{"id":23255,"date":"2019-10-31T00:00:00","date_gmt":"2019-10-30T23:00:00","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/blog\/2019\/10\/31\/les-fondements-de-la-musique-classico-romantique\/"},"modified":"2024-08-16T10:58:46","modified_gmt":"2024-08-16T08:58:46","slug":"les-fondements-de-la-musique-classico-romantique","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2019\/10\/les-fondements-de-la-musique-classico-romantique","title":{"rendered":"I fondamenti della musica classico-romantica"},"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\/Dahlhaus.jpg\" alt=\"\" width=\"554\" height=\"443\" \/><figcaption class=\"wp-caption-text\">Carl Dahlhaus 1986. Foto: Michael Zimmermann, Fonte: Annemarie Dahlhaus \/ wikimedia commons<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>Ci\u00f2 che affascina di questo testo di grande densit\u00e0 e immensa erudizione \u00e8 la capacit\u00e0 di Carl Dahlhaus di andare al cuore delle questioni che analizza. Incrociando le questioni musicali con le idee estetiche o teoriche che le hanno riflesse, propone un viaggio attraverso il XIX secolo che non \u00e8 sistematico o cronologico, ma procede a cerchi concentrici per svelare i fondamenti stessi della musica classico-romantica. In primo luogo, tenta di definire l'estetica classica basata sulla teoria degli affetti, in opposizione a quella del periodo barocco, richiamando l'attenzione, accanto a Kant e Schiller, sulla figura meno nota di Karl Philipp Moritz e sui legami che portano al Romanticismo. Richiamando l'identit\u00e0 di forma e contenuto postulata da Hegel, egli deduce che gli affetti non sono anteriori all'opera di composizione, ma da essa prodotti (per Mendelssohn, che aveva frequentato i corsi del filosofo, la musica \u00e8 in questo senso molto pi\u00f9 precisa delle parole). Dahlhaus mostra come la musica diventi un mondo a s\u00e9 stante che \"crea e commenta se stesso\", secondo le parole di Tieck. In questo modo, al volgere del secolo, si sviluppa l'idea di \"musica assoluta\", che apre spazi illimitati all'esperienza musicale e lega insieme il metafisico e il meraviglioso.<\/p>\n<p>Ma il periodo della Restaurazione, iniziato con il Congresso di Vienna e durato fino alle rivoluzioni del 1848, rimescola le carte: la cultura borghese sviluppa istituzioni musicali la cui funzione \u00e8 tanto sociale quanto culturale. Il triviale e lo spirito di intrattenimento fanno il loro ingresso, spingendo i compositori romantici a diventare critici e a valorizzare il poetico. Dahlhaus analizza in modo approfondito la battaglia di idee che li port\u00f2 a prendere in mano la penna e il conflitto tra musica assoluta e musica a programma che segn\u00f2 la seconda met\u00e0 del secolo. Al \"lavoro della mente sul materiale proprio della mente\" (capitolo 5), che fa riferimento ad Hanslick, ardente difensore della prima, si oppongono \"le aporie della musica a programma\" (capitolo 6), che tratta del poema sinfonico lisztiano.<\/p>\n<p>L'ultima parte del libro, che non pu\u00f2 essere riassunta, conduce logicamente al rapporto di Wagner con la musica a programma, Bach, Berlioz, Nietzsche e Schopenhauer, e alla lettura di Claude L\u00e9vi-Strauss; il titolo del capitolo, <em>Opus metaphysicum<\/em>si riferisce al <em>Il dottor Faustus <\/em>di Thomas Mann, che porta alla visione utopica di Ernst Bloch, il pensatore dell'Espressionismo.<\/p>\n<p>La musica classico-romantica viene cos\u00ec collocata nel suo contesto estetico e filosofico, senza il quale difficilmente pu\u00f2 essere compresa a fondo (Dahlhaus si occupa soprattutto di musica e pensiero tedesco). In un secolo in cui i compositori dialogano con filosofi e artisti di altri settori e la musica diventa un modello per le altre arti e il pensiero, non possiamo pi\u00f9 limitarci alle note della partitura! Ecco perch\u00e9 questo libro dovrebbe essere letto e discusso nelle scuole di musica. Ci aiuta anche a comprendere la posta in gioco di ci\u00f2 che \u00e8 avvenuto nel XX secolo, quando la musica, ripensando i propri fondamenti, si \u00e8 vista negare il diritto di esistere ed \u00e8 stata emarginata.<\/p>\n<p>La traduzione a pi\u00f9 mani \u00e8 notevole sotto ogni aspetto e l'edizione in formato quadrato \u00e8 di ottima qualit\u00e0 grafica.<\/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\/11_crit_buch_albera.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Carl Dahlhaus: Estetica musicale classica e romantica. De Kant \u00e0 Wagner, C. Couturier-Heinrich, J-F. Lapl\u00e9nie, L. Marignac e S. Zilberfarb, 635 p., \u20ac 40,00, \u00c9ditions Rue d'Ulm, Parigi 2019, ISBN-978-2-7288-0591-4<\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>Dahlhaus presenta qui il pensiero musicale tra il \"periodo di soglia\" (Kosellek) intorno al 1770 e gli ultimi decenni del XIX secolo, che segnano l'inizio della modernit\u00e0. <\/strong><\/p>","protected":false},"author":1,"featured_media":23256,"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-23255","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>Les fondements 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