{"id":23002,"date":"2013-12-05T00:00:00","date_gmt":"2013-12-04T23:00:00","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/blog\/2013\/12\/05\/techniques-instrumentales-contemporaines\/"},"modified":"2024-08-16T15:04:21","modified_gmt":"2024-08-16T13:04:21","slug":"techniques-instrumentales-contemporaines","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2013\/12\/techniques-instrumentales-contemporaines","title":{"rendered":"Tecniche strumentali contemporanee"},"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\/har.jpg\" alt=\"\" width=\"554\" height=\"373\" \/><figcaption class=\"wp-caption-text\">Foto: La-Liana \/ pixelio.de<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>Nell'eccellente serie di B\u00e4renreiter dedicata alle tecniche strumentali contemporanee, \u00e8 stato appena pubblicato il volume bilingue (tedesco-inglese) dedicato al violino. Alcuni dei capitoli, tra cui quello che presenta le basi della scrittura per questo strumento, sono stati scritti dal direttore d'orchestra e compositore Robert HP Platz. L'autore principale del libro, Irvine Arditti, uno dei violinisti pi\u00f9 impegnati nella musica contemporanea, sia come solista che con il suo famoso Quartetto, ha preferito presentare le sue esperienze personali con i compositori, piuttosto che un elenco di possibili effetti o meno sul violino. Se il numero di compositori citati pu\u00f2 sembrare relativamente esiguo (tra i pi\u00f9 citati ci sono Cage, Carter, Ferneyhough, Lachenmann, Nono e Xenakis), l'intima conoscenza di Arditti della loro musica gli permette di utilizzare le opere stesse come punto di partenza per descrivere, tra l'altro, i diversi modi di archeggio, il pizzicato, il glissando (in particolare in <em>Mikka<\/em> di Xenakis), armonici all'estremo acuto o trattati in modo virtuosistico (come nel brano <em>6 Capricci <\/em>di Sciarrino). Altri capitoli sono dedicati all'aggiunta dell'elettronica, alle moderne intavolature (dove situazioni strumentali estremamente complesse vengono annotate su pi\u00f9 pentagrammi o righe) e ai ritmi - dove il violinista spiega, tra l'altro, la poliritmia del <em>Quintetto con pianoforte <\/em>o il modo in cui i ritmi \"irrazionali\" di Ferneyhough possono essere suonati pi\u00f9 facilmente con (relativamente) semplici cambi di tempo. Un DVD presenta alcuni esempi musicali, suonati e presentati dallo stesso Arditti.<img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/Tech1.jpg\" alt=\"Image \" \/><\/p>\n<\/div>\n<div class=\"text-section\">\n<p><em>Irvine Arditti, Robert HP Platz, Le tecniche di esecuzione del violino \/ Die Spiel\u00actechnik der Violine, 117 p., con DVD, \u20ac 49,95, B\u00e4renreiter, Kassel 2013, ISBN 978-3-7618-2267-8<\/em><\/p>\n<\/div>\n<div>\n<hr \/>\n<\/div>\n<div class=\"text-section\">\n<p>\u00c8 dal 1959, anno in cui Tournier ha pubblicato un libro in lingua francese dedicato specificamente alle tecniche moderne dell'arpa, che deriva il particolare interesse di questa pubblicazione, scritta da quattro arpisti, due dei quali sono anche compositori. Dopo una prima ondata di ricerca all'inizio degli anni Venti (in particolare con l'estroso Carlos Salzedo), dal 1960 questo strumento \u00e8 diventato sempre pi\u00f9 popolare nella musica contemporanea. Va detto che la ricchezza di timbri ed effetti dell'arpa, tutti descritti in questo libro con una precisione tale da aiutare arpisti e compositori, \u00e8 particolarmente impressionante. La sintesi iniziale della storia e del modo di suonare delle varie arpe ci introduce all'arpa MIDI e all'arpa automatica; quest'ultima, progettata nel 2006, permette di programmare i cambi di pedale e quindi di cambiare pi\u00f9 pedali contemporaneamente di quanto sarebbe possibile fare con i piedi. Il libro tratta anche dell'arpa celtica e dell'arpa elettronica. Un unico rammarico: manca un CD con esempi musicali, ma forse il sito dell'associazione <a href=\"http:\/\/www.lessignesdelarc.org \">Les Signes de l'Arc - l'arpa in movimento <\/a>: cr\u00e9ations et exp\u00e9rimentations, co-fondata dagli autori del libro, potrebbe utilmente colmare questa lacuna.<img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/HA-7.jpg\" alt=\"Image \" \/><\/p>\n<\/div>\n<div class=\"text-section\">\n<p><em>Mathilde Aubat-Andrieu, Laurence \u00acBancaud, Aur\u00e9lie Barb\u00e9, H\u00e9l\u00e8ne Breschand, La harpe aux XXe et XXIe si\u00e8cles : facture, notation, r\u00e9pertoire, 228 p., \u20ac 26,00, Editions Minerve, Paris 2013, ISBN 978-2-86931-133-6<\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>Due libri di recente pubblicazione sono dedicati ai timbri e agli effetti del violino e dell'arpa nelle composizioni contemporanee.<\/strong><\/p>","protected":false},"author":1,"featured_media":23003,"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-23002","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\/ 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