{"id":23093,"date":"2016-04-27T00:00:00","date_gmt":"2016-04-26T22:00:00","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/blog\/2016\/04\/27\/a-lorigine-du-classicisme\/"},"modified":"2024-08-16T12:03:14","modified_gmt":"2024-08-16T10:03:14","slug":"a-lorigine-du-classicisme","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2016\/04\/a-lorigine-du-classicisme","title":{"rendered":"Le origini del classicismo"},"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\/2623966394_d9d9afff44_z.jpg\" alt=\"\" width=\"554\" height=\"311\" \/><figcaption class=\"wp-caption-text\">Foto : Dennis Des Chene<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>Come \u00e8 nata la nozione di classicismo in musica, quando Hoffmann considerava Haydn, Mozart e Beethoven come rappresentanti del romanticismo e Tieck, nel 1799, scriveva che la musica non aveva \"ancora conosciuto periodi veramente classici\"?<\/p>\n<p>La storia dei dibattiti estetici raccontata nel libro di Alexandre Ch\u00e8vremont inizia con la visione inibitoria di Winckelmann della perfezione dell'arte nella scultura greca antica, un modello inaccessibile dal quale una concezione pi\u00f9 aperta del termine \"classico\" ci ha gradualmente liberato. Dopo Lessing e Herder, che hanno applicato la nozione di classicit\u00e0 a periodi diversi dall'antica Grecia e ad arti diverse dalla scultura, il contributo fondamentale della critica kantiana alla facolt\u00e0 di giudizio ha trasformato questa nozione: l'ideale di bellezza \u00e8 una questione che riguarda il nostro giudizio e non \u00e8 legato a un periodo particolare. Il passato non \u00e8 pi\u00f9 un modello, ma un esempio che permette al creatore di raggiungere l'autonomia.<\/p>\n<p>Schiller riteneva che, poich\u00e9 nessuna delle arti poteva raggiungere l'ideale di bellezza, la loro combinazione poteva avvicinarsi maggiormente ad esso. Il primo Romanticismo tedesco scelse cos\u00ec il dramma, superando l'opposizione tra antico e moderno. Per alcuni, l'opera divenne il luogo in cui cercare l'arte perfetta. Wackenroder e Tieck, invece, celebrarono la musica strumentale come mezzo per rivelare i nostri sentimenti interiori. Come linguaggio pi\u00f9 profondo e sottile della poesia, raggiunge la perfezione. Astraendo la voce dal testo e dal suo surplus di espressione, la musica strumentale diventa per loro il vero dramma musicale. Per Hegel, invece, la musica non vocale apparteneva a malapena al regno dell'arte, che gi\u00e0 non godeva di grande stima (secondo lui, il discorso filosofico sull'estetica era pi\u00f9 importante dell'arte stessa).<\/p>\n<p>Ma le due figure su cui l'autore di questo libro si concentra maggiormente sono Hoffmann e Amadeus Wendt. Del primo, egli ristabilisce il pensiero differenziato liberandolo dalle posizioni estetiche successive che lo hanno snaturato attraverso una lettura parziale e unilaterale. Quanto al secondo, ne restituisce l'importanza nel dibattito filosofico sulla musica: nel 1836, in particolare, fu il primo a utilizzare la nozione di classicismo per la triade viennese di Haydn, Mozart e Beethoven.<\/p>\n<p>Nel corso di queste pagine, incontreremo anche Rousseau - l'unico pensatore non di lingua tedesca ad essere citato in questo studio - i fratelli Schlegel, Wagner e Hanslick, oltre a Fichte, Schelling e Novalis pi\u00f9 brevemente, e i pi\u00f9 recenti Dahlhaus, Eggebrecht e Rosen.<\/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\/Classicisme_Chevremont.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Alexandre Ch\u00e8vremont, L'estetica della musica classica. De Winckelmann \u00e0 Hegel, Collection \u00c6sthetica, 296 p., \u20ac 19,00, Presses Universitaires de Rennes PUR 2015, ISBN 978-2-7535-4056-9<\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>Nel mondo di lingua tedesca, le origini del concetto di classicismo in musica non possono essere separate da dibattiti estetici e filosofici. <\/strong><\/p>","protected":false},"author":1,"featured_media":23094,"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-23093","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>A l\u2019origine 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