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Settembre Musica SETTEMBRE MUSICA Con il contributo dell'Assessorato all'Istruzione e Cultura della Regione Piemonte mercoledì 17 settembre, ore 16,30 Chiesa dei Santi Martiri giovedì 18 settembre ore 16,30 Chiesa di Santa Teresa Gruppo «Sequentia» di Colonia Barbara Thornton, Benjamin Bagby, voci Margriet Tindemans, Crawford Young, strumenti ad arco e a pizzico in collaborazione con il Goethe Institut mercoledì 17 settembre, ore 16,30 Dante e i trovatori Bertran de Born Gens de disnar no fora oi mais matis Folquet de Wlarseille A guan gen vens et ab quan (1155 c. - 1231) pauc d'afan Anonimo Belìcha (sec. XIV) Anonimo Lucente stella (sec. XIV) Anonimo Cum altre ucele (sec. XIV) Anonimo Saltarello (sec. XIV) Arnaut Daniel Lo ferm voler (sec. XII) (sestina) Bertran de Born Be'm platz lo gais temps Giraut de Bornelh No pose sofrir c’a la dolor (1150 c. - 1220) Anonimo Brano strumentale (sec. XIV) Anonimo Amor mi fa cantare alla Francesca (sec. XIV) Anonimo Saltarello (sec. XIV) Jacopo da Non al so amante Bologna Aquil’altera (sec. XIV) Creatura gentil giovedì 18 settembre, ore 16,30 Giullari e chierici: musica dell’Alto Medioevo Trattenimenti musicali in Francia (tardo XII secolo) Anonimi Olim sudor Herculis Brano strumentale Tre mottetti sul «tenor»Tanquam Lai des amans Tre mottetti sul «tenor»Flos fìlius Nota d'Aelis Chierici e Trovatori (XII secolo) Anonimo Veritas, equltas, largitas corruit Jaufré Rudel No sap chantar Musica clericale inglese (XIII secolo) Anonimi Brano strumentale Worldes blis ne last no throwe Brano strumentale Worldes blisce have god day/Domlno Man me! longe lives wene Verbum patris humanatur Dante e i trobadours Nel comporre una casistica dell'impiego illustre dell'Idioma volgare Dante assegna nel II libro del De vulgari eloquentia la priorità agli exempla occitani. « Queste tre cose dunque, salute venere e virtù, appaiono esser quelle nobili cose che soprattutto conviene trattare, le quali principalmente attengono ad argomenti come la prodezza nelle armi, l'accendersi d'amore e la retta guida della volontà. Se bene consideriamo, troveremo che di queste sole cose uomini illustri hanno poetato in volgare: Bertramo di Bornio delle armi, Arnaldo Daniele dell'amore, Gerardo di Bornello della rettitudine ». Quasi duecento anni separano il poeta fiorentino dall'epoca di Guglielmo IX d'Aquitania, il versificatore cinico e raffinato cui si attribuisce l'origine di quella fioritura trovadorlca, che doveva conoscere il periodo di massimo splendore a cavallo dei secoli XII e XIII. Al tempo di Dante il movimento deltroubadours è ormai avviato a un rapido declino, cui concorrono in pari misura la perdita del naturale retroterra politico e civile (devastato dalla furia anti-catara della monarchia capetingia e papale) e il progressivo scemare dell'originaria unità culturale in una diaspora destinata a deporre semi fecondi in tutte le letterature vernacolari dell'Occidente europeo. Nel 1294, dieci anni prima della stesura del trattato dantesco sul volgare, morirà appunto Giraut Riquier, l'ultimo dei suoi grandi esponenti. È dunque una stagione poetica ormai conclusa quella che Dante rievoca, non senza nostalgia, nel De vulgari eloquentia come nelConvivio e poi nella Commedia, facendo emergere dal passato figure paradigmatiche di troubadours i cui tratti già sfumano nel mito, irrigiditi nei clichés dell'agiografia: Giraut de Bornelh, Folquet de Marseilla, Aimeric de Belenoi, Arnaut Daniel, Bertran de Born, Aimeric de Pegulhan, per non citare che quelli dei cui versi egli mostra di possedere una conoscenza diretta, probabilmente iniziata negli anni dell'apprendistato bolognese e ulteriormente approfondita in seguito. Ma se lontane e incerte risultano le fisionomie dei singoli personaggi, lucida ed esatta è invece, in Dante, la percezione dell'attualità del loro lascito, della continuità tecnica e spirituale che lega quell'arte sofisticata alla giovane poesia italiana dei Guittone, dei Guinizelli e, non ultima, la propria. Con preciso intuito Dante coglie insomma nella tradizione provenzale quei caratteri di novità di contenuto e di stile che, destinati a protrarsi attraverso lo Stil Nuovo e il Petrarca sino alle soglie del Rinascimento, permettono ancor oggi di parlare dei troubadours come di una prima manifestazione, nell'Europa post-classica, di poesia modernamente intesa. Nata e cresciuta nel mondo della corte feudale e destinata alle sue ristrettissime élites, la lirica trovadorica non è tuttavia interprete — come i trouvères del Nord — dei fondamenti atavici della civiltà feudale, quali si esprimono nei valori dell'obbedienza e della devozione al sovrano, del sacrifìcio e della difesa della cristianità. In luogo dell'epica cavalleresca, il valore centrale dell'« umanesimo » trovadorico è la giovinezza elegante e