{"id":23430,"date":"2022-11-30T00:00:00","date_gmt":"2022-11-29T23:00:00","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/blog\/2022\/11\/30\/musique-et-litterature\/"},"modified":"2024-08-15T09:25:20","modified_gmt":"2024-08-15T07:25:20","slug":"musique-et-litterature","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2022\/11\/musique-et-litterature","title":{"rendered":"Musica e letteratura"},"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\/640px-Blick_auf_Florenz_-_Aquarell_von_Felix_Mendelssohn_1830.jpg\" alt=\"\" width=\"554\" height=\"333\" \/><figcaption class=\"wp-caption-text\">Veduta di Firenze, acquerello di Felix Mendelssohn, 1830. <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Blick_auf_Florenz_-_Aquarell_von_Felix_Mendelssohn_1830.jpg?uselang=de\" target=\"_blank\" rel=\"noopener\">Wikimedia commons<\/a><\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>Nato in una famiglia benestante, colta e gran lavoratore, Felix Mendelssohn ebbe la fortuna di poter far sbocciare le sue molteplici doti, sia nello studio, sia nelle attivit\u00e0 fisiche, sia nelle varie arti: giovane prodigio divenne musicista affermato, compositore di genio, certo, ma anche talentuoso acquarellista e instancabile scrittore di lettere. Tra i 21 e i 23 anni invi\u00f2 numerose lettere ai genitori, alle sorelle e al fratello, costituendo una sorta di resoconto delle scoperte, delle avventure e degli incontri che arricchirono il suