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Settembre Musica ______1998 I Conmmiwaicin IL CONTRIBUTO DELLA J Cassa Di Risparmio Di Torino Musiverre

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Settembre Musica ______1998 I Conmmiwaicin IL CONTRIBUTO DELLA J Cassa Di Risparmio Di Torino Musiverre venerdì 4 settembre 1998 ore 21 Conservatorio Giuseppe Verdi Ensemble TransparenceS Sophie Descombes Paul Dupuy Nicolas Le Roy Olivier Villemot Rachel Munro Jean-Claude Chapuis direttore settembre musica _______1998 I CONMMiwaicin IL CONTRIBUTO DELLA J Cassa di Risparmio di Torino Musiverre Vetro: sabbia silicea, carbonati e ossidi di sodio, potassio e piom­ bo variamente miscelati a temperature intorno ai 1500 °C; stra­ no solido trasparente bizzarramente imparentato con i liquidi; materiale in cui ci imbattiamo quotidianamente sotto le forme e per gli usi più diversi, dei cui accidentali inventori fenici, se diamo retta a Plinio, non si è tramandato il nome. Come del resto non si è conservata memoria di chi per primo pensò di farlo “suonare”. Testimonianze dell’uso di strumenti di vetro e cristallo in epo­ ca medievale ci giungono dalla Cina, dove un manoscritto del XIII secolo descrive l’uso di coppe di vetro in luogo di campa­ ne, e da una vasta area compresa tra India, Persia e Arabia, in cui sopravvivono strumenti a percussione “a bicchieri la cui intonazione è regolata modificando il livello del liquido conte­ nuto. Ma la vera storia dell’uso occidentale di strumenti inconsueti fatti di coppe, barre di vetro e persino bottiglie, sfregati o percos­ si, al di là delle antiche e autorevoli testimonianze di Gaffurio (1492) e deU’inventario di Ambras (1596), inizia nel XVIII se­ colo. In un periodo che può essere considerato l’età dell’oro delle “trasparenze” sonore, le dita del virtuoso Richard Pockridge fe­ cero vibrare in Irlanda un angelic organ formato da una ventina di mondanissimi bicchieri, che nel numero di ventisei furono anche protagonisti, nel 1746, di un memorabile concerto lon­ dinese tenuto da Christoph Willibald Gluck. In quegli anni i “cristallofoni” interessarono emeriti fisici acustici come Ernst F. Chladni, ideatore a fine secolo dell ’euphone e del klavicylinder, e Benjamin Franklin, che tra tante altre invenzioni annovera nel 1762 una felice meccanizzazione dell’antica pratica dello sfrega­ mento delle dita bagnate sul vetro: la glassbarmonica. Questo strumento, forse ancora oggi il più conosciuto della sua variegata e dimenticata famiglia, suscitò l’interesse del pubblico e di vari compositori da Hasse a Mozart, che scrisse un Adagio e Rondò K. 617a per la virtuosa cieca Marianne Kirchgàssner, da Nau- mann a Beethoven, da Saint-Saéns a Strauss, che la utilizzarono in organici da camera, orchestrali e operistici, e i suoi suoni eterei servirono persino, all’inizio del secolo scorso, per gli esperimenti ipnotici del medico-mago Messmer. Gli echi perduti di questi strumenti, insieme a sperimentazioni e progetti di congegni che sanno di volta in volta di pece greca, legno, metallo, cuoio e trementina, risuonano ancora in una serie di nomi fantasiosi: stockspiel, uranion, melodion, harmoni- con, glasscord, orpheus-harmonie, xylomelodichord, hymnerophon, transponierharmonica, mattauphone, euphotine... Erik Sade con i suoi set di bottiglie ( Parade, 1917), Cari Orff (Oedipus der Tyrann), Bruno Hoffmann con la sua glasharfe, i fratelli Bachet con il loro cristal, un