{"id":22985,"date":"2013-09-06T00:00:00","date_gmt":"2013-09-05T22:00:00","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/blog\/2013\/09\/06\/portrait-dun-caractere-egocentrique-2\/"},"modified":"2024-08-16T15:12:16","modified_gmt":"2024-08-16T13:12:16","slug":"portrait-dun-caractere-egocentrique-2","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2013\/09\/portrait-dun-caractere-egocentrique-2","title":{"rendered":"Ritratto di un personaggio egocentrico"},"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\/Othmar_Schoeck-1.jpg\" alt=\"\" width=\"554\" height=\"418\" \/><figcaption class=\"wp-caption-text\">Othmar Schoeck disegnato da Hermann Burte, 1938 circa, wikimedia commons<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>Dopo aver pubblicato opere dedicate ai compositori svizzeri d'Alessandro, Bloch, Honegger e Martin, le Editions Papillon pubblicano la prima biografia in lingua francese di Othmar Schoeck nella sua collezione M\u00e9lophile. Beat F\u00f6llmi, specialista di questo compositore, si occupa attualmente della pubblicazione delle sue opere complete, avendo redatto il catalogo nel 1997. Piuttosto che fornire analisi musicali dettagliate, si concentra sulla descrizione dell'ambiente del compositore zurighese, della sua cerchia di amici (tra cui Hermann Hesse) e delle persone che lo circondavano, non tutte da lodare. Il carattere egocentrico e instabile di Schoeck suscita particolare attenzione: oltre a una vita ingloriosa e dissoluta, la sua mancanza di puntualit\u00e0 e organizzazione gli impedisce di progredire nella carriera di direttore d'orchestra. Per molto tempo si preoccup\u00f2 poco di farsi un nome sulla scena internazionale, mentre si lamentava di non essere pi\u00f9 riconosciuto. Sicuramente nei suoi concerti programmava la musica del suo tempo, assisteva a spettacoli dadaisti, era affascinato dalle <em>Wozzeck<\/em> di Berg, ma la mancanza di interesse per le sue opere pi\u00f9 \"avanzate\" dal punto di vista stilistico (tra cui l'opera <em>Pentesilea<\/em>I suoi fallimenti personali e professionali (un matrimonio travagliato e difficolt\u00e0 finanziarie) lo resero misantropo e pieno di gelosia. Purtroppo, questo contesto lo port\u00f2 a scendere a compromessi con l'odioso regime che si stava affermando in Germania, nella speranza che le sue opere venissero accolte pi\u00f9 spesso dai teatri del paese - un errore di calcolo che non poteva che ritorcersi contro di lui - fino al punto di accettare una dubbia onorificenza e di collaborare alla sua ultima opera con un mediocre scrittore nazista che imbratt\u00f2 il libretto con la sua sordida ideologia. Dopo la guerra, malato e depresso, Schoeck scrisse musica pi\u00f9 tradizionale, che alcuni videro come un baluardo contro la modernit\u00e0. Ora che la pluralit\u00e0 stilistica del XX secolo \u00e8 accettata, si possono dare giudizi pi\u00f9 sfumati, riconoscendo sia l'interesse della sua opera sia la sua relativa modernit\u00e0, cosa che l'autore di questo libro ha fatto, offrendoci un ritratto molto interessante di questo importante capitolo della vita musicale svizzera.<\/p>\n<\/div>\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\/Schoek-klein-1.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Beat F\u00f6llmi, Othmar Schoeck ou le ma\u00eetre du lied, 224 pagine, Fr. 44.95, Editions Papillon, Gen\u00e8ve 2013, ISBN 978-2-940310-45-6<\/em><\/p>\n<p>&nbsp;<\/p>\n<\/div>\n<div class=\"text-section\">\n<p><strong>La Spagna vista dalla Francia attraverso i balletti di corte <\/strong><\/p>\n<p>L'altra pubblicazione esamina l'ambiguo rapporto tra Francia e Spagna dal punto di vista dei balletti di corte. Sebbene a prima vista l'argomento possa sembrare limitato, ben presto ci si rende conto che il libro \u00e8 ricco di temi come l'analisi delle incisioni satiriche dell'epoca e la storia delle danze spagnole (tra l'altro, apprendiamo che la sarabanda fu inizialmente vietata su istigazione dell'onnipotente Chiesa cattolica spagnola e che la sua pratica era punita con 200 frustate e sei anni di galera per gli uomini e l'esilio per le donne). La Spagna, orgogliosa potenza leader in Europa nel XVI secolo, ma con un'aura in declino dopo il fallimento dell'Invincibile Armada contro la flotta inglese, era invidiata dalla Francia che, ostacolata dai suoi fallimenti in Italia e dalle Guerre di Religione, sognava di occupare questa posizione di vertice. Da un lato, i francesi deridevano gli spagnoli, che giudicavano collerici, ipocriti e troppo seriosi, pieni di arroganza e ostentazione. Sia i balletti che le incisioni ridicolizzavano i loro sproloqui. Ritenendo che gli spagnoli non possedessero n\u00e9 la scienza n\u00e9 l'arte, i francesi, prigionieri dei loro stessi giudizi, comprendevano poco la musica e il teatro degli iberici. In compenso, la moda spagnola era in ascesa: sarabande e chaconnes fecero la loro comparsa nella musica francese, cos\u00ec come l'uso della chitarra a cinque corde o delle nacchere e, pi\u00f9 in generale, dei prodotti di origine ispanica o provenienti dalle colonie spagnole del Nuovo Mondo. La letteratura spagnola (a partire da Cervantes) si diffonde, cos\u00ec come l'apprendimento del castigliano. Per quanto riguarda i balletti di corte, possiamo seguirne l'evoluzione: sotto Luigi XIII, essi rappresentavano simbolicamente eventi politici e militari, mentre sotto Luigi XIV lo scopo del balletto divenne il divertimento del pubblico: gli effetti spettacolari sostituirono il burlesco e la parodia. A questo punto, per\u00f2, le relazioni tra i due Paesi erano cambiate: Luigi XIV aveva sposato Maria Teresa, figlia di Filippo IV di Spagna.<\/p>\n<\/div>\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\/Nue-1.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Clara Rico Os\u00e9s, L'Espagne vue de France \u00e0 travers les ballets de cour du XVIIe si\u00e8cle, 248 pagine, Fr. 44.95, Editions Papillon, Gen\u00e8ve 2012, ISBN 978-2-940310-41-8<\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>Le Edizioni Papillon hanno pubblicato la prima biografia in lingua francese di Othmar Schoeck, oltre a uno studio storico.<\/strong><\/p>","protected":false},"author":1,"featured_media":22986,"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-22985","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques","category-livres-et-partitions"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Portrait 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