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•B •M Abbonarsi a MUSICA Significa Sostenere Una Rivista Indipendente

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•B •M Abbonarsi a MUSICA Significa Sostenere Una Rivista Indipendente PETRASSI dalla Chaconne,tuttocio` che e` pos- Piccolo Trio pianoforte Andrea Rucli sibile cavarne di interessante, dando clarinetto Nicola Bulfone violino Lucio abbonarsi a MUSICA Degani la dimostrazione della sua... consan- BONGIOVANNI GB 5180-2 guineita` con il Novecento musicale significa sostenere DDD 69:57 .M non di avanguardia. una rivista HHHH La stessa dimostrazione ci viene da- indipendente ta dalle due composizioni per pia- Si e` giu` parlato noforte e orchestra. Nato nel 1923, su queste pagine l’americano Peter Mennin (anzi, dell’attivissima italoamericano: si chiamava Menni- Associazione king, pianista molto eccitabile che ni), fu regolarmente eseguito negli CD Sergio Gaggia di Stati Uniti e pochissimo in Europa. suonava le musiche contemporanee Cividale del PETRASSI Concerto per flauto flauto curando poco la pulizia tecnica ma Friuli (www.sergiogaggia.com), re- Oggi la sopravvivenza del suo no- Mario Ancillotti Orchestra Sinfonica di me e` affidata alla Canzona per ban- Roma, direttore Francesco La Vec- con uno slancio travolgente. Pecca- censendo gli atti del convegno de- da, ma soprattutto al disco, che con chia to che la sua esecuzione non sia sta- dicato alla figura di Ella Adaı¨ewsky, lui fu assai generoso, tanto che pos- Concerto per pianoforte » pianoforte ta registrata. Per un motivo. Oltre nonche´ il suo « Un voyage a` Re´- siamo ascoltare tutte le sue nove Bruno Canino Orchestra Sinfonica di alle indicazioni di metronomo la sia », fondamentale testo etnomusi- Roma, direttore Francesco La Vec- partitura reca l’indicazione di dura- Sinfonie.IlConcerto per pianoforte fu chia cologico ritrovato nel 2009 e pub- commissionato a Mennin dall’Or- Suite sinfonica dal balletto « La Follia ta:«25’circa».Inquestodiscoil blicato poi da Lim. Adesso esce un chestra di Cleveland, il cui diretto- d’Orlando » Orchestra Sinfonica di Ro- Concerto dura 32:09, nel disco CD incentrato sul compositore udi- re,GeorgeSzell,neassicuro` la pri- ma, direttore Francesco La Vecchia Stradivarius dura 31:43. Petrassi era nese Piero Pezze` (1913-1980), che NAXOS 8.573073 organista, non pianista, e la sua gia` quarant’anni fa aveva intuito la ma esecuzione con la pianista Euni- DDD 71:31 .B ce Podis. La composizione risponde HHHH scrittura pianistica e` spesso scomo- portata culturale del lavoro della in tutto e per tutto allo schema del da, poco idiomatica. I tempi piu` Adaı¨ewsky, visti i numerosi appunti Concerto virtuosistico « moderno » Francesco La posati permettono di renderla cor- ritrovati nel suo archivio, che testi- che mette in luce sia il solista che Vecchia e la sua rettamente. Ma tempi sensibilmen- monianounlavorodiricercaeca- l’orchestra: primo movimento, orchestra prose- te piu` scorrevoli darebbero proba- talogazione che solo la morte im- molto strutturato, in tempo mosso guono infatica- bilmente al Concerto un volto pedı` di portare a termine. La figura con breve introduzione in tempo bilmente nella piu`... giovanile e ardito. di Pezze` e`, oggi, molto poco nota: lento, secondo movimento intro- loro lodevolissi- Recensendo il disco Stradivarius Umberto Berti, uno fra i rari cono- spettivo (Adagio religioso), Finale ma esplorazione dell’Ottocento e avevo gia` detto che la suite dal bal- scitori del suo lascito, lo definisce con i fuochi artificiali. Mennin del Novecento sinfonici italiani. Al letto La Follia d’Orlando non acqui- « pianista, camerista, compositore, sembra appartenere a una genera- contrario ad esempio di Ghedini e sta nel trasferimento, secondo me, musicologo, critico musicale, diret- zione precedente la sua, la genera- diMancinelli,Petrassi,inverita`, l’autonomia sinfonica. E questa se- tore di cori e orchestra, insegnante zione di Stravinski e di Barto´k, e la con il disco aveva avuto una certa conda esecuzione ha confermato di cento discipline musicali », un suamusicae` da professore (del re- fortuna e il Concerto per pianoforte, l’impressione che avevo avuto dal musicista umile e preparatissimo, sto, egli diresse il conservatorio di mai prima registrato, era stato pub- disco Stradivarius. Il Concerto per che, in oltre centocinquanta opere Baltimora e la Juilliard School di blicatoloscorsoannodallaStradi- flauto fu composto nel 1960 per Se- (curiosamente catalogate all’inverso: New York): ben calcolata, di effet- varius. Ma non e` male avere due verino Gazzelloni. Petrassi tenne l’op. 1 e` l’ultima!) esploro` tutti i to, ma linguisticamente cosı` generi- esecuzioni diverse del pezzo, anche conto delle caratteristiche dell’in- linguaggi del suo tempo, partendo, ca da scorrere via senza lasciare se, come ho detto recensendo il di- terprete e la partitura e` come un ri- come egli stesso