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Le lettere LETTERA I1 Bologna,2 29 A[vril] 1914 Cher et très-honoré ami, c’etait très-agréable de recevoir une belle serie epistolaire3 de votre main, les livres4 ensui- te et les bonnes nouvelles sur le marché. Vous ne pensez que à faire du bien. C’est une manière d’agir qui contient en elle même la recompense. Quoique celle-ci n’arrive que rarement de dehors, soyez neammoins assuré que vous n’avez pas à faire avec un indifferent. Vous n’êtes donc pas encore à Mentone,5 comme vous annonciez? Ça me fait esperer que vous soyez parfaitement rétabli de votre indisposition, qui m’a rendu bien triste. Le programme projeté de vos éleves6 est beau à l’oreille du compositeur, mais celui-ci demeure assez-objectif pour reconnaître l’abnegation qui l’inspire. J’en suis bien touché et plein d’attente.7 Messieurs Br.[reitkopf] & H.[ärtel]8 ont reçu tout de suite mon ordre selon vos instructions, mais est-ce qu’ils vous ont envoyé le Concerto,9 dont je vous ai fait adresser la partition? Les deux premiers Concerts10 ici11 ont très bien reussi12. La Symphonie du Faust13 fut une revelation pour la ville, qui c’était consacrée au rite Wagnerien,14 et qui fut bouleversée par la decouverte de l’origine de plusieurs procedés du maitre preféré.15 L’arrangement du theatre ‘Communale’ à salle de Concert presente un aspect de haute festivité et du meilleur gout. La scène est transformée en une seconde salle, qui complète, en parfaite unité architecto- nique, la prémiere; avec des colonnes massives et de galeries practiquables (1), dont toutes les places etai[e]nt occupées. (Ça date encore du célèbre Bibbiena!16) Je vous salue très-affectueusement et suis votre dévoué F. Busoni A Chantavoine17 et à Pierné18 milles choses. Rappelez moi à Mlle Rackemann.19 1 Lettera autografa (New York, Public Library). – Philipp e Busoni si incontrarono nei mesi che precedettero l’inizio dell’attività didattica a Bologna (cfr. PREFAZIONE): dal 16 al 26 gennaio 1914, Busoni tenne infatti a Parigi (alla Salle Erard il 20 e il 26) cinque concerti, tra cui due nei quali 42 Ferruccio Busoni. Lettere a Isidor Philipp una parte, come qualche mese dopo a Bologna (cfr. nota n. 13) era dedicata a Liszt. Fece di nuovo ritorno nella capitale francese il 29 marzo per un concerto dedicato a sue composizioni. All’inizio di aprile si trasferì a Bologna, dove rimase fino alla fine di giugno. 2 Su Bologna, cfr. la lettera del 1º novembre 1915 all’amico ingegnere Emilio Anzoletti (cfr. nota n. 46 della PREFAZIONE eAPPENDICE I), scritta a Basilea (si noti l’interesse, che percorre tutti i carteg- gi busoniani, per l’architettura: cfr. nota n. 137): «A Bologna il contrasto tra l’aspetto della popo- lazione e quello delle facciate signorili ed ecclesiastiche stona al mio occhio penibilmente. Il Sabbato, i tranvai, i cinematografi, gli affissi delle elezioni e delle corse, poi, introducono nuovi intervalli dissonanti al disaccordo. Perché disturbare la solenne quiete di quel scenario storico e non far sorgere nuovi quartieri, fuori del centro, con tutta quella disgustosa modernità, come la si comprende in Italia, che stabilisce, che tutto ciò che è nuovo, è per forza inferiore all’antico. Grazie a Dio abbiamo superato alquanto tali umilianti e paralizzanti concetti, e come sappiamo, che nulla è perfetto, sappiamo pure, che tutto è perfezionabile» (Bergamo, Archivio privato). Sui fratelli Emilio e Augusto Anzoletti, cfr. nota n. 56 della PREFAZIONE e le APPENDICI I e IV. 3 Tra cui anche una lettera (senza data ma sicuramente del 1914) che contiene un amichevole bia- simo per la scelta professionale decisa da Busoni: «Vous directeur d’un Conservatoire! Et surtout de celui de Bologne, qui était une pétaudière du temps de [Marco Enrico] Bossi, à ce que m’a raconté le pauvre Mugellini [collaboratore di Busoni per la Bach-Ausgabe, morto nel 1912]. Vous Busoni, l’artiste libre, indépendant, l’ennemi des conventions et des préjugés de races ou de reli- gions, vous directeur d’un Conservatoire! Je ne vois pas cela. Rappelez-vous ce que dit Swift: ‘Lorsqu’un homme de génie apparaît quelque part, on le reconnaît à ce signe: tous les cuistres feront cause commune contre lui» (Mus.Nachl. F. Busoni B II, 3786). Inutile dire che le perples- sità di Philipp erano tutt’altro che infondate. Cfr. PREFAZIONE, p. xy. 4 Cfr. nota n. 142. 5 In francese Menton, località balneare sulla Costa Azzurra. 6 Su Philipp didatta, cfr. PREFAZIONE. 