{"id":22960,"date":"2013-02-01T00:00:00","date_gmt":"2013-01-31T23:00:00","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/blog\/2013\/02\/01\/la-musique-en-russie-depuis-1850\/"},"modified":"2024-08-15T16:49:29","modified_gmt":"2024-08-15T14:49:29","slug":"la-musique-en-russie-depuis-1850","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2013\/02\/la-musique-en-russie-depuis-1850","title":{"rendered":"La musica in Russia dal 1850"},"content":{"rendered":"
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Teatro Mariinsky, orchestra. Foto : Natalia Semenova \/ wikimedia commons<\/a><\/figcaption><\/figure>\n

In quest'opera tascabile, i 150 anni pi\u00f9 gloriosi della musica russa sono riassunti da Andr\u00e9 Lischke, autore di numerosi libri sull'argomento. In un impero dalla geografia mutevole, dalle conquiste della met\u00e0 del XIX secolo alla disgregazione dell'URSS, la scelta di includere o meno un musicista proveniente da un Paese annesso rimane delicata. Da qui, forse, la decisione di non includere nomi come Tubin o Kantcheli. La stessa cautela vale per gli artisti contemporanei: nessun compositore nato dopo la Seconda Guerra Mondiale viene citato. Ma, come sottolinea lo stesso Lischke, non c'\u00e8 abbastanza spazio per essere esaustivi, n\u00e9 si \u00e8 obbligati a farlo. Nel complesso, la sfida di racchiudere quante pi\u00f9 informazioni e idee possibili in un formato ridotto \u00e8 riuscita. Dopo una breve retrospettiva della vita musicale dal XVI secolo a Glinka, S\u00e9rov e Dargomyjski, passando per il predominio della musica italiana nel XVIII secolo, il libro \u00e8 diviso in due parti, una incentrata sul periodo che va dal 1850 al visionario Scriabin e ai post-romantici Rachmaninov e Medtner, l'altra che inizia con Stravinskij e Prokofiev e termina con la generazione di compositori nati negli anni Trenta. Fortunatamente, l'autore non si accontenta di descrivere la vita e le opere principali dei compositori pi\u00f9 importanti di questo periodo, da Anton Rubinstein a Boris Tichtchenko; discute anche l'importanza del folklore, delle ispirazioni orientaliste e delle diverse forme musicali, e dedica due capitoli sostanziosi ai canti della chiesa ortodossa e ai Balletti Russi di Diaghilev. Inoltre, decifra le relazioni tra i membri del Gruppo dei Cinque, poi tra le scuole di Mosca e di San Pietroburgo, nonch\u00e9 i rapporti dei compositori con le autorit\u00e0 sovietiche, dove alcuni si dimostrarono entusiasti, altri carrieristi, altri ancora fecero il doppio gioco grazie ai molteplici significati della musica, e altri ancora emigrarono in Europa o negli Stati Uniti, o andarono in esilio interno. Il libro di Lischke si conclude con la constatazione che l'esilio \u00e8 ancora la strada intrapresa da molti artisti russi, anche se per motivi economici.<\/p>\n

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Andr\u00e9 Lischke, La musica in Russia dal 1850, \u20ac 14,20 Fayard, Parigi 2012, ISBN 978-2-213-66641-9<\/em><\/p>\n

 <\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

Un massimo di informazioni e idee concentrate in un libro tascabile.<\/strong><\/p>","protected":false},"author":1,"featured_media":30675,"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":[1614,1616],"tags":[],"class_list":["post-22960","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques","category-livres-et-partitions"],"acf":[],"yoast_head":"\nLa musique en Russie depuis 1850 - Revue Musicale Suisse<\/title>\n<meta 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