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Tangentenflügel E Altri Pianoforti Con Martelletti Non Imperniati

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Tangentenflügel E Altri Pianoforti Con Martelletti Non Imperniati UNIVERSITÀ DEGLI STUDI DI ROMA “L A SAPIENZA ” DOTTORATO DI RICERCA IN STORIA ED ANALISI DELLE CULTURE MUSICALI XIX Ciclo GIOVANNI PAOLO DI STEFANO Tangentenflügel e altri pianoforti con martelletti non imperniati Volume primo Tutori: Coordinatore: Prof. Paolo Emilio Carapezza Prof. Giovanni Giuriati Dr. Michael Latcham 2006 RINGRAZIAMENTI Desidero esprimere la mia gratitudine a tutti coloro i quali hanno apportato il loro prezioso contributo all’elaborazione di questa ricerca e hanno consentito lo studio degli strumenti in essa descritti. Un sentito ringraziamento a: Giuseppe Accardi, Cecilia Arborio, Aki Arponen, Sjoukje Atema, Frank Bär, Silke Berdux, Ture Bergstrøm, Mauro Bernabei, Andreas Beurmann, Augusto Bonza, Alessandro Bovelacci, Antonio Bovelacci, Robert Brown, Luciano Buono, Johannes Brusila, Annie Chassagne, Marco D’Avola, Francesca De Giorgi, Mario Del Grosso, Christopher Dempsey, Andrew Fairfax, Paolo Fanciullacci, Valeria Farruggia, Vincenzo Ferrari, Uwe Fischer, Sally Fortino, Yoko Fujimoto, Fernanda Giulini, Giovanni Giuriati, Paolo Grassi, Florence Greffe, Dieter Gutknecht, Rudolf Haase, Gert Hecher, Ferdinando Granziera, Sabine Hoffmann, Tim Ingles, William Jurgenson, Martin Kirnbauer, John Koster, Rainer Kleinertz, Sabine Klaus, Alicja Knast, Christian Kuhlmann, Joseph Lam, Rosellina Li Vigni, Luigi Lombardo, Alberta Maffei Cossali, Anna Maria Mandich , Klaus Martius, Reinhardt Menger, Renato Meucci, Gregorio Monasta, Wolf Dieter Neupert, Linda Nicholson, Roberto Pagano, Pierluigi Petrobelli, Stewart Pollens, Dierik Potvlieghe, Ghislain Potvlieghe, Markus Requet, Hans Riben, Christiane Rieche , Thomas Roeder, Malcolm Rose, Alain Roudier, Alan Rubin, Yvonne Schaefer, Marta Semkiw , Miklos Mikael Spanyi, Andrea Sorg, Luigi Ferdinando Tagliavini, Anna Tedesco, Marco Tiella, Giovanni Togni, Unna Toropainen, Lisbet Torp, Haruka Tsutsui, Mitsuko Uchino, Marco Vitale, Benjamin Vogel, John Henry van der Meer, Michael Wackerbauer, Mirko Weiss, Wolfgang Wenke , Constanze Werner, Bernd Wittenbrink, Claudia Zech, Nicoletta Zeli. Un ringraziamento particolare al prof. Paolo Emilio Carapezza (Università di Palermo) per i numerosi consigli e l’attenta revisione del testo; al dr. Michael Latcham (Gemeentemuseum, L’Aja) la cui magistrale esperienza mi ha proficuamente guidato nella elaborazione della ricerca. Un sentito ringraziamento, infine, all’amico Ugo Casiglia, esperto cembalaro palermitano, per gli innumerevoli suggerimenti profusi nel corso di questi anni di studio. 3 INDICE VOLUME PRIMO Introduzione 7 1 I pianoforti con martelletti non imperniati: terminologia e classificazione 1.1 Classificazione delle meccaniche dei pianoforti settecenteschi: le due vie 13 (martelletti liberi ed imperniati) 1.2 Le distinzioni tardo settecentesche e la nascita di un equivoco concettuale 25 2 Tipologie di pianoforti con martelletti non imperniati: storia e diffusione in Europa 2.1 Una meccanica pre-cristoforiana? Riflessioni intorno al dulce melos , alla 39 spinetta Bonafinis e all’origine della meccanica con martelletti non imperniati 2.2 I clavecins di Marius e Veltman 51 2.3 Il pianoforte di Schröter e la diffusione della meccanica con martelletti non 77 imperniati in Germania 2.4 Späth e Schmahl: il Tangentenflügel 95 2.5 La diffusione dei Tangentenflügel e dei pianoforti con martelletti non 125 imperniati in Germania e nell’Europa centrale 2.6 Pianoforti con martelletti non imperniati in Gran Bretagna 143 2.7 Pianoforti con martelletti non imperniati in Italia 161 2.8 La diffusione della meccanica con martelletti non imperniati in Europa: 201 conclusioni 3 Il Tangentenflügel di Späth e Schmahl e la ricerca di espressività negli strumenti a tastiera settecenteschi 3.1 Caleidoscopio musicale: la varietà timbrica e gli strumenti a tastiera del XVIII 211 secolo 3.2 Dispositivi di mutazione nei Tangentenflügel e in altri pianoforti coevi 236 3.3 L’uso dei dispositivi di mutazione e l’espressione nel Die Wahre Art das 256 Pianoforte zu spielen di Milchmeyer 3.4 Amplificazione delle potenzialità timbriche: la combinazione di meccaniche 265 Bibliografia 289 Discografia 304 5 Introduzione INTRODUZIONE Il primo importante contributo alla storia del Tangentenflügel risale al 1927 quando lo studioso tedesco Heinrich Herrmann presentò, presso l’Università di Erlangen, una dissertazione dottorale dal titolo Die Regensburger Klavierbauer Späth und Schmahl und ihr Tangentenflügel ( I cembalari Späth e Schmahl di Regensburg e il loro Tangentenflügel ). Da quel momento, il termine Tangentenflügel e la sua traduzione inglese tangent piano sono entrati nell’uso comune per indicare qualsiasi strumento dotato di martelletti che, diversamente da