{"id":23220,"date":"2019-02-19T00:00:00","date_gmt":"2019-02-18T23:00:00","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/blog\/2019\/02\/19\/deux-biographies\/"},"modified":"2024-08-16T11:13:53","modified_gmt":"2024-08-16T09:13:53","slug":"deux-biographies","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2019\/02\/deux-biographies","title":{"rendered":"Due biografie"},"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\/Meyerbeer_begas.jpg\" alt=\"\" width=\"554\" height=\"426\" \/><figcaption class=\"wp-caption-text\">Ritratto di Meyerbeer di Karl Begas dipinto nel 1851. Wikimedia commons<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>Nato a Berlino nel 1791 e morto a Parigi nel 1864, Meyerbeer ebbe una triplice carriera come compositore d'opera, nella nativa Germania, in Italia, dove fu introdotto al bel canto, e soprattutto in Francia, dove esalt\u00f2 il genere, nato dal dramma romantico, del grand-op\u00e9ra, caratterizzato da ricostruzioni storiche, effetti grandiosi e dal lusso pomposo di scene e costumi. Sebbene le sue opere in francese siano state tra le pi\u00f9 rappresentate del XIX secolo, sono state successivamente eclissate da diversi fattori: il cambiamento dei gusti, la mancanza di interpreti formati al bel canto, il nazionalismo (germanofobia in Francia, mentre alcuni in Germania lo consideravano un traditore) e l'antisemitismo. Recentemente, una nuova, ma ancora timida, curiosit\u00e0 sta tornando all'onore di questo compositore troppo poco conosciuto e spesso oggetto di pregiudizi. La biografia di Jean-Philippe Thiellay, grazie soprattutto alle preziose fonti fornite dalle sue lettere e dal suo diario, per lungo tempo inaccessibili, ci mostra un artista perfezionista, metodico, che rimetteva continuamente mano al suo lavoro, ma anche un uomo colto, coinvolgente e generoso, che dovette subire l'ingratitudine di un Heine o di un Wagner.<\/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\/03_crit_buch_Metraux1.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<\/div>\n<div class=\"text-section\">\n<p>Frutto di oltre un decennio di ricerche da parte di Ir\u00e8ne Assayag, questo libro sulla vita e il pensiero del compositore italiano Giacinto Scelsi attinge a numerose interviste e documenti, molti dei quali inediti, per offrirci una visione di questa figura marginale e spesso eccentrica. Conosciuto per la sua esplorazione dell'interno del suono, della sua \"terza dimensione\" e della sua forza energetica, vedeva la musica come un'offerta e un rituale. Bench\u00e9 ignorato in patria e soggetto all'astio di alcuni circoli dogmatici, e a lungo allontanato dai principali circuiti di distribuzione a causa della sua indipendenza, non fu cos\u00ec isolato come talvolta viene dipinto, ed ebbe un'influenza decisiva sia sui membri della scuola spettrale che su molti compositori americani. Dopo la morte di Scelsi, sono sorte polemiche sul suo lavoro compositivo, basato su improvvisazioni trascritte e arrangiate da assistenti, che rendeva labile il confine tra il creatore come ricettacolo di ispirazione, intermediario attraverso il quale passava la musica, \"messaggero\" incaricato dello spirito dell'opera, e il trascrittore, responsabile dell'aspetto tecnico della sua scrittura. Anche se i numerosi schizzi biografici di persone pi\u00f9 o meno in contatto con il maestro italiano spesso sminuiscono il tema centrale di questo studio, almeno questa profusione ci d\u00e0 un'idea dell'ambiente in cui visse, delle influenze che ricevette (Debussy, Scriabin, teosofia e antroposofia, induismo, ecc. La ricchezza della documentazione ci far\u00e0 dimenticare alcuni difetti formali (qualche parola mancante, qualche nome scritto male, la ripetizione identica di un brano a pagina 287, un indice terminologico collocato prima delle appendici, ecc.<\/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\/03_crit_buch_Mettraux2.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<\/div>\n<div class=\"text-section\">\n<p><em>Ir\u00e8ne Assayag: Giacinto Scelsi, musicien-po\u00e8te du XXe si\u00e8cle, 674 p., \u20ac 54,00, \u00c9ditions l'Harmattan,Paris 2018, ISBN 978-2-343-10792-9<\/em><\/p>\n<p>Jean-Philippe Thiellay: Meyerbeer, 192 p., \u20ac 19,00, \u00c9ditions Actes Sud, Arles 2018, ISBN 978-2-330-10876-2<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>Due libri, uno conciso e l'altro ricco di dettagli, trattano rispettivamente la vita di Meyerbeer e quella di Scelsi.<\/strong><\/p>","protected":false},"author":1,"featured_media":23221,"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-23220","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 v28.3 - 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