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Ferdinando Carulli I Concerti Per Chitarra E Orchestra

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Ferdinando Carulli I Concerti Per Chitarra E Orchestra Diploma Accademico di I livello Scuola di Chitarra Ferdinando Carulli i Concerti per Chitarra e Orchestra Giuseppe Ugo Mazzone n. matricola: 102257 Relatore: Mo Marco Nicolè Anno Accademico: 2019/2020 Giuseppe Ugo Mazzone, Tesi di I livello (Cons. B.Marcello) 2 Indice Prefazione ………………...……………………………….…...... p. 5 Cenni biografici …………………………………………………. p. 7 Produzione ………………………………………………………. p. 11 Metodi …………………………………………………….. p. 14 Per chitarra sola ………………………………………….. p. 17 Per Ensemble …………………...………………………… p. 19 La chitarra francese …..…………...…………………………..… p. 23 Concerti per chitarra e orchestra ………..……...……..…...……. p. 27 Concerto in Sol per flauto e chitarra …….….….………… p. 29 Concerto in La op. 8 …………….……..…………........…. p. 32 Petit Concerto de société in Mi op.140 ………….…...….... p. 34 Postfazione ……………….………………………...………..….. p. 39 Appendice …………………………………………………….…. p. 41 Dal budello alla seta ……………………………………… p. 41 Bibliografia ………………………………………….….……….. p. 49 Discografia ……………………………………………………… p. 51 Giuseppe Ugo Mazzone, Tesi di I livello (Cons. B.Marcello) 3 Giuseppe Ugo Mazzone, Tesi di I livello (Cons. B.Marcello) 4 Prefazione Ricorrendo quest’anno il duecentocinquantesimo anniversario dalla nascita del compositore chitarrista Ferdinando Carulli, i docenti delle classi di chitarra del Conservatorio Benedetto Marcello di Venezia hanno voluto rendergli omaggio incentivando approfondimenti e riflessioni sullo stesso. Un’occasione interessante e formativa, coinvolgente a tal punto da spingermi a esaminare ulteriormente l’argomento. Desidero ringraziare il Mo Marco Riboni, per i puntuali consigli e la disponibilità a fornirmi un suo articolo ancora inedito, e tutta la scuola di chitarra, nello specifico il Mo Dario Bisso, per la monografia trattata durante il corso di Letteratura, e il Mo Marco Nicolè, per il meraviglioso percorso di studi intrapreso insieme - restando in tema di anniversari esattamente dieci anni fa. Giuseppe Ugo Mazzone, Tesi di I livello (Cons. B.Marcello) 5 Giuseppe Ugo Mazzone, Tesi di I livello (Cons. B.Marcello) 6 Cenni biografici La produzione di Ferdinando Carulli - a lungo noto esclusivamente per il famoso Metodo per chitarra op. 27 - non fu presa in seria considerazione fino alla fine del XX Secolo, quando vennero editi i primi accurati cataloghi1, opere monografiche2 e incisioni. Tra queste emblematiche furono3: • Vivaldi, Dowland, Torelli, Carulli. The Virtuoso Guitar. Die Wiener Solisten, Wilfried Böttcher, Karl Scheit. Vanguard Stereolab, 1962; • Vivaldi, Carulli, Giuliani. Altitalienische Gitarrenkonzerte. Siegfried Behrend, I Musici. Deutsche Grammophon, 1969; • Lawes, Carulli, Sor, Albéniz, Granados, De Falla, Ravel. Julian Bream & John Williams. RCA Red Seal, 1972. Fino ad allora Carulli è stato considerato un compositore secondario, di musica semplice per principianti, giudizio che tuttavia confonde il valore didattico di molti suoi lavori con l’alto livello artistico raggiunto dallo stesso in altre opere. Le notizie biografiche sono ferme ai dati del XIX Secolo. Viene citato la prima volta nel quarto volume del Dizionario e Bibliografia della musica (1826) di Pietro Licthenthal, il quale lo ricorda 1 M. Dell’Ara e R. Chiesa, Elenco delle opere di F. Carulli, in Il Fronimo XXVIII, Milano, Suvini Zerboni, Luglio 1979, pp. 9-23; M. Torta, Catalogo tematico delle opere di F. Carulli, Lucca, LIM, 2 voll., 1993. 2 Curate da M. Bertazzi (1984) e M. Torta (1988). Significativo anche il contributo di R. Chiesa (vedi p. 13). 3 K. Scheit e S. Behrend proposero entrambi il Concerto in La op. 8, J. Bream e J. Williams il Duo in Sol op. 34 (nel 1974 la Serenade op. 96). Giuseppe Ugo Mazzone, Tesi di I livello (Cons. B.Marcello) 7 unicamente per la reputazione goduta dal suo Metodo, già il più diffuso in Europa4. Nel 1830 F. J. Fétis5 in La musique mise à la portèe de tout le monde ritrae il «Signor Carulli» come il primo tra i chitarristi romantici ad aver realmente affrontato le problematiche dello strumento, trovando soluzione alle difficoltà di diteggiatura, all’estensione limitata e agli svantaggi dell’esile spessore sonoro (nella chitarra dell’epoca ancor più evidente rispetto a quella moderna, di ascendenza flamenca). Grazie a lui la chitarra non sarà più esclusivamente «destinata a sostenere leggermente la voce nei piccoli pezzi» in voga all’epoca, quali romanze, couplets e boleri. Al 1835 risale il primo metodico tentativo di catalogazione delle sue opere6: Gustav Schilling in Universal Lexicon ne numera trecento. Dopo brevissimi accenni sulla gioventù7, soltanto nel 1883, in Biographie universelle des musiciens (decima ed.)8, F. J. Fétis compilerà la prima biografia esaustiva, a cui si rifaranno tutti coloro che in seguito tratteranno del compositore. Figlio di un eminente letterato9, segretario del delegato della giurisdizione napoletana, F. Carulli nacque a Napoli il 10 Febbraio 1770. Fu iniziato alla musica da un prete, avvicinandosi da principio al violoncello. Ben presto tuttavia si diede allo studio autodidatta della 4 Tale fonte contraddice chi fa risalire al 1832 la 1a ed. del Metodo op. 27, in realtà data della prima ed. tedesca. 