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Christine Anderson: Franco Evangelisti »Ambasciatore Musicale« Tra Italia E Germania Schriftenreihe Analecta Musicologica

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Christine Anderson: Franco Evangelisti »Ambasciatore Musicale« Tra Italia E Germania Schriftenreihe Analecta Musicologica Christine Anderson: Franco Evangelisti »ambasciatore musicale« tra Italia e Germania Schriftenreihe Analecta musicologica. Veröffentlichungen der Musikgeschichtlichen Abteilung des Deutschen Historischen Instituts in Rom Band 45 (2011) Herausgegeben vom Deutschen Historischen Institut Rom Copyright Das Digitalisat wird Ihnen von perspectivia.net, der Online-Publikationsplattform der Max Weber Stiftung – Deutsche Geisteswissenschaftliche Institute im Ausland, zur Verfügung gestellt. Bitte beachten Sie, dass das Digitalisat der Creative- Commons-Lizenz Namensnennung-Keine kommerzielle Nutzung-Keine Bearbeitung (CC BY-NC-ND 4.0) unterliegt. Erlaubt ist aber das Lesen, das Ausdrucken des Textes, das Herunterladen, das Speichern der Daten auf einem eigenen Datenträger soweit die vorgenannten Handlungen ausschließlich zu privaten und nicht-kommerziellen Zwecken erfolgen. Den Text der Lizenz erreichen Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode Franco Evangelisti »ambasciatore musicale« tra Italia e Germania* Christine Anderson In der Tat, die Zeit ist reif, unsere Konzeption vom Klang zu revidieren. Weder die seriellen Werke noch die aleatorischen Kompositionen scheinen mir aber die Klangwelt hinreichend zu erneuern. Beide sind letzte Ausläufer der Tradition auf der Suche nach einem logischen Übergang in Neuland. In der Tradition bleiben wollen, bedeutet richtig verstanden nicht, dass man vergangene Ereignisse nochmals erneuert, sondern dass man die eigenen zeitgenössischen Ereignisse der Erinnerung übergibt. Deswegen bedeutet Erneuerung zugleich Verzicht auf Gewohntes und den wagemutigen Aufbruch ins völlig Ungewohnte.1 Franco Evangelisti parla in tedesco – un raro documento audio del compositore romano tratto da una conferenza dal titolo In der Kürze meiner Zeit (Nel breve arco del mio tempo). Si tratta di una registrazione della radio tedesca di Monaco di Baviera del 1963, che risale quindi al periodo in cui Evangelisti lavorava a Die Schachtel, l’opera di teatro musicale che sarebbe rimasta a lungo la sua ultima composizione. Nel 1964, a soli 38 anni, cessava di comporre – per potersi dedicare alla redazione di un libro e a nuove forme del fare musica con il Gruppo di Improvvisazione Nuova Conso- nanza. Quella sua rigida apertura al nuovo senza compromessi e la conseguente scelta di abbandonare l’attività compositiva sono i tratti che caratterizzano l’immagine che il compositore romano ha lasciato di sé. Ma c’è anche un altro aspetto della sua personalità, noto e apprezzato a Roma, ma non molto conosciuto all’estero, e cioè quello dell’operatore musicale, dell’uomo che con l’immenso peso della sua perso- nalità artistica e della sua energia pratica si dedicava ad iniziative che hanno segnato la storia della musica non solo a Roma, ma in tutta l’Italia. Per farsi un’idea dell’attività di Evangelisti come ambasciatore musicale si offrono due punti di osservazione da cui partire: Evangelisti studente italiano in Germania ed Evangelisti compositore di formazione tedesca in Italia. Sulla base di 1* Ringrazio cordialmente Tiziano Manca per la rilettura del testo italiano. 1 Tratto da una sua conferenza radiofonica in lingua tedesca In der Kürze meiner Zeit (Nel breve arco del mio tempo), trasmessa dal Bayerischer Rundfunk nel 1963. Franco Evangelisti »ambasciatore musicale« tra Italia e Germania 499 documenti finora quasi tutti inediti è possibile saperne di più sui suoi soggiorni e la sua attività a Friburgo, a Colonia e a Darmstadt. A proposito di Colonia, sarà interessante esaminare qualche dettaglio della sua composizione di musica elettro- nica, creata all’Elektronisches Studio della Westdeutscher Rundfunk nel 1956–1957: Incontri di fasce sonore. Per ultimo si cercherà di evidenziare qualche tratto dell’attività di Franco Evan- gelisti al suo ritorno a Roma nel 1957 da un preciso punto di vista: l’effetto che la rete di legami con la Germania ha avuto sul suo operato in Italia. 1954 Monaco di Baviera Cerca di iscriversi all’Akademie für Tonkunst 1954–1956 Friburgo maggio 1954 – maggio 1956 Studia alla Staatliche Musikhochschule con il prof. Harald Genzmer Visita il festival di »Donaueschinger Musiktage« 1956–1957 Colonia primavera 1956 – autunno 1957 Lavora allo Studio für Elektronische Musik della Westdeutscher Rundfunk 1964 Berlino Convegno all’Akademie der Künste Berlin Conferenza »Für eine neue Form in der elektronischen Musik« 1966-1968 Berlino ottobre 1966 – luglio 1968 Borsa della Fondazione Ford / DAAD 1969 Berlino dicembre 1969 Festival »6 Tage Musik« con il Gruppo di Improvvisazione Nuova Consonanza Figura 1: Soggiorni importanti di Franco Evangelisti in Germania esclusi quelli a Darmstadt Monaco – Friburgo Franco Evangelisti arriva in Germania all’età di ventotto anni. I primi documenti, rintracciabili al momento, lo vedono nell’aprile 1954 a Monaco di Baviera, città in cui il compositore Karl Amadeus Hartmann (che era stato nel 1942 allievo privato di Anton Webern) dal 1945 in poi curava la serie di concerti »musica viva« con un programma decisamente contemporaneo. 