musicale, in grado di gi piu` significativi). comprendere un testo nel quale inevitabile e`stato Rispetto alla Guida alla musica da camera, ove, per il ricorso ad alcuni specifici termini tecnici (mono- motivi di spazio, si era resa necessaria l’esclusione dia, polifonia, contrappunto, armonia, tonalita`, di non pochi musicisti (pur salvaguardando quelli modulazione, dissonanza, accordo, arpeggio, ecc.). compresi negli attuali repertori concertistici e di- Anche in questo caso, insomma, la via della ‘‘sem- scografici), qui i tagli sono stati meno drastici, nel- plicita`’’ non poteva corrispondere a quella della l’intento di offrire uno spazio adeguato agli espo- ‘‘facilita`’’ (o, peggio, della ‘‘genericita`’’), dato che nenti di alcune epoche cruciali nell’evoluzione dei anche la trattazione piu` semplice e lineare non po- generi concertanti: cosı` ho voluto che fosse dedi- teva prescindere da alcune conoscenze di base, al- cato un’ampia ed articolata trattazione ai composi- lo scopo di evitare le ambiguita` e le eccessive ap- tori settecenteschi (appartenenti alle piu` diverse prossimazioni. Per questo si e` ritenuto necessario aree geografiche), compresi i figli di Johann Seba- includere un’ampia introduzione tesa a fornire un stianBach(esclusidallaGuida precedente), dato quadro dettagliato dell’evoluzione storico-stilistica che il Settecento e` stato il secolo nel quale il con- deigenericoncertantiedeimovimentiartisticiin certo (nelle varianti del ‘‘concerto grosso’’, del generale, in modo da offrire al lettore uno stru- ‘‘concerto solistico’’ e del ‘‘concerto di gruppo’’) mento utile per poter meglio comprendere i lin- ha conosciuto la sua massima espansione, giungen- guaggi e le caratteristiche formali delle opere ana- do poi alla codificazione di una forma (in tre tem- lizzate nelle schede, oltre ad inquadrare i musicisti pi) rimasta sostanzialmente immutata anche nei se- selezionati nel contesto delle varie epoche e dei coli successivi. Per lo stesso motivo e data l’am- vari movimenti artistico-culturali. piezza del repertorio, ho voluto che fossero presi Come in alcune delle Guide precedenti, le singole in considerazione i concerti destinati non solo agli schede sono state suddivise in due gruppi: quelle strumenti a tastiera e al violino (senza dubbio i piu` analitiche, comprendenti un breve profilo della vi- numerosi), ma anche agli altri strumenti ad arco ta degli autori, la loro poetica e il loro approccio (compresi il contrabbasso, la viola d’amore e la ai generi concertanti, insieme all’analisi dettagliata viola da gamba), ai fiati (il flauto dolce e traverso, delle opere piu` significative (analisi comprendente l’oboe e l’oboe d’amore, il clarinetto e il corno di la loro genesi, le prime esecuzioni e le prime edi- bassetto, il fagotto, il corno, la tromba, il trombo- zioni, la ricezione, la forma e il linguaggio adottati ne e il sassofono), al liuto, al mandolino e alla chi- da ogni compositore); le schede sintetiche sono tarra, all’arpa e alle percussioni. E poiche´nella state riservate ai cosiddetti ‘‘minori’’ o, comunque, produzione contemporanea i generi concertanti a quegli autori la cui produzione concertante risul- hanno subito una forte contrazione, venendo spes- ta meno significativa dal punto di vista estetico, ri- so assorbiti negli altri generi, ho preferito che fos- VII Avvertenze del curatore sero effettuate in questo ambito alcune esclusioni, i titoli delle monografie e degli studi, soprattutto pur dando spazio adeguato al repertorio novecen- pernonappesantirelaletturaeoccuparespazio tesco. ulteriore. Per ogni testo citato e` stato posto tra pa- Non ho utilizzato a caso l’espressione ‘‘generi con- rentesi il nome del traduttore: quando cio`nonri- certanti’’: infatti le opere selezionate comprendono sulta significa che non e` stato possibile stabilirlo non solo i ‘‘concerti’’ veri e propri, ma diverse al- conesattezza,oppurechelatraduzionee` dello tre composizioni nelle quali sono stati prescritti stesso autore della scheda. Per le analisi delle ope- uno o piu` strumenti solisti (sinfonia concertante, re sono state utilizzate le partiture attualmente in poema sinfonico, tema con variazioni, rapsodia, circolazione, ricorrendo anche alle edizioni d’epo- rondo, fantasia, ecc.), escludendo solo quelle ope- ca (soprattutto quelle ottocentesche), ai facsimili e re gia` analizzate con la dovuta ampiezza nella Gui- ai microfilm degli autografi e delle copie mano- da alla musica sinfonica e nella Guida alla musica scritte quando non erano reperibili le edizioni a da camera (e` il caso, in particolare, dei Concerti stampa. Una precisazione e` doverosa: la maggior ‘‘brandeburghesi’’ di Bach, dei Concerti da camera parte dei compositori compare anche nelle Guide di Vivaldi, delle Sinfonie concertanti di Mozart, del precedenti e, quindi, per evitare doppioni o profili Don Juan di Strauss). Anche se il repertorio per ripetitivi, ho fatto in modo che venissero riscritte pianoforte e orchestra e` stato ampiamente analiz- totalmente le introduzioni di ogni scheda, aggiun- zato da Piero Rattalino nella sua Guida alla musica gendo nuovi dati biografici e documenti, rettifi- pianistica, non era assolutamente possibile rinun- cando qualche svista, approfondendo ulteriormen- ciarvi, considerando l’importanza assunta dal con- te le ‘‘poetiche’’ dei singoli autori in relazione ai certo pianistico a partire dalla seconda meta`del generi concertanti. Per motivi di chiarezza e`stato Settecento: ho cercato, quindi, di affrontare l’argo- utilizzato il corsivo per i titoli delle opere, per le mento concentrando le analisi soprattutto sull’evo- indicazioni dei movimenti, per qualsiasi indicazio- luzione della forma (e dei linguaggi), anziche´sugli ne agogica e dinamica presente nella partitura e aspetti tecnico-esecutivi e sociologici, offrendo per i termini in lingua straniera. ampio spazio a composizioni trattate da Rattalino Dato il numero dei musicisti trattati e la mole in modo piu` sintetico (oppure tralasciate del tutto) enorme di composizioni, l’intero lavoro e`stato e mettendo
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