5 François Joseph Fétis (1784–1871), musicologo e compositore belga, figlio di un organista, studiò al Conservatorio di Parigi, dove dal 1821 insegnò contrappunto e fuga. Nel 1827 fondò Ravue et Gazette musicale de Paris. Nel 1833 diventò direttore del Conservatorio di Bruxelles. 6 Già nel 1808 esisteva un catalogo delle opere stampate da Ricordi (fondata lo stesso anno), arrivato già al n. 156. 7 Marchese di Villarosa, Memorie dei Compositori di Musica del regno di Napoli, 1840 e H. Mendel, Musikalisches Conversations Lexicon, 1872. 8 La prima ed. contò ben 8 volumi pubblicati tra il 1860 e il 1865. 9 Giuseppe Carulli. Giuseppe Ugo Mazzone, Tesi di I livello (Cons. B.Marcello) 8 chitarra, che in quel tempo conosceva forse il periodo più oscuro della sua storia, dimentica della sua gloriosa tradizione. Il fatto che lo strumento fosse quasi del tutto sprovvisto di insegnanti, metodi e repertorio (formativo e concertistico) stimolò il giovane Carulli fino a scoprire possibilità tecnico-sonore e processi esecutivi all’epoca sconosciuti, riuscendo con pieno successo a reinserirla tra i più nobili strumenti solistici. Dopo brevi permanenze a Torino (1792), Livorno (1797-1801) e Vienna (1807), durante le quali svolse una brillante attività concertistica, nell’Aprile 1808 si trasferì a Parigi. Subito divenne musicista di successo, affermandosi come chitarrista virtuoso e altrettanto valido didatta. Di lì a poco scrisse infatti il Méthode complète pour guitarre op. 27, apprezzato a livello internazionale: in pochi anni ne curò altre tre edizioni, con aggiunte e supplementi (opp. 61, 71 e 192). In seguito Carulli volle aggiornare la sua didattica, pubblicando il Méthode complète pour parvenir à pincer de la guitare op. 24110; benché il nuovo metodo risultasse effettivamente più razionale, raggiungendo un più avanzato livello tecnico rispetto al primo, il testo di riferimento rimase comunque lo storico Metodo op. 27 (e lo è tuttora). Originale anche Harmonie appliquèe à la guitare, un trattato di accompagnamento basato su un’attenta teoria dell’armonia. Il 15 Dicembre 1826 brevettò la chitarra decacorde11 - per cui scrisse un metodo apposito, Méthode complète pour la décacorde 10 Primo metodo di Carulli edito in Italia - Lucca e Firenze, 1832 (in realtà trattandosi della quinta ed. dell’op. 27, riveduta e ampliata). 11 La chitarra a dieci corde tornò in auge, in contesto moderno, ad opera del liutaio spagnolo José Ramírez III e del chitarrista Narciso Yepes (il quale, non a caso, di Carulli registrò solo il Divertimento per il Decacordo, in Gitarrenmusik. Deutsche Grammophon, 1979). Giuseppe Ugo Mazzone, Tesi di I livello (Cons. B.Marcello) 9 nouvelle guitare op. 293 – realizzata da R. F. Lacôte12. Nel Dizionario dei Chitarristi e dei Liutai italiani (1937) si parla invece di una chitarra di Carulli «riccamente lavorata in tartaruga con fiori di giglio in madreperla»; costruita dal liutaio Claude Boivin, era appartenuta a una figlia del re Luigi XV. Prova di quanto fosse una figura di rilievo nell’ambito musicale del tempo, tra le lettere autografe di N. Paganini13 - pubblicate in Paganini intimo da A. Codignola (1935) - ve ne è una indirizzata «All’onestissimo Signore Carulli», datata 10 Aprile 183114, in cui si impegna a fornire al collega un biglietto per un suo concerto; coglie l’occasione anche per complimentarsi dell’«egregio suo figlio»15. La famiglia Carulli vantava di un altro musicista, fratello di Ferdinando e anch’egli valente chitarrista, Raffaele16. Il 21 Febbraio 1841 Ravue et Gazette musicale de Paris pubblica il necrologio di F. Carulli. 12 René François Lacôte (1785-1855), apprendista di Joseph Pons, fu un liutaio parigino di spicco. Costruì chitarre per F. Sor, D. Aguado e N. Coste. Il musicologo René Vannes, nel Dizionario Universale dei Liutai (1932), ne parla come lo «Stradivari della chitarra». 13 Egli stesso chitarrista, compose per lo strumento Ghiribizzi, Sonate, Variazioni, Trio, Quartetti e, a quanto pare, concerti (non pervenuti). 14 L’autografo è conservato presso la biblioteca del Conservatorio di Parigi. 15 Gustavo Carulli (nato il 20 Giugno 1801 durante la permanenza di F. Carulli a Livorno, morto nel 1876) fu insegnante di canto presso il Conservatorio di Parigi e buon conoscitore della chitarra. A differenza del padre, poté avvalersi di ottimi insegnanti. Compose la farsa I tre mariti, rappresentata al Teatro alla Scala di Milano
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