pugno di musicisti d avan­ guardia e qualche fisico acustico sembrano essere i pochi fre­ quentatori novecenteschi di queste sonorità che, prodotto di frizione o di percussione di idiofoni in vetro, mai come altre hanno provocato così sovente riferimenti alle “sfere celesti” e un uso così frequente degli aggettivi arioso, scintillante, fatato, puro, luminoso oltre, naturalmente, a trasparente. A quest’ultima qualità di un materiale nato dalla sabbia e dal fuoco si è ispirato Jean-Claude Chapuis, musicista e ricercatore specializzato in organologia del XVIII secolo, progettista e co­ struttore di questi cristalli di cui con il suo ensemble Transpa- renceS, in laboratorio come sulle tavole del palcoscenico, ricerca i suoni dimenticati. Sergio Bonino I cristallofoni dell’ensemble Glassharmonica - Lo strumento di Franklin e costituito da una serie di coppe di cristallo rotanti su uno stesso asse che, parzialmente a contatto con l’acqua, vengono messe in vi­ brazione dalle dita dell’esecutore Seraphine - Conosciuto anche come vérrillon o armonica a bicchieri, il progenitore dei cristallofoni a frizione è formato da un set di 56 bicchieri che possono essere intonati modifi­ cando il livello del contenuto e vengono sfregati sul bordo dalle dita inumidite dello strumentista Euphone- Ernst Chladni realizzò nel 1790 questo comples­ so meccanismo in cui delle barrette di metallo trasmettono la vibrazione al vetro producendo un suono particolarmente puro Campane di cristallo - serie cromatica di 48 pezzi Glasscord - Fu ancora Franklin a battezzare così la versione costruita a Parigi da Beyer di questa tastiera dal suono brìi- lante che percuote barre di vetro disposte su un’estensione di 5 ottave Crystallophone - Vibrafono con barre di vetro Cymbals - Serie cromatica di 36 “pezzi di vetro” “Bass marimba” - Le virgolette mettono l’accento sull’ano­ malia strutturale di uno strumento che, a differenza di quel­ lo ordinario, ottiene i suoi suoni di registro grave da barre di cristallo Campane tubolari in cristallo - La serie copre l’estensione di 6 ottave Theremin - Realizzato all’inizio del secolo da Leon Theremin può essere considerato per le sonorità che produce un precur­ sore delle onde martenot e del moog Balaphon - Barre di cristallo intonate su 3 ottave dalle riso­ nanze africane e caraibiche Glass harp - La sua particolare struttura è nata dalle ricerche ergonomiche dei fìsici acustici del XVIII secolo Gamelan - Tubi intonati che coprono 3 ottave e creano so­ norità “asiatiche” Aerophone - Il contrabbasso dell’ensemble, che conta sulla risonanza di 30 colonne d’aria in vetro Pyrophone - Perfezionato a metà del secolo scorso da Ka- stner, in questo strumento il cristallo è messo in vibrazione dall’aria calda Jean-Claude Chapuis Continuum Anonimo (XVI sec.) Le Dit du Bourguignon Wolfgang Amadeus Mozart (1756-1791) Aria di Papageno Miss Ford (1761) Psaum tradizione caraibica Sueno caribeno Henry Purcell (1659M695) Musiche per i funerali della regina Mary Jean-Claude Chapuis La Boîte à musique tradizione britannica Greensleeves Ludwig van Beethoven (1770-1827) Melodram tradizione balinese Musique de gamelan Franz Schubert (1797-1828) Momento musicale in fa Jean-Claude Chapuis Luminescences Ecole de Nótre-Dame (XIII sec.) Dominator ecce domino Johann Sebastian Bach (1685-1750) Arioso Jean “Toots” Thielemans (1922) Bluesette tradizione svedese Astradin valse Erik Satie (1866-1925) Gnosienne n. 3 