affermo`,«daposi- traccia. Non dissimile e` Richard sco Stradivarius, l’Autore non aveva tratto dell’estro bizzarro e clowne- zioni tonali e modali che in un arco Yardumian, americano di origine esitato a definirlo in un’intervista sco, e direi persino della gestualita` piu` che trentennale di attivita` ho armena nato nel 1917, con la diffe- « una porcheria ». Porcheria no, ma spiritata di Gazzelloni. Mario An- cercato di arricchire e sviluppare renza che il suo linguaggio e` piu` di certo non e` questo, il miglior cillotti lo esegue brillantemente e con elementi politonali, polimelo- schiettamente tonale e che risente Petrassi. Il Concerto, che impegno` con disinvoltura, riuscendo a non dici e atonali », giungendo, sull’e- semmai della lezione di Walton. La Petrassi per tre anni, e` stilisticamen- far rimpiangere Gazzelloni ma non sempio di Dallapiccola, ad un seria- Passacaglia, Recitativo e Fuga fu com- te eclettico, naviga fra Stravinski, creando secondo me una vera alter- lismo « umano », sempre filtrato dal posta nel 1957 per Rudolf Firkusny Prokofiev e Hindemith senza che i nativa. La registrazione poco anali- riferimento costante alla tradizione che ne tenne la prima esecuzione a diversi imput si fondano insieme. tica, qui come nel Concerto per pia- musicale friulana e resiana. Un mu- Filadelfia sotto la direzione di Eu- E, fatto curioso per un lavoro degli noforte, non arriva a far percepire sicista che, come l’ha esemplarmen- gene Ormandy. Sia Mennin che anni trenta, si rileva in esso la con- chiaramente le molte sfaccettature te definito Andrea Rucli, anima Yardumian erano onesti artigiani traddizione del piano tonale gene- timbriche della partitura. Le note di della « Sergio Gaggia » nonche´ pia- che conoscevano molto bene il lo- rale. Primo movimento in Sol mi- presentazione, chiarissime, sono di nista, riceveva le novita` della musi- ro mestiere e che, protetti dalla or- nore, secondo movimento, regolar- Marta Marullo. ca europea con il ritardo dovuto al- ganizzazione sindacale dei composi- mente, in Si bemolle maggiore. Il Piero Rattalino l’isolamento nella provincia, e forse tori, potentissima negli Stati Uniti, terzo movimento inizia con i due ancheaunanaturaschivaeintro- componevano regolarmente ed era- bemolli in chiave, ma riceve l’im- spettiva. Ma, altra faccia della me- no regolarmente eseguiti (e da di- pronta da un’armonia politonale CD daglia, questo ritardo gli consentiva rettori come Szell e Ormandy). Do maggiore-Mi bemolle maggio- PEZZE` « A tribute. Chamber music un’elaborazione personale e medi- Oggi ci interessano soltanto piu` co- re. La tonalita`, ovviamente, in un works » tata, aliena da facili mode. Danze della Val Resia; Sei piccoli me facenti parte di una cultura autore come Petrassi e` un’ombra Il CD e` sorprendente: dedicato a la- pezzi per pianoforte; Sonatina Resia- conservatrice che fu robustamente che appare e scompare, ma nella ar- na pianoforte Andrea Rucli vori cameristici, presenta sei com- rappresentata negli Stati Uniti e che chitettura generale l’ascoltatore av- Improvviso e Tarantella pianoforte posizioni, tre delle quali (Improvviso appartiene a un passato ormai se- verte ugualmente il non-ritorno nel Ferdinando Mussutto clarinetto Nico- e Tarantella per clarinetto e piano- polto. Le esecuzioni di Ogdon, Finale alla tonalita` del primo movi- la Bulfone forte, Preludio Sarabanda e Toccata Preludio Sarabanda Toccata piano- splendide, ce ne dimostrano tutte le mento o alla sua somigliante mag- forte Ferdinando Mussutto perpianoforteeilPiccolo Trio)risa- buone qualita` e tutti i limiti. giore. Il primo interprete del Con- Musica a due pianoforte Ferdinando lenti agli anni ’40-’50, mentre del Piero Rattalino certo per pianoforte fu Walter Giese- Mussutto violino Lucio Degani periodo fra il 1974 e il 1978 sono i 72 musica 257, giugno 2014 PONCHIELLI brani « resiani e la Musica a due,per &dischi a 78 giri, ma spesso ristampa- violino e pianoforte. Se nei primi e` Anita Cerquetti ta in CD)e` completamente soddi- molto evidente il tratto raveliano sfacente per l’equilibrio della distri- (piu` che debussiano, come afferma buzione: il tenore Alessandro Gran- Roberto Frisano nell’eccellente da, il baritono Gaetano Viviani e il booklet), elemento costante di tutta basso Corrado Zambelli cantano la produzione di Pezze` e` una chia- bene, non troppo offuscati dalla rezza cartesiana della scrittura, un bravura della protagonista Giannina equilibrio perfetto fra la forma e la Arangi-Lombardi e della Laura, l’e- sincerita` espressiva e un dominio sordiente Ebe Stignani. della scrittura davvero raro. E que- L’edizione Decca vanta la parteci- sto e` avvertibile sia nella forma bre- pazione come Laura di Giulietta Si- ve, quasi aforistica delle Danze della mionato, in ottima forma. All’epo- Val Resia, la cui durata arriva a ca, De Monaco era un’ovvia scelta stento al minuto, sia nell’affascinan-
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