quelli dei comuni pianoforti, non sono imperniati ad alcun elemento della meccanica e scorrono – in modo del tutto analogo ai salterelli del clavicembalo – all’interno di una guida sistemata al di sotto delle corde. Questa particolare tipologia di martelletti, fino ad oggi definiti “tangenti”, non si muove in senso rotazionale – secondo il sistema “a catapulta” introdotto, sul finire del XVII secolo, da Bartolomeo Cristofori e ancora oggi in uso nei pianoforti moderni – ma segue un movimento retto e perpendicolare alla corda. Tale sistema di articolazione del martelletto ha, fino ad oggi, indotto a considerare i Tangentenflügel e gli strumenti dotati di meccaniche consimili, come dei clavicembali con martelletti percussori, degli ibridi di cembalo e pianoforte. Curt Sachs, ad esempio, nel suo Real-Lexicon der Musikinstrumente, definiva il Tangentenflügel «uno strumento bastardo tra il clavicordo, il cembalo e il fortepiano, duro e senza qualità» 1. Lo stesso Herrmann non esitava a definire il suono del Tangentenflügel primitivo e superficiale nonostante lo studioso avesse anche motivo di affermare che, per l’esecuzione dei primi concerti di Mozart, i Tangentenflügel «producono un suono così appropriato e hanno una verve che nessun pianoforte a martelli possiede»2. In realtà, all’inizio del Novecento, le conoscenze sulla storia del pianoforte del XVIII secolo erano ben più limitate di quanto non siano oggi: si pensi, ad esempio, che la paternità dell’invenzione cristoforiana fu riscoperta soltanto nella seconda metà dell’Ottocento. È stato dunque solo negli ultimi decenni che si è cominciato a riconoscere nel Tangentenflügel , parallelamente allo studio della storia e dell’evoluzione tecnologica del 1 «Tangenteflügel sind hart und reizlos klingende Bastarde von Klavichord, Cembalo und Hammerklavier». Cfr. Curt Sachs, Real-Lexicon der Musikinstrumente , Berlin, Verlag von Julius Bard, 1913, p. 376. 2 «Sogar manche des frühen Mozart erklingen auf ihm in so adäquatem Tonfall und in so mitreißender Verve wie auf keinem Hammerklavier». Cfr. Heinrich Herrmann, Die Regensburger Klavierbauer Späth und Schmahl und ihr Tangentenflügel , Erlangen, Buckdruckerei Karl Döres, 1928, pp. 96-97. 7 Introduzione pianoforte del XVIII secolo, una delle sue molteplici varianti settecentesche le cui caratteristiche sonore e costruttive sono del tutto simili a quelle di tante altre tipologie di pianoforti coevi. Il primo significativo contributo, in tal senso, è stato il breve articolo pubblicato nel 1993 da Reinhardt Menger con il titolo Der Tangentenflügel - ein Fortepiano (Il Tangentenflügel un Fortepiano) 3. A questo scritto hanno fatto seguito i numerosi articoli di Michael Latcham – tra cui, soprattutto, Franz Jakob Spath and the Tangentenflügel, an Eighteenth-Century Tradition (2004) – il cui apporto è stato essenziale all’elaborazione di questa ricerca 4. Allo scopo di chiarire quale sia il posto rivestito dal Tangentenflügel e dagli strumenti consimili nella storia degli strumenti a tastiera, il primo capitolo del presente studio affronta il problema della classificazione della meccanica con martelletti non imperniati in rapporto alle altre tipologie di meccaniche di pianoforte. L’aspetto tassonomico implica delle riflessioni di carattere terminologico: l’espressione Tangentenflügel e la sua traduzione inglese ( tangent piano ) ed italiana (pianoforte a tangenti) non solo non trovano un adeguato riscontro nella terminologia storica, ma si prestano anche a numerosi fraintendimenti. Il termine “tangente” è infatti più comunemente impiegato per definire l’elemento percussore del clavicordo che, diversamente dai martelletti dei Tangentenflügel (detti anch’essi tangenti), è infisso sulla leva del tasto e, non appena questo è abbassato, preme la corda da sotto determinandone la porzione vibrante. Sezione di un tasto di clavicordo: 1) Tasto, 2) Perno, 3) Tangente, 4) Corde in sezione 3 Reinhardt Menger, Der Tangentenflügel - ein Fortepiano , in De musica et cantu, Studien zur Geschichte der Kirchenmusik und der Oper. Helmut Hucke zum 60. Geburtstag , a cura di Peter Cahn e Ann-Katrin Heimer, Hildesheim, Zürich, New York, 1993, pp. 523-526. 4 Michael Latcham, Franz Jakob Spath and the Tangentenflügel, an Eighteenth-Century Tradition , «The Galpin Society Journal», LVII, 2004, pp. 150-170. Per una lista delle principali pubblicazioni di Latcham sull’argomento si rimanda alla bibliografia. 8 Introduzione Particolare delle tangenti di un clavicordo Mentre l’elemento percussore dei Tangentenflügel è, dunque, un vero e proprio martelletto a movimento verticale che non appena colpita la corda si allontana da essa per gravità, la tangente del clavicordo è un elemento metallico che rimane aderente alla corda fin quando il tasto è pigiato. Inoltre, il termine Tangentenflügel viene sovente impiegato in modo improprio anche in riferimento
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