generosa, spensierata e splendidamente liberale, amante di quanto c'è nel mondo di bello, di dolce e di gentile, l’arte, la cultura e, in primo luogo, la donna, verso la quale si dirottano quegli obblighi di devozione e di servizio prima riservati al signore. Certo, è ancora il vecchio mondo cortese quello che in questi temi si esprime, ma ormai minato e reso inquieto dalla crisi delle sue istituzioni. E non a caso questi stessi temi saranno di lì a poco adottati dalla nascente borghesia cittadina, tesa a legittimare il proprio status assimilando gli aulici modelli della cultura aristocratica. Ma di un’altra novità ancora il movimento trovadorico si fa portatore nel mondo medievale, cioè della concezione della poesia come esercizio di un'arte rigorosa e paziente, come « mestiere » governato da un senso della tecnica così rigoroso da divenire disciplina morale. Al di sopra della varietà dei toni e degli stili ciò che accomuna i diversi troubadours è appunto questo senso altissimo della perfezione formale, da conseguirsi nel chiuso del proprio laboratorio (obrador), con un lavoro faticoso e minuto di lima e di forgia, secondo un'immagine che ricorre in Dante quando nel Purgatorio raffigura Arnaut Daniel come « fabbro del parlar materno ». Di qui la ricerca della sottigliezza arguta e dell'espressione sofisticata, la diffìcile tessitura delle parole (entrebescar los motz), l'invenzione di accostamenti inusitati di immagini, di sonorità bizzarre, di doppi sensi e di sensi oscuri che caratterizzano l'arte del trobar clos, o dello «stile ermetico », di questi poeti. Destinate a un pubblico colto e raffinato, in grado di apprezzare tutte le sottigliezze tecniche e semantiche del testo, le liriche trovadoriche sono indissociabili dal canto, che aggiunge una ulteriore dimensione sonora e formale alla tessitura poetica. Si ignora, peraltro, in quale misura i trovatori abbiano composto personalmente le melodie su cui erano eseguiti i loro versi. In alcuni casi essi furono sicuramente poeti e musicisti insieme. In altri casi non si esclude invece che la musica sia opera dei musicisti di professione o jongleurs ai quali era affidata l’esecuzione dei brani e che provvedevano altresi ad un accompagnamento strumentale, largamente basato sull'improvvisazione. Poeta delle armi e della guerra, secondo la definizione dantesca nel De vulgari eloquentia, ma anche poeta della liberalità (come viene indicato nel Convivio), Bertran de Born (c. 1140 - c. 1215) occupa un posto a parte nel panorama della lirica trovadorica, equidistante dallo stile «dolce e leggiadro» di un Jauffré Rudel o di un Bernard de Ventadorn come da quello «aspro e sottile» di Giraut de Bornelh o di Arnaut Daniel. Estraneo agli artifìci del trobar clos e a ogni sofìsticheria formale, egli ama parlar chiaro, con toni schietti e brutali; l'asprezza e l’oscurità dei versi (che hanno spinto gli antichi compilatori di sillogi trobadoriche a corredare di chiose o razos i suoi sirventensi) derivano piuttosto dalla continua allusione a uomini e cose del suo tempo da parte di un avventuriero profondamente intrigato nelle vicende che lo circondano. Piccolo feudatario di Hautefort, animato — più per desiderio di rapina che per cavalleresche idealità — da un odio feroce contro la nuova e sordida borghesia mercantile, condottiero vendicativo e senza scrupoli, Bertran de Born trova nella guerra il normale mezzo di sostentamento per la sua vita dispendiosa. Combatte dapprima contro Riccardo Cuor dì Leone, diventandone poi amico e consigliere, e cantandone le lotte atroci contro il padre Enrico II d'Inghilterra. Per questo episodio Dante lo danna nell 'Inferno (canto XXVIII) alla pena dei seminatori di discordia, e lo raffigura errabondo con la testa scissa dal corpo tenuta a mo' di lanterna: Poiché partii sì congiunte persone partito porto il mio cerebro, ahi lasso, dal suo principio ch'è in questo troncone. Come poeta, Betran de Born è il maestro Incontrastato del sirventese politico e guerresco, che egli tratta con rara brutalità. Un esempio è offerto dal sirventese Be'm platz lo gais temps de Pascor (pervenutoci senza la musica), una sorta di elogio della guerra, vista come spettacolo atroce ma grandioso e solenne, tragico ma anche pieno di luci, di colori e di suoni: gli stendardi al vento, il nitrito dei cavalli, i corni di battaglia. E poi l'urto frontale, il cozzare degli elmi e degli scudi, il torcersi dei feriti, i broccati lacerati, gli spezzoni delle lance che volano al cielo. Lo stesso crudo realismo ricorre anche nei suoi rari sirventesi amorosi, ove tenerezza e brutalità si fondono, come in Ges de disnar fora oi mais matis, scritto verso il 1181-1195 per Mathilde, sorella di Riccardo Cuor di Leone e figlia di Leonora d'Aquitania. Celebrato da Dante nel De vulgari eloquentia
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