{"id":23128,"date":"2017-01-26T00:00:00","date_gmt":"2017-01-25T23:00:00","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/blog\/2017\/01\/26\/ives-et-gervasoni\/"},"modified":"2024-08-16T11:57:27","modified_gmt":"2024-08-16T09:57:27","slug":"ives-et-gervasoni","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2017\/01\/ives-et-gervasoni","title":{"rendered":"Ives e Gervasoni"},"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\/Paride-Galeone.jpg\" alt=\"\" width=\"554\" height=\"446\" \/><figcaption class=\"wp-caption-text\">Stefano Gervasoni, Mailand 2011. Foto: Paride Galeone<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>Profondamente influenzato dall'idealismo dei trascendentalisti, Ives si ispir\u00f2 alle principali figure di questo movimento (le pi\u00f9 note delle quali furono Emerson e Thoreau) per quella che sarebbe diventata la sua monumentale seconda sonata per pianoforte (<em>Sonata della concordia<\/em>), per il quale scrisse una lunga prefazione che pubblic\u00f2 separatamente: la <em>Saggi prima di una sonata<\/em>Si tratta di un misto di riflessioni estetiche, teologiche, filosofiche, sociali e politiche. Forse non brillano per coerenza, ma la loro sincerit\u00e0 \u00e8 toccante. Le libere associazioni e le numerose digressioni sono come la sua musica: un impulso vitale che comprende sia pensieri elevati che affermazioni pi\u00f9 banali, ed \u00e8 pieno di citazioni. Con l'eccezione del lungo epilogo, in cui lascia trasparire qualche risentimento, come i trascendentalisti privilegia una curiosit\u00e0 aperta e senza limiti.<\/p>\n<p>Oltre alla traduzione riveduta di <em>Test<\/em>questo volume contiene due testi pi\u00f9 brevi, uno sulla spazializzazione e l'altro sull'uso dei quarti di tono, oltre a estratti da <em>Memo<\/em> (commenti di Ives sulla sua vita, sulle sue opere e sulle sue opinioni) relativi alla <em>Sonata della concordia <\/em>e ampie note (un apparato critico indispensabile, poich\u00e9 le citazioni che Ives trae da vari autori sono spesso imprecise, persino fantasiose). L'importanza di questa pubblicazione \u00e8 accresciuta dal fatto che Ives, come molti compositori extraeuropei, \u00e8 stato totalmente trascurato dalla musicografia di lingua 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\/Critiques_b_Ives.png\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<\/div>\n<div class=\"text-section\">\n<p>L'uso personale dei materiali e il loro significato storico ed emotivo, la dimensione semantica, l'espressivit\u00e0, l'inventiva delle sonorit\u00e0 e delle combinazioni timbriche sono alcune delle costanti del linguaggio di Stefano Gervasoni, la cui musica, di grande chiarezza, riunisce citazioni ed elementi del passato e del presente (tra cui, ad esempio, influenze del Fado), optando per la semplicit\u00e0. Il compositore italiano, nato nel 1962, \u00e8 stato spesso presentato e programmato dall'Ensemble Contrechamps, la cui casa editrice propone una monografia scritta da Philippe Alb\u00e8ra. Pi\u00f9 di due terzi del libro sono dedicati all'analisi di alcune opere emblematiche, che descrivono la traiettoria dello sviluppo di Gervason e offrono riflessioni su questo o quell'aspetto della sua posta in gioco compositiva, come approfondisce l'altra parte principale del libro, che decifra alcuni dei concetti chiave che consentono di comprendere meglio l'estetica gervasoniana (sonorit\u00e0, ripetizione e differenza, forma, riscrittura, memoria, ecc.) Il libro \u00e8 completato dalle arricchenti riflessioni dell'autore nell'introduzione e nell'epilogo e da un catalogo delle opere del compositore bergamasco.<\/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\/Critiques_b_Gervasoni.png\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<\/div>\n<div class=\"text-section\">\n<p><em>Charles E. Ives : Essais avant une sonate, et autres textes, traduzione di Carlo Russi, Vivianna Aliberti, Dennis Collins e Sook Ji, 208 p., Fr. 18.00, \u00c9ditions Contrechamps, Gen\u00e8ve 2016. ISBN 978-2-940068-49-4<\/em><\/p>\n<\/div>\n<div class=\"text-section\">\n<p><em>Philippe Alb\u00e8ra: Le parti pris des sons. Sulla musica di Stefano Gervasoni, 500 p., Fr. 28.00, \u00c9ditions Contrechamps, Ginevra 2015, ISBN 978-2-940068-48-7<\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>Le Edizioni Contrechamps hanno pubblicato una traduzione francese di un testo mitico di Charles Ives e uno studio sull'opera di Stefano Gervasoni.<\/strong><\/p>","protected":false},"author":1,"featured_media":23129,"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-23128","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>Ives 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