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Le Tradizioni Musicali Delle Isole Ionie Della Grecia

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Le Tradizioni Musicali Delle Isole Ionie Della Grecia Università degli Studi di Padova Università Ca’ Foscari Venezia Dipartimento di Studi Linguistici e Letterari Corso di Laurea Magistrale Interateneo in Musica e Arti Performative Classe LM-45 Tesi di Laurea Isole polifoniche nel mare della monodia: le tradizioni musicali delle Isole Ionie della Grecia Relatore: Prof. Giovanni De Zorzi Laureando Correlatore: Prof.ssa Eugenia Liosatou Costantino Vecchi n° matr.1133969 / LMMAP Anno Accademico 2017 / 2018 Indice Ringraziamenti ........................................................................................................... p. i Introduzione .............................................................................................................. p. 9 1. Breve storia delle Isole Ionie ................................................................................p. 13 1.1 Le Isole Ionie nell’antichità ................................................................................p. 15 1.2 L’Eptaneso bizantino e le vicende del Basso Medioevo ......................................p. 16 1.3 Isole Ionie: ‘levante veneziano’ ..........................................................................p. 19 1.4 La dominazione francese, l’occupazione russo-ottomana e la Repubblica delle Sette Isole Unite ...............................................................................................................p. 23 1.5 Gli Stati Uniti delle Isole Ionie e il protettorato britannico ..................................p. 26 1.6 Lo stato greco e le Isole Ionie nel XX secolo ......................................................p. 28 2. Il paesaggio sonoro dell’Eptaneso: intersezioni tra colto e popolare ..................p. 31 2.1 Il melodramma, le società filarmoniche e l’educazione musicale nelle Isole Ionie ..... ................................................................................................................................p. 35 2.2 Nikolaos Halikiopoulos Mantzaros (1795–1872), la ‘Scuola Ionica’ e la nascita della musica classica greca ...............................................................................................p. 41 2.3 I generi popolari urbani: le polifonie di Cefalonia, Zante e Corfù .......................p. 49 2.4 I canti liturgici dell’Eptaneso ..............................................................................p. 58 2.5 Il mondo rurale e la musica da ballo ...................................................................p. 63 2.6 Alcune riflessioni relative all’attuale stato degli studi .........................................p. 64 3. I canti popolari urbani delle Isole Ionie: ariettes, arekies e kantádes ..................p. 67 3.1 Analisi critica della letteratura esistente ..............................................................p. 72 3.2 La canzone urbana di Cefalonia: arietta e kantáda ‘popolare’ .......................... p. 83 3.2.1 L’arietta di Lixouri ................................................................................ p. 84 3.2.2 La kantáda popolare di Cefalonia ........................................................... p. 87 3.2.3 Arietta e kantáda popolare: caratterizzazione stilistica, registrazioni e trascrizioni ...................................................................................................... p. 89 3.2.4 I contesti performativi dell’arietta e della kantáda popolare ................... p. 92 3.2.5 Le canzoni di Cefalonia nelle raccolte poetiche ottocentesche di canti greci .. ....................................................................................................................... p. 94 3.3 La realtà musicale di Cefalonia: situazione attuale ........................................... p. 98 3.3.1 Incontri: Giórgos Iliádis ......................................................................... p. 98 3.3.2 Incontri: Gerásimos Galanós ................................................................ p. 100 3.3.3 La musica popolare urbana oggi più diffusa: la kantáda ‘artistica’........ p. 101 3.3.4 Incontri: Rossétos Loúzis ..................................................................... p. 102 3.3.5 Incontri: Vasílis Kalogerás ................................................................... p. 104 3.3.6 Contesti performativi odierni ................................................................ p. 105 3.4 Generi popolari urbani dell’Eptaneso e influenze straniere: alcune riflessioni.......... ............................................................................................................................ p. 106 3.4.1 Alcune ‘conclusioni’ da riconsiderare................................................... p. 107 3.4.2 La polivocalità italiana di tradizione orale dal XVI al XIX secolo: alcune considerazioni e alcune possibili analogie musicali fra Venezia e Eptaneso... p. 112 3.4.3 Polifonie ioniche, polifonie dalmate e polifonie dell’Italia del Nord: alcune analogie ionico-adriatiche ............................................................................. p. 124 3.4.4 Un’ipotesi ............................................................................................ p. 130 4. Il canto bizantino dell’Eptaneso: controversie e riflessioni .............................. p. 133 4.1 Il ‘rito bizantino’ e la nascita di una ‘liturgia cantata’ ..................................... p. 135 4.1.1 Note sul canto bizantino ....................................................................... p. 139 4.1.2 Forme e generi ..................................................................................... p. 140 4.1.3 Lo stile ‘kalofonico’ ............................................................................. p. 141 4.1.4 Sistemi di notazione e loro periodizzazione storica ............................... p. 142 4.1.5 Riflessi politico culturali ...................................................................... p. 144 4.2 ‘La Questione Musicale’ (‘To Mousikón Zítima’): la fragilità del concetto di ‘purezza’ .............................................................................................................. p. 145 4.3 Ortodossia e polifonia .................................................................................... p. 154 4.3.1 Le polifonie ottocentesche delle comunità greche della diaspora e la successiva diffusione del canto liturgico polifonico in territorio ellenico ........................... p. 155 4.3.2 Le polifonie dell’Arcidiocesi greco-ortodossa d'America ........................ p. 158 4.3.3 Le polifonie della Chiesa ortodossa di Russia ......................................... p. 160 4.3.4 Gli inni polifonici rinvenuti nei manoscritti greci risalenti al XV e XVI secolo: caratteristiche e ‘significati’ ............................................................................ p. 164 4.3.5 La posizione delle autorità greco-ortodosse nei confronti della polifonia .......... ........................................................................................................................ p. 168 4.4 Il canto liturgico polifonico dell’Eptaneso ...................................................... p. 170 4.4.1 Lo stile ‘cretese’ delle Isole Ionie e i legami con Creta ........................... p. 171 4.4.2 La percezione emica della polifonia liturgica delle Isole Ionie: teorie, polemiche e legami fra musica sacra e profana ................................................................. p. 177 4.4.3 Il canto liturgico a Zante e Corfù: caratteristiche e peculiarità ................ p. 184 4.4.4 Il canto liturgico a Cefalonia: cenni storici, testimonianze dirette e situazione attuale ............................................................................................................. p. 186 Conclusioni ............................................................................................................. p. 191 Bibliografia ............................................................................................................. p. 195 Sitografia ................................................................................................................ p. 206 Discografia .............................................................................................................. p. 208 Ringraziamenti Sono molte le persone che hanno fornito il loro concreto contributo, in molti casi veramente indispensabile, che ha permesso a questo lavoro di vedere la luce ed è doveroso quindi in questa sede ringraziarle tutte, anche a costo di risultare un po’prolissi. Ringrazio il professor Giovanni De Zorzi, relatore di questa tesi, per aver innanzitutto fornito lo ‘spunto’ inziale da cui in seguito ha preso forma questo lavoro, per non aver fatto mai mancare il suo supporto e aver sempre revisionato il materiale che gli è stato sottoposto con estrema precisione, attenzione e professionalità. Ringrazio la professoressa Eugenia Liosatou, correlatrice della tesi, per il fondamentale aiuto offertomi durante l’organizzazione del viaggio di ricerca a Cefalonia, per avermi messo in contatto con importanti ‘informatori’ locali e per avermi assistito e aiutato con la lingua greca durante la realizzazione delle interviste. Ringrazio di cuore la mia amica María Koutelidáki, perché senza le prime fonti bibliografiche greche sulla musica delle Isole Ionie da lei reperite ad Atene, senza il suo paziente lavoro di traduzione e di assistenza linguistica questo lavoro difficilmente avrebbe potuto iniziare. A lei va un ringraziamento speciale in quanto questo suo appoggio incondizionato e entusiasta
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