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Musica 3 .Pdf Visite Guidate Magistrale 2019-2020 Dott.ssa Valeria Marino Solo per studenti frequentanti Ore 17 5 dicembre, Galleria di Palazzo Spada 12 dicembre, Basilica di Santa Cecilia in Trastevere 9 gennaio, Palazzo Barberini 16 gennaio, Museo degli Strumenti Musicali la musica strumentale conosce una grande stagione. Possiamo individuare i l suo vertice nella figura di Francesco da Milano, il divino Francesco (ricercari e fantasia), uno dei massimi esponenti della musica strumentale del secolo per genialità e originalità: intorno a lui ruotano gli allievi lombardi Pietro Paolo Barrono, Giovanni Maria da Crema e Pierino Fiorentino. Dove mancano le fonti musicologiche supplisce proprio l'iconogràfia, con una varietà e intensità da farci credere che la musica fosse una delle arti più coltivate anche fra gli artisti del pennello. Non è un puro caso se nella versatilità geniale di Leonardo, che si era proposto alla corte di Milano vantando anche la sua abilità di "musico" di cui sono testimonianza alcuni schizzi di strumenti, talora di pura invenzione, come la viola organista, o come il flauto fessurato per ottenere (o immaginare di ottenere) un glissando di suoni. La "lira" da lui costruita in forma di teschio di cavallo è un tratto in più che viene raccontato dal Vasari. Né mancano fra i Codici leonardeschi alcuni rebus musicali che attestano la sua ingegnosità e il suo interesse per la musica, la cui inferiorità rispetto alla pittura è dovuta semplicemente alla !abilità del suono che non può essere fermato: "La Musica non è da esser mpi circondano la proporzionalità de' membri, di che tale armonia si compone, non altrimenti che si faccia la linea circonferenziale le membra, di che si genera la bellezza umana. Ma la Pittura eccelle e signoreggia la Musica, perché essa non more immediate dopo la sua creazione, come la sventurata Musica" Leonardo da Vinci pioniere dell’enigmistica l'amo re mi fa sol la za re — b) amo re [la] sol [la] mi fa re mi rare | la sol mi fa sol lecita questa gratitudine rembneratione [= remenberatione] — amore la sol [la] mi fa remirare | sol la [sol] mi fa sollecita — c) la sol mi fa sol lecita | amo re la sol mi fa re mi rare Foglio di Windsor (part.), f. 9-12692 Corgano e piva (cornamusa) Cod. Madrid II (8936), a-b-c) f. 76-r Tamburo meccanico Cod. Atlantico, a1) f. 837-r [306];f.877-7[319] La viola organista disegnata da Leonardo da Vinci (Codice Atlantico, 1488–1489) Leonardo da Vinci aveva inventato la “viola organista”, uno strumento musicale a metà strada fra il clavicordo, l’organo e la viola da gamba Leonardo musico Orpheus Charming the Animals about 1505. Marcantonio Raimondi (Italian, 1470/82– 1527/34). Engraving; 21.4 x 17.3 cm. Cleveland Museum of Art, Dudley P. Allen Fund 1930.579 «Questi due fluti non fanno le mutazione delle loro voci a salti, anzi nel modo proprio della voce umana. E fassi col movere la mano su e giù, come alla tromba torta, e massime nel zufolo. E possi fare 1/8 e 1/16 di voce, e tanto quanto a te piace» Cod. Atlantico, c) f. 1106-r [397] Campana meccanica Cod. Madrid II (8936), f. 75-v Strumento di scena Fogli di Windsor, a) f. 9-12585 “E la musica ancora fa nel suo tempo armonico le soavi melodie composte delle sue varie voci, dalle quali il poeta è privato della loro descrizione armonica. E benché la poesia entri pel senso dell’udito alla sede del giudizio siccome la musica, esso poeta non può descrivere l’armonia della musica perché non ha potestà in un medesimo tempo di dire diverse cose, come la proporzionalità armonica della pittura composta di diverse membra in un medesimo tempo, la dolcezza delle quali sono giudicate in un medesimo tempo cosí in comune, come in particolare. In comune, in quanto all’intento del composto; in particolare in quanto all’intento de’ componenti, di che si compone esso tutto. E per questo il poeta resta, in quanto alla figurazione delle cose corporee, molto indietro al pittore, e delle cose invisibili rimane indietro al musico..” Leonardo da Vinci - Trattato della Pittura (XVI secolo) Parte prima Conclusione del poeta, del pittore e del musico Alle p. 2 e 5 [di iii/1] i passi relativi a Leonardo musicista (la modifiche in corsivo): «Dette alquanto d'opera alla musica, ma tosto si risolvé a imparare a sonare la lira, come quello che da la natura aveva spirito elevatissimo e pieno di leggiadria. Onde sopra quella cantò divinamente all'improvviso. [...] Avvenne che morto Giovan Galeazzo duca di Milano, e creato Lodovico Sforza nel grado medesimo l'anno 1494, fu condotto a Milano con gran riputazione Lionardo al duca, il quale molto si dilettava del suono de la lira, perché sonasse. E Lionardo portò quello strumento ch'egli aveva di sua mano fabricato d'argento gran parte in forma d'un teschio di cavallo, cosa bizzarra e nuova, accioché l'armonia fosse con maggior tuba e più sonora di voce. Laonde superò tutti i musici che quivi erano concorsi a sonare. Oltra ciò fu il migliore dicitore di rime a l'improviso del tempo suo» G. Vasari, Le vite de' piu eccellenti pittori, scultori e architettori scritte da m. Giorgio Vasari pittore et architetto