500 Christine Anderson Il 26 aprile 1954 Evangelisti scrive una lettera al direttore dei Ferienkurse di Darmstadt, Wolfgang Steinecke, in cui si dichiara molto contento di potersi recare a Darmstadt per i corsi estivi, e chiede che venga eseguita la sua composizione Contra- sto per violino e pianoforte: ich erwarte Ihre Antworte für meinen Contrasto, und bitte zu sendung des programms, für neu Ferienkurse. Ich bin sehr glücklich nach Darmstadt zu kommen.2 Steinecke risponde che avrebbe potuto partecipare, ma che non sarebbe stata possi- bile un’esecuzione della sua musica. Evangelisti in questo periodo cerca di iscriversi all’Akademie für Tonkunst di Monaco. Pur di non aspettare fino al turno successivo d’iscrizione in autunno, decide rapidamente di cambiare città: Mi trovo a Freiburg, dove sono nella scuola di musica … Volevo studiare a Monaco, ma dopo un mese di attesa ricevo la risposta che solamente a Settembre potevo entrare cosí dovevo precipitarmi in velocità a Friburgo dove dopo … ora sostenuto un esamino […] soprattutto di stupidaggini mi anno [sic] accettato, adesso mi trovo qui a studiare con il celebre Ganzemer [sic].3 Evangelisti dunque passa alla Musikhochschule4 di Friburgo nel corso di perfe- zionamento di composizione di Harald Genzmer, il quale – come allievo di Paul Hindemith,5 – si muoveva nella scia del suo maestro e della tradizione del cosidetto »stile concertante«. Sul periodo di studio di Evangelisti a Friburgo ci informano i documenti di segreteria della Hochschule di Friburgo,6 qualche lettera a Domenico Guaccero e le 2 Da una lettera di Franco Evangelisti a Wolfgang Steinecke scritta da Monaco il 26 aprile 1954 (D-DSim). L’ortografia di tutte le lettere tedesche di Franco Evangelisti è quella originale, non corretta. 3 Tratto da una lettera di Franco Evangelisti a Domenico Guaccero del 24 maggio 1954 (Archi- vio Domenico Guaccero, Roma [da ora in poi ADG]). 4 La Hochschule für Musik di Friburgo era stata fondata nel 1946 su iniziativa del musicologo Wilibald Gurlitt, il direttore era il flautista Gustav Scheck. 5 Harald Genzmer, nato il 9 febbraio 1909 a Blumenthal vicino a Brema, aveva studiato a partire del 1928 con Paul Hindemith e con lo studioso di organologia Curt Sachs a Berlino. Dal 1933 in poi aveva lavorato come suggeritore e maestro sostituto al teatro d’opera di Breslavia. Ritornato a Berli- no nel 1938, insegnò fino alla fine della guerra in una scuola di musica a Berlino. In questo periodo scrisse Spielmusik per i suoi allievi. Nel 1938 iniziò, assieme a Hindemith, a collaborare con Oskar Sala, a quel tempo assistente di Friedrich Trautwein, l’inventore del Trautonium. Come risultato di questa collaborazione sperimentale Genzmer compose nel 1939 il primo dei suoi due concerti per questo strumento elettronico. Nel 1946 entrò in qualità di professore di composizione nella appena fondata Hochschule di Friburgo, di cui fu fino al 1948 anche il vicepresidente. Nel 1952 compose il secondo concerto per Trautonium, il Konzert für Mixtur-Trautonium und großes Orchester. Nel 1957 accettò il posto di professore di composizione alla Akademie für Tonkunst a Monaco di Baviera, posto che conservò fino al 1974. 6 Evangelisti entrò nella »Meisterklasse« del professore Harald Genzmer il 5 maggio 1954, dopo aver fatto vedere »Schulfugen (zweifacher Kanon)«, giudicato »gute Arbeit«. Come prima materia aveva scelto Composizione, e come materia complementare Pianoforte (cfr. atti personali della Ho- chschule für Musik Friburgo con documenti dell’esame di entrata e dell’iscrizione, tutti e due del 5 maggio 1954. Ringrazio cordialmente Karsten Schöning dell’archivio della Hochschule). Franco Evangelisti »ambasciatore musicale« tra Italia e Germania 501 testimonianze di qualche ex-compagno di studi. È un periodo piuttosto interessante, perché consente di rilevare che Evangelisti fin dall’inizio ha un rapporto molto ambiguo con il mondo musicale tedesco. Il compositore romano vive a Friburgo un periodo di studio caratterizzato da compiti tradizionali, lezioni d’armonia, contrappunto, analisi di forme musicali, stru- mentazione, pianoforte ecc. Come Evangelisti scrive entusiasticamente a Guaccero dopo l’inizio degli studi, apprezza soprattutto le analisi di musica contemporanea e le lezioni di strumentazione, che si basano su esempi pratici allo strumento.7 Apprezza molto che per i compiti di composizione sia concesso scegliere da sé il tema. In questo periodo compone vari pezzi, che poi però non include nel
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