{"id":23297,"date":"2020-09-03T00:00:00","date_gmt":"2020-09-02T22:00:00","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/blog\/2020\/09\/03\/deux-aspects-des-claviers-au-19e-siecle\/"},"modified":"2024-08-15T16:25:10","modified_gmt":"2024-08-15T14:25:10","slug":"deux-aspects-des-claviers-au-19e-siecle","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2020\/09\/deux-aspects-des-claviers-au-19e-siecle","title":{"rendered":"Due aspetti delle tastiere nel XIX secolo"},"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\/ClavecinPleyel1889.jpg\" alt=\"\" width=\"554\" height=\"358\" \/><figcaption class=\"wp-caption-text\">Clavicembalo Pleyel del 1889. Dettaglio del clavicembalo. Fonte: <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:ClavecinPleyel1889.jpg\" target=\"_blank\" rel=\"noopener\">Dalbera \/ wikimedia commons<\/a><\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>Dopo altri due libri della stessa collana, dedicati al clavicembalo Luigi-Quatorziano e al clavicembalo dell'Illuminismo, Jean-Patrice Brosse esamina l'inevitabile declino, la discreta sopravvivenza e la graduale rinascita del clavicembalo. Nell'ultimo terzo del XVIII secolo, di fronte al fortepiano che stava per detronizzarlo, i costruttori di clavicembali come Taskin ed Erard, tra le innumerevoli altre invenzioni, introdussero fermi in cui la pelle di cuoio o di bufalo, con il suo suono pi\u00f9 morbido, sostituiva le piume, o aggiunsero gradualmente fermi per creare un effetto di crescendo a tappe, al fine di avvicinarsi alle qualit\u00e0 del suo concorrente a martello e cercare di prevenire la sua stessa scomparsa. Mentre la prima met\u00e0 romantica del XIX secolo era infatuata degli stili gotico e rinascimentale, la rivoluzione industriale fece nascere il gusto per il lusso barocco e rococ\u00f2 tra le nuove fortune francesi, dando vita allo stile Napoleone III e ravvivando l'interesse per i clavicembali decorati e dorati, Allo stesso tempo, il repertorio veniva riscoperto da interpreti come Moscheles, Alkan e, pi\u00f9 tardi, Di\u00e9mer, nonch\u00e9 da musicologi come F\u00e9tis e, a partire dalla met\u00e0 del XIX secolo, da edizioni delle prime opere. Un numero crescente di pianisti suon\u00f2 brani di Bach, Couperin e Rameau, tra gli altri, e alcuni adottarono anche lo strumento a corde pizzicate, i cui esemplari superstiti furono gradualmente restaurati dopo i cambiamenti della moda e i roghi rivoluzionari. Ditte come Erard, Pleyel e Neupert costruirono variet\u00e0 moderne di clavicembalo, sostenute dall'instancabile Wanda Landowska, lontane dalla finezza dell'originale, ma che tuttavia ispirarono nuove partiture, soprattutto di compositori neoclassici. Si \u00e8 dovuto attendere la seconda met\u00e0 del XX secolo per trovare ricostruzioni pi\u00f9 fedeli.<\/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\/09_crit_buch_Mettraux.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<\/div>\n<div class=\"text-section\">\n<p>Completato in una cella della Certosa secolarizzata di Valldemossa, ora museo <em>Celda di Fr\u00e9d\u00e9ric Chopin e George Sand<\/em>I 24 Preludi per pianoforte di Chopin formano un ciclo di aforismi, la maggior parte dei quali tersi e concisi, che offrono una tavolozza di ogni tipo di affetto, ma anche una sorta di riflessione e di sintesi dell'opera del geniale polacco. Scritti in tutte le tonalit\u00e0 maggiori e minori, spesso basati su un unico motivo, questi preludi hanno dato luogo a molteplici letture, a commenti talvolta sfrenati, persino ridicoli o deliranti, come i titoli che Alfred Cortot d\u00e0 a ciascuno di questi brani (nonostante il fatto che le caratterizzazioni verbali delle sue opere infastidissero il compositore). In questa documentata monografia (con numerosi estratti di lettere e testimonianze personali, in particolare quella del romantico Sand, una descrizione completa del pianino Pleyel conservato a Valldemossa, sul quale questi Preludi furono completati, e una ricchezza di 56 illustrazioni, alcune delle quali a colori), Jean-Jacques Eigeldinger, specialista di Chopin, descrive la storia della composizione, della pubblicazione e della ricezione di questa mitica opera 28, analizzandola nella sua interezza e nei dettagli, e rievocando alcune delle raccolte che ha ispirato, in particolare quelle di Debussy, Scriabin e Ohana, oltre ad altri omaggi e reminiscenze.<\/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\/Metraux-Chopin.png\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<\/div>\n<div class=\"text-section\">\n<p><em>Jean-Patrice Brosse: Le Clavecin des Romantiques, 176 p., \u20ac 20,00, bleu nuit \u00e9diteur, Paris 2020, ISBN 9782358840927<\/em><\/p>\n<p><em>Jean-Jacques Eigeldinger: Autour des 24 Pr\u00e9ludes de Fr\u00e9d\u00e9ric Chopin, 140 p., \u20ac 30,00, editore: Mus\u00e9e Fr\u00e9d\u00e9ric Chopin et George Sand \u00e0 la Chartreuse de Valldemossa, distributore: \u00e9ditions sym\u00e9trie, Lyon 2019, ISBN 978-84-09-10473-4<\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>Presentazione di due libri, uno dedicato al declino e alla rinascita del clavicembalo, l'altro ai Preludi per pianoforte di Chopin.<\/strong><\/p>","protected":false},"author":1,"featured_media":23298,"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-23297","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 v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Deux 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