7 Il programma comprendeva soltanto composizioni di Busoni, tra cui le sette Elegie (cfr. nota n. 187); la Sonata n. 2 per pianoforte e violino (cfr. nota n. 274), la Fantasia nach J. S. Bach (cfr. nota n. 220), la Fantasia indiana (cfr. nota n. 57) per due pianoforti (cfr. Mus.Nachl. F. Busoni B II, 3767). Nel programma Philipp inserì anche l’audacissima Sonatina seconda, KiV 259 (com- posta nel 1912 ed eseguita per la prima volta, in un clima tempestoso, a Milano il 12 marzo 1913). Questa scelta dimostra le notevoli aperture in campo musicale di Isidor Philipp. Secondo Roman Vlad, la Sonatina seconda, all’epoca, scavalcava, per modernità e audacia, tanto Schoenberg quanto Webern (cfr. SERGIO SABLICH, Busoni, Torino, EDT, 1982, p. 173). 8 Breitkopf & Härtel: gli editori di Busoni residenti a Lipsia. Negli ultimi mesi di vita Busoni nutri- va nei loro confronti un profondo risentimento poiché sentiva di essere stato «vergognosamen- te sfruttato e in gran parte derubato del guadagno di tutta la sua vita di lavoro» (cfr. Busoni, gli ultimi mesi di vita. Diario di Gottfried Galston, a cura di MARTINA WEINDEL, trad. MATILDE DE PASQUALE, Roma, ISMEZ, 2002, 18 IV 1924, p. 43). Cfr. anche EVA HANAU, Der Briefwechsel zwischen Busoni und seinen Verlegern Breitkopf & Härtel, in Busoni in Berlin. Facetten eines kosmopo- litischen Komponisten, hrsg. von ALBRECHT RIETHMÜLLER e HYESU SHIN, Wiesbaden, Franz Steiner Verlag, 2004, pp. 35-45. 9 Si tratta del Concerto per pianoforte, coro maschile e orchestra, op. XXXIX, KiV 247 (= Kindermann Verzeichnis: cfr. JÜRGEN KINDERMANN, Thematisch-chronologisches Verzeichnis der musikalischen Werke von Ferruccio B. Busoni, Regensburg, Gustav Bosse, 1980, pp. 222-225). Il Concerto fu portato a compimento il 3 agosto 1904 e pubblicato nel 1906. La prima esecuzio- ne ebbe luogo il 10 dicembre 1904 a Berlino: Karl Muck (1859-1940) era sul podio e il compo- sitore stesso alla tastiera. A questo proposito Isidor Philipp aveva scritto a Busoni il 6 giugno: «Pierné (cfr. nota n. 18) voudrait donner de vous une œuvre importante. Œuvre symphonique plutôt. Le Concerto lui paraît trop long pour le public turbulent du Châtelait» (Mus.Nachl. F. Busoni B II, 3792). 10 Busoni aveva già ricoperto il ruolo di organizzatore di concerti: si tratta dei concerti sinfonici dedicati a musiche contemporanee o poco note che ebbero luogo a Berlino tra il 1902 e il 1909. Le lettere 43 Cfr. A proposito dei «Concerti sinfonici», I (1902) e A proposito dei «Concerti sinfonici», II (1908), in BUSONI, Lo sguardo lieto, pp. 31-33 e 73-74; MARTINA WEINDEL, Busonis Berliner Orchesterabende, in Busoni in Berlin, pp. 23-34; SABLICH, Busoni, p. 42 e APPENDICE I. – Nel 1906 già scriveva a Emilio Anzoletti: «Quasi tutte le città d’Italia mancano di concerti orchestrali siste- maticamente organizzati. E di tutte nessuna mi soddisferebbe bastantemente per sceglierla sola fra le altre. Perciò mi venne in mente il progetto d’un’orchestra italiana che provvedesse a tutte le città principali, regolarmente, seguendo un sistema ben maturato. Una solida orchestra, ben pagata, meglio del solito, anche per garantir la stabilità dei suoi elementi, ben preparata e for- nita con dei programmi, senza pregiudizi di tempo né di nazionalità. Ci vuol poco. Del denaro e un segretario intelligente ed attivo. Il resto và da sé. Bologna mi par propizia, Roma fornisce un pubblico internazionale ed anche a Trieste sarei certo d’un successo. Firenze e Milano dovrebbero associarsi, mentre lascerei Torino da parte, che ha già le sue tradizioni, fino a che non mi desiderassero espressamente» (Mus.Nachl. F. Busoni B I, 35). 11 Il 22 e il 26 aprile. I concerti bolognesi furono complessivamente cinque: tre sinfonici (26 e 30 aprile; 6 maggio) e due sinfonico-vocali (22 aprile e 1º maggio). Furono eseguite composizioni di Weber, Saint-Saëns; Liszt (la Faust-Symphonie e Mazeppa), Beethoven, Brahms, Mozart, Berlioz, Bach e Busoni: di quest’ultimo la Suite da Die Brautwahl (La Sposa sorteggiata). Orchestra bolognese della Società del Quartetto; Coro della Società Orfeonica; direttore d’or- chestra: Ferruccio Busoni. Infine Egon Petri (cfr. nota n. 228) interpretò due Elegie di Busoni: All’Italia e Turandots Frauengemach. Intermezzo (Elegie nn. 3 e 4 cfr. nota n. 187). A Philipp Die Brautwahl piaceva molto: «J’ai relu Brautwahl. C’est toujours très-amusante. Hof[f]mann a eu du génie... Mais ne vous figurez pas qu’on le connaît chez nous. Dans le temps, oui, on livrait certains contes. Mais aujourd’hui!... Je crois qu’on serait intéressé par votre art. Ma conviction est que si vous présentez vous[-]même votre oeuvre à Carré [cfr. nota n. 213; Carré era direttore dell’Opéra comique], il y prendrait intérêt… Il a un cahier de charges horrible. Et nos composi- teurs montrent toujours les dents lorsqu’on veut monter une oeuvre étrangère nouvelle Rappelez[-]vous la levée de bouclier contre Puccini. Si vous aviez un éditeur puissant comme Ricordi ou Sonzogno… cela serait un rude atout dans votre jeu» (Mus.Nachl. F. Busoni B II, 3787). Quest’opera fu da alcuni, anche in tempi moderni, criticata perché conterrebbe elementi antisemiti.
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