aretino di nuouo dal medesimo riuiste et ampliate con i ritratti loro et con l'aggiunta delle vite de' viui, & de' morti dall'anno 1550 infino al 1567 In Fiorenza: appresso i Giunti, 1568 “bisogna imitar col canto chi parla” Le regole che dettavano la pratica esecutiva della musica antica rivelano una notevole attenzione nella scrittura e nella comunicazione emergono tre elementi fondamentali: affetto, figura e orazione. Distinguere una ‘nota buona’ da una ‘nota cattiva’ come affermava Leopold Mozart non era marginale, poiché una battuta può essere alla Frescobaldi “hor languida, hor veloce” o presentare una “sprezzatura” alla Caccini. Nella produzione dei suoni variano nel tempo l'atteggiamento esecutivo improvvisativo e l’uso fondamentale della dinamica. Sulla generalità delle esecuzioni specialistiche un autore come Bovicelli nel 1594, notava che «pare sia quasi lo studiare una lettion», rilevando che norme basilari venivano ignorate, tanto che l’apprensione degli autori era nell’esigere che l’esecutore fosse ‘perito’. L’aspetto comunicativo era ritenuto essenziale se Muzio Clementi, suggeriva che era meglio sacrificare: «[...] qualche volta la regolarità della battuta per comovere». In passato molti autori espressero una minuziosa e articolata definizione retorico-musicale del comporre e dell'eseguire attraverso la Teoria delle Figure e la Teoria degli Affetti . Ad ogni variazione della linea musicale (ascesa, discesa, per salto, per grado, con pause, senza pause, ecc.) cioè ad ogni figura, corrispondeva un significato contraddistinto dal termine ‘affetto’ esemplificabile con l’affermazione di A.Kircher: «ascesa (anàbasi) esprime esaltazione, elevazione, o cose alte ed eminenti; nella discesa (catàbasi) usiamo affetti quali inferiorità, umiliazione e avvilimento per esprimere situazioni deprimenti». Esiste un ampio ambito di figure retorico-musicali cui corrispondono i relativi affetti e la cui valutazione determina una dimensione esecutiva significante, richiesta in modo specifico dai compositori tra i secoli XVI e XVII quando, cioè, la musica strumentale iniziava a rendersi autonoma da un testo letterario cantato che enunciava un significato . La musica vocale è caratterizzata dalla presenza significante della parola e dalla nuova ‘scrittura per una voce sola’, che si contrappone alle quattro voci del Madrigale dove, nel «cantare, nell'istesso tempo, tante arie insieme», la parola era stata prevaricata e resa insignificante. Il nuovo assetto ‘per voce sola’ presentava tuttavia problemi di chiarezza proprio nell’espressione degli ‘affetti’, come nel 1756 affermerà Leopold Mozart: «Per un compositore come si deve questa scienza [retorica] è indispensabile; altrimenti egli è la quinta ruota del carro», ma il problema si era posto molto prima, come rivelano diversi autori. Vincenzo Galilei nel 1581 sottolineava come fosse necessario: «che l'aria della Canzone fusse composta da buono maestro [...] & recitata da persone perite & voci accomodate» e “cantanti non ordinarii” chiedeva anche Giovani Maria Artusi nel 1603. Gian Paolo Cima nel 1610 domandava: «Pregovi, gentilissimi Signori, che per vostro diletto vorrete cantare questi miei Concertini [...] mi facciate gratia di cantarli come stanno, con quello maggiore affetto, che sia possibile [...]; Et scuoprendo passi alquanto licentiosi, considerino le parole, ouero l'affetto della Musica, che troueranno esser fatta ogni cosa con sano giuditio». “ Luca Marenzio, (Coccaglio, 18 ottobre 1554 – Roma, 22 agosto 1599) compositore, cantore e liutista italiano. Fu il più acclamato autore di madrigali del suo tempo. Zefiro torna https://www.youtube.com/watch?v=NnjtHXhcd5Y Per Athanasius Kircher nel 1650, la composizione, per rivelare il suo significato, andava eseguita da eccellenti cantori “a peritissimis pronunciando”. Un'analoga costante preoccupazione era espressa in relazione alla musica strumentale, cui mancava il contributo chiarificatore della parola. Per Vincenzo Galilei anche il solo strumento poteva “operare l’affetto” ma, in ogni caso, l’esecutore doveva essere perito: «Non ne dubitare punto [...] che il suono dello strumento fatto dall'arte senza l'uso delle parole, aveva [...] grandissima facultà d'operare ne gli animi degli uditori gran parte degli affetti che al perito sonatore piacevano». Oltre alla manifestazione dell’intenzione significante, quella cioè che attribuisce un affetto a ogni figura musicale, i compositori suggerivano agli esecutori anche ‘con quali mezzi’ il significato, ovvero l’ ‘affetto’ delle loro musiche, potesse risultare ben comprensibile per l’ascoltatore. L’esecutore, tra i secoli XVI e XVII, doveva usare ‘i mezzi dell'oratore’, cioè tutte le gradazioni di varia pronuncia, respirazione con le annesse ‘pause’, di varia dinamica, timbrica, agogica, messe in pratica dall'oratore. Si trattava di strumenti impiegati nel campo della declamazione e ampiamente teorizzati e consigliati all’oratore, gli stessi ai quali ricorrono gli autori musicali specificandoli: il dir piano, il dir forte, il dir veloce, il dir lento; la diversità di tono; respiri e cesure.
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