tradizione africana Serangueti Maurice Ravel (1875-1937) Pavane de la Belle au Bois dormant Olivier Villemot Manège du Luxembourg tradizione rumena Suite Invirtita tradizione arabo-andalusa Pièce arabo-andalouse Jean-Claude Chapuis Attente Franz Joseph Haydn (1732-1809) Tre pezzi per orologio meccanico Il programma Viaggio nel tempo e nello spazio, il concerto che propone l’ensemble TransparenceS, attinto da un vasto repertorio “ritrovato” che comprende circa quattrocento pezzi, guida alla scoperta di una tradizione musicale dimenticata e delle potenzialità degli strumenti di vetro. Le Ditdu Bourguignon, Dominator ecce domino e Greensleeves, con il suono delle campane, ricordano che questi strumenti furono impiegati tanto nella musica religiosa quanto in quel­ la profana. L ’Arioso di Johann Sebastian Bach è una trasposi­ zione che ripara in qualche modo la lacuna della perdita dei pezzi che il figlio Cari Philipp Emanuel scrisse per glasshar- monica. L 'Aria di Papageno fu scritta da principio per campa­ ne di vetro e solo in seguito Mozart l’affidò a strumenti d ac­ ciaio. Psaum è estratto da un metodo per cristallofoni del 1761, mentre Melodram di Beethoven dà un saggio dell’im­ piego della glassharmonica per delle opere dai colori roman­ tici un po’ cupi. Haydn scrisse diverse opere per glassharmo­ nica fino a oggi considerate perdute; l’ensemble Transparen­ ceS presenta una trasposizione dei Tre pezzi per orologio mec­ canico. Musiche solenni e cerimoniali - Musiche per i funerali della regina Mary -, melanconiche, eteree, sospese - Gnosienne n. 3, Pavane de la Belle au Bois dormant - o dagli effetti faceti — Fellini impiegò il Momento musicale in fa nella co­ lonna sonora di E la nave va — danno un idea della versati­ lità interpretativa di questi strumenti rari, ma il repertorio classico non escude le frequentazioni etniche di varia pro­ venienza e i pezzi firmati dai musicisti del gruppo, che si possono definire a buon titolo “costruiti” insieme agli stru­ menti. Qualche curiosità Franklin così scriveva nel 1762 all’abate Beccaria: “In omag­ gio alla vostra lingua, l’italiano, ho mutuato da questa il nome dello strumento, chiamandolo Armonica”. Soltanto più tar­ di il nome venne modificato. Nella Biblioteca del Conservatorio di Torino si conserva il primo importante pezzo scritto per glassharmonica, Poesia. Ne fu autore Johann Adolf Hasse per le nozze dell’arcidu­ chessa d’Austria “Eccellente Sonatrice del Nuovo Instrumen- to ... Inventato Dal Celebre Dottore Franklin”, e il testo di Metastasio che la correda tesse le lodi dello strumento oltre che della dedicataria. Tra gli italiani, scrissero per la glassharmonica Padre Marti­ ni, Galuppi, Jommelli e Salieri, oltre a Nino Rota per i titoli felliniani E la nave va e Casanova. Jean-Claude Chapuis (trad. Sergio Bonino) I concerti precedentemente previsti all’Auditorium Rai si terranno nelle seguenti sedi: sabato 5 settembre ore 21 ( Marco Polo) Teatro Carignano venerdì 18 settembre ore 21 {Il Golem) Cinema Massimo domenica 20 settembre ore 21 ( Orchestra Internazionale d ’Italia, Lu Jia, Krystian Zimerman) Teatro Nuovo Settembre Musica ha promosso la pubblicazione dei volumi: Ligeti, Henze, Petrassi, Nono, Xenakis, Carter, Donatoni, Gubajdulina, Schnittke, Reich, Berio, Andriessene Sto­ ria della musica cineseediti dalla EDT e del volumeSet­ tembre Musica 1978-97edito da Allemandl..
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