{"id":22921,"date":"2017-06-28T00:00:00","date_gmt":"2017-06-27T22:00:00","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/blog\/2017\/06\/28\/aloys-fornerod-du-sacre-au-profane\/"},"modified":"2024-06-28T10:15:23","modified_gmt":"2024-06-28T08:15:23","slug":"aloys-fornerod","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/disques\/2017\/06\/aloys-fornerod","title":{"rendered":"Alo\u00ffs Fornerod, dal sacro al profano"},"content":{"rendered":"<figure style=\"width: 554px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/Fornerod-1.jpg\" alt=\"\" width=\"554\" height=\"418\" \/><figcaption class=\"wp-caption-text\">Foto : Claves<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>La musica di Alo\u00ffs Fornerod (1890-1965) \u00e8 ingiustamente messa in ombra. Questo ritratto fa luce su una serie di partiture, alcune delle quali meritano di essere incluse nel repertorio. Un CD pubblicato nel 2000 da Cascavelle presentava gi\u00e0 il concerto per pianoforte e orchestra e altri brani sacri in versioni storiche. Questa recente registrazione prelude alle opere vocali sacre a cappella. Diretto dal coro della HEMU, dei siti di Losanna e Friburgo, Jean-Pierre Chollet serve questa musica in modo perfetto, mettendo in prospettiva la splendida architettura della HEMU.<em> Messa del 7\u00b0 tono <\/em>e mottetti registrati dal vivo.<\/p>\n<p>Fornerod continua con lo stesso spirito con il<em>Ave Maria<\/em>La bella linea melodica \u00e8 interpretata con commovente semplicit\u00e0 dal soprano Jennifer Pellagaud. Olga Zhukova, che suona all'organo di St-Michel (Friburgo), usa sottili mezzi toni, una discreta vetrata su questa preghiera intima. Ascoltando queste opere vocali, l'ascoltatore \u00e8 colpito dall'amore del compositore per il plainchant e la polifonia rinascimentale. Il <em>Quattro interludi gregoriani<\/em>per organo continuano ovviamente su questa linea. Brevi e dense, assolvono perfettamente al loro ruolo di meditazione tra due momenti liturgici. Fornerod, il professore di teoria, era obbligato a scrivere una fuga per organo. Tuttavia, questa \u00e8 ben lontana dall'essere una fuga scolastica. C'\u00e8 qui una preoccupazione per l'inventiva nonostante la forma vincolante. Cyril Julien, all'organo di St-Michel, conferisce rilievo e colore a pagine un po' austere rispetto agli sfoghi degli organisti-compositori contemporanei di Fornerod.<\/p>\n<p>L'opera orchestrale del compositore lo vide liberarsi da una certa sobriet\u00e0 imposta dall'ambiente ecclesiastico. <em>Prometeo in catene <\/em>rivela un lato pi\u00f9 apollineo del compositore vodese. Le cellule tematiche sono sviluppate con una consumata arte della forma. Emmanuel Siffert, alla guida dell'orchestra HEMU, \u00e8 formidabilmente preciso in questa registrazione dal vivo. Il concerto per pianoforte e orchestra che segue \u00e8 l'opera che meglio rivela la personalit\u00e0 del compositore. Sottile orchestratore, Fornerod ci regala un concerto pieno di colori. Rivela la conoscenza di Fornerod di Francis Poulenc. L'interpretazione chiara, ben articolata e raffinata di Oxana Shevchenko ci conduce per mano lungo i sentieri di questa musica elegante e di ispirazione francese.<\/p>\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/Cover_Fornerod.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Alo\u00ffs Fornerod, un ritratto. Coro e Orchestra HEMU; Oxana Shevchenko, pianoforte; Emmanuel Siffert, direttore. Claves CD 1614<\/em><\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>\"Per definire l'identit\u00e0 musicale di Fornerod, dobbiamo collocarla nel quadro generale del vasto movimento culturale che si svilupp\u00f2 all'indomani del 1918 e che pu\u00f2 essere chiamato neoclassicismo in senso molto generale\". Jacques Viret nel libretto del CD. <\/strong><\/p>","protected":false},"author":1,"featured_media":22922,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1614,1615],"tags":[],"class_list":["post-22921","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques","category-disques"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Alo\u00ffs Fornerod, du sacr\u00e9 au profane - Revue Musicale Suisse<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.revuemusicale.ch\/it\/critiques\/disques\/2017\/06\/aloys-fornerod\/\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Alo\u00ffs Fornerod, du sacr\u00e9 au profane - Revue Musicale Suisse\" \/>\n<meta property=\"og:description\" content=\"\u00ab Pour de\u0301finir l\u2019identite\u0301 musicale de Fornerod, il convient de la situer dans le cadre ge\u0301ne\u0301ral du vaste mouvement culturel qui s\u2019est de\u0301veloppe\u0301 au lendemain de 1918 et qu\u2019on peut appeler ne\u0301oclassicisme en un sens tre\u0300s ge\u0301ne\u0301ral. \u00bb Jacques Viret dans le booklet du cd.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.revuemusicale.ch\/it\/critiques\/disques\/2017\/06\/aloys-fornerod\/\" \/>\n<meta property=\"og:site_name\" content=\"Revue Musicale Suisse\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/SchweizerMusikzeitung\/\" \/>\n<meta property=\"article:published_time\" content=\"2017-06-27T22:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-06-28T08:15:23+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/Fornerod-1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"554\" \/>\n\t<meta property=\"og:image:height\" content=\"418\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Musikzeitung-Redaktion\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@smusikzeitung\" \/>\n<meta name=\"twitter:site\" content=\"@smusikzeitung\" \/>\n<meta name=\"twitter:label1\" content=\"Scritto da\" \/>\n\t<meta name=\"twitter:data1\" content=\"Musikzeitung-Redaktion\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tempo di lettura stimato\" \/>\n\t<meta name=\"twitter:data2\" content=\"2 minuti\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/critiques\\\/disques\\\/2017\\\/06\\\/aloys-fornerod#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/critiques\\\/disques\\\/2017\\\/06\\\/aloys-fornerod\"},\"author\":{\"name\":\"Musikzeitung-Redaktion\",\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/#\\\/schema\\\/person\\\/b2fd892c800856270b9dcc6001265712\"},\"headline\":\"Alo\u00ffs Fornerod, du sacr\u00e9 au profane\",\"datePublished\":\"2017-06-27T22:00:00+00:00\",\"dateModified\":\"2024-06-28T08:15:23+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/critiques\\\/disques\\\/2017\\\/06\\\/aloys-fornerod\"},\"wordCount\":465,\"publisher\":{\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/critiques\\\/disques\\\/2017\\\/06\\\/aloys-fornerod#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.revuemusicale.ch\\\/wp-content\\\/uploads\\\/2023\\\/01\\\/Fornerod-1.jpg\",\"articleSection\":[\"Critiques\",\"Disques\"],\"inLanguage\":\"it-IT\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/critiques\\\/disques\\\/2017\\\/06\\\/aloys-fornerod\",\"url\":\"https:\\\/\\\/www.revuemusicale.ch\\\/critiques\\\/disques\\\/2017\\\/06\\\/aloys-fornerod\",\"name\":\"Alo\u00ffs Fornerod, du sacr\u00e9 au profane - 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