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LILYA ZILBERSTEIN Pianoforte FABIO LUISI Direttore ORCHESTRA DEL MAGGIO MUSICALE FIORENTINO

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LILYA ZILBERSTEIN Pianoforte FABIO LUISI Direttore ORCHESTRA DEL MAGGIO MUSICALE FIORENTINO SABATO 6 LUGLIO TEATRO DEI RINNOVATI, ORE 21.15 LILYA ZILBERSTEIN pianoforte FABIO LUISI direttore ORCHESTRA DEL MAGGIO MUSICALE FIORENTINO In collaborazione con Il concerto verrà trasmesso in diretta da Rai RadioTre «Che bellezza», scrive Beethoven in una let- tera all’amica Therese Malfatti, «potermene andare finalmente in giro fra siepi e boschi, fra alberi, erbe, rocce. Nessuno può amare la campagna quanto io l’amo. Boschi, albe- ri, rocce rimandano l’eco che l’uomo desi- dera udire…». L’eco che il compositore de- sidera ascoltare, immergendosi nella natura, è quello della presenza di Dio che si riflette nelle bellezze del creato: «Sono beato, felice nel bosco: ogni albero parla attraverso di te, o Dio! Quale magnificenza!». Un’eco tangibile di questa esperienza di contemplazione mistica si riflette anche nella sua Sinfonia Pastorale, che inaugura un nuo- vo capitolo nella storia dei rapporti tra mu- sica e natura che il Festival Out of Nature si appresta a ripercorrere nelle sue diverse de- clinazioni. I cinque movimenti sono accom- pagnati da brevi didascalie che evocano scene di vita campestre, e che nell’insieme delineano una sorta di “programma” di gui- da all’ascolto: 1. Piacevoli sentimenti che si destano nell’uomo all’arrivo in campagna; 2. Scena al ruscello; 3. Allegra riunione di campagnoli; 4. Tuono e tempesta; 5. Senti- menti di benevolenza e ringraziamento alla Divinità dopo la tempesta. La rappresentazione di scene di natura era una pratica assai diffusa nella musica stru- mentale del Settecento, dove di solito la natura veniva evocata attraverso una “tra- duzione” descrittiva, quasi onomatopeica, dell’immagine acustica di fenomeni naturali come il fluire dell’acqua, il canto degli uccel- li o la tempesta. Difficile tuttavia immaginare che Beethoven, che ha sempre affrontato la creazione musicale come un processo di continua sperimentazione e ricerca, vo- lesse limitarsi a ripercorrere un sentiero così battuto. Per chiarire le sue reali intenzioni, il compositore si premurò infatti di aggiungere un’importante precisazione al titolo dell’o- Pëtr Il’ič Čajkovskij Votkinsk, Russia 1840 - San Pietroburgo 1893 Concerto per pianoforte e orchestra n. 1 in si bem. min. op. 23 Allegro non troppo e molto maestoso. Allegro con spirito Andantino semplice. Prestissimo Allegro con fuoco * * * Ludwig van Beethoven Bonn 1770 - Vienna 1827 Sinfonia n. 6 in fa magg. op. 68 “Pastorale” Piacevoli sentimenti che si destano nell’uomo all’arrivo in campagna. Allegro ma non troppo Scena al ruscello. Andante molto mosso Allegra riunione di campagnoli. Allegro Tuono e tempesta. Allegro Sentimenti di benevolenza e ringraziamento alla Divinità dopo la tempesta. Allegretto pera: Sinfonia Pastorale, più espressione del sentimento che pittura musicale. In altre parole, la sua sfida estetica era quella di andare al di là di una mera rappresenta- zione imitativa della natura, per sperimen- tare invece la possibilità di dar forma ed espressione musicale ai sentimenti evocati da una natura vista e sentita dall’uomo, e che trova nell’uomo il suo centro. Se ne trova conferma nei suoi quaderni di schizzi, dove il compositore annota nel 1808: «Nella musica strumentale la pittura, se spinta all’eccesso, perde efficacia»; e ancora, verso la fine del quaderno Beethoven scrive: «sinfonia pa- storella — chi possiede anche solo un’idea vaga della vita in campagna può immagi- nare senza tanti titoli quel che l’autore intende». Se è dunque lo stesso compositore che ci esorta a non prendere troppo alla lettera la trama narrativa suggerita dai suoi titoli, in che modo – e soprattutto, attraverso quali mezzi musicali – l’ascolto della Pastorale ci invita a sperimentare un’esperienza di co- munione spirituale con la natura? La Sesta Sinfonia venne eseguita per la prima volta a Vienna nel 1808 insieme alla Quinta, compo- sta nello stesso periodo. Difficile trovare due pezzi più antitetici: tanto è drammatica, con- flittuale e impetuosa la Quinta, tanto serena e libera da tensioni è la Sesta, dove la dialet- tica tra i vari temi non si configura mai come un conflitto tra forze opposte, ma piuttosto come una pacifica convivenza di sentimen- ti diversi. Per di più, in alcuni passi il senso di quiete associato alla natura viene evocato attraverso una temporanea sospensione del principio-cardine della musica di Beethoven, quello dell’elaborazione tematica, e cioè dell’incessante divenire, sempre orientato verso una meta. Accade nel primo movi- mento, dove per quasi due minuti si assiste all’inusuale ripetizione di un solo e sempre identico motivo; e all’inizio del quinto, dove il compositore intesse una trama sonora stati- ca che sembra quasi voler sospendere il fluire del tempo musicale, in linea con il suo ideale di natura come luogo d’elezione dell’eterno e dell’assoluto. Il primo Concerto per pianoforte e orchestra di Čajkovskij ci proietta in un orizzonte d’a- scolto completamente diverso: un mondo tellurico e in continua ebollizione, attraversa- to da continue esplosioni di sentimenti con- trastanti e improvvisi cambi di stati d’animo. Anche il rapporto tra il solista e l’orchestra è impostato in termini di contrapposizione, come spiega il compositore in una lette- ra all’amica Nadežda von Meck: «ll conflit- to scoppia fra due avversari di forze uguali, perché alla potenza dell’orchestra e alla sua infinita varietà di colori tiene testa questo av- versario minuscolo, ma di pari forza e risoluto. In questa lotta risiedono dei tesori di poesia e molte possibilità esaltanti per un compositore». Scritto di getto, nel giro di poche settimane, il Concerto è stato eseguito per la prima vol- ta a Boston nel 1875; in seguito Čajkovskij ha rivisto più volte la partitura, pubblicando la versione definitiva solo nel 1890. Il Concerto si apre con un gesto retorico di straordinaria efficacia, un tema lirico di grande impatto emotivo. Dopo l’introduzio- ne non lo ascolteremo più, visto che la sua funzione è appunto quella di alzare il sipario su percorso musicale che solo sulla carta si articola nei tre movimenti canonici. Una tra- iettoria formale in cui l’elemento sorpresa, la discontinuità e l’immediatezza dell’espressio- ne emotiva sono le principali strategie atti- vate dal compositore per mettere in scena quel desiderio di desiderare che dimora nel fondo dell’animo romantico, e forse anche in quello degli ascoltatori di tutti i tempi. Susanna Pasticci Lilya Zilberstein è salita alla ribalta internazionale nel 1987, vincendo il Concorso Busoni di Bolzano. Fu una vittoria sensazionale e ci vollero 5 anni pri- ma che il Premio fosse nuovamente assegnato. Da allora la pianista, moscovita di nascita e ora tedesca d’adozione, non ha smesso di girare tutta l’Europa, l’America del Nord e del Sud e l’Asia. Ha cominciato lo studio del pianoforte a 5 anni con Ada Traub alla Scuola Gnessin di Mosca pri- ma e all’Istituto Gnessin poi con Alexander Satz, fino al diploma nel 1988. Nel 1985 ha vinto il Con- corso Russo e il Concorso Pan-Sovietico di Riga. Nel 1988 ha vinto il Premio Internazionale Acca- demia Musicale Chigiana. È stata invitata dai Filarmonici di Berlino e Clau- dio Abbado per la prima volta nel 1991, e insie- me hanno poi suonato ripetutamente e registra- to per Deutsche Grammophon. Ha suonato inol- tre con molte altre orchestre prestigiose e con i massimi direttori di tutto il mondo. Ha registrato 8 cd per Deutsche Grammophon, oltre che per EMI e Hänssler Classic. Lilya Zilberstein è titolare della cattedra di piano- forte alla MDW-Universität für Musik und darstel- lende Kunst di Vienna, dal 2011 all’Accademia Chigiana di Siena e tiene master-classes in tutto il mondo. Fabio Luisi, nato a Genova, attualmente Diret- tore stabile (General Music Director) al Teatro dell’Opera di Zurigo e Direttore Principale della Danish National Symphony Orchestra di Cope- naghen, è il Direttore Musicale del Maggio Mu- sicale Fiorentino dall’aprile 2018. Dal 2020 sarà direttore musicale della Dallas Symphony Or- chestra. Dal 2011 al 2017 è stato Direttore Prin- cipale del Metropolitan Opera House di New York, nonché Direttore Principale dei Wiener Symphoniker (2005-2013), della Staatskapelle di Dresda e della Saxon State Opera (2007- 2010), dell’Orchestre de la Suisse Romande a Ginevra (1997-2002), dell’Orchestra del Mittel- Lilya Zilberstein got her first taste of inter- national success in 1987 when she won the Busoni Competition in Bolzano. Her victory was a sensation – it took five years before the first prize was even awarded again. By 1988, the Moscow-born pianist was able to per- form at big tours abroad in all Europe, North America and Asia. She started playing the piano at five years old. After twelve years of lessons with Ada Traub at the Gnessin School of Music in Mos- cow, she continued studying at the Gnessin Institute under Alexander Satz until she grad- uated in 1988. In 1985, she won first prize in the Competition of the Russian Federation. In 1988 she won the Accademia Musicale Chi- giana International Prize. In 1991, Lilya Zilberstein debuted with the Berlin Philharmonic Orchestra under Claudio Abbado, which formed the basis of a long- term cooperation. Lilya Zilberstein is professor at the MDW-Uni- versität für Musik und darstellende Kunst of Wien and, since 2011, at the Accademia Chigiana of Siena. Fabio Luisi was born in Genova and he is ac- tually General Music Director at the Zurich Opera House, Chief Conductor of the Dan- ish National Symphony Orchestra and, from 2018, Musical Director of the Maggio Musi- cale Fiorentino. He is also the designated Mu- sic Director of the Dallas Symphony Orchestra from 2020. From 2011 to 2017 he has previous- ly served as Principal Conductor of the Metro- politan Opera in New York, Chief Conductor of the Wiener Symphoniker (2005-2013), Gen- eral Music Director of the Staatskapelle Dres- den and the Saxon State Opera (2007- 2010), Musical Director of the Orchestre de la Suisse Romande of Geneve (1997-2002), Principal Conductor of the MDR Symphony Orchestra deutscher Rundfunk di Lipsia (1999-2007) e dei Tonkünstler di Vienna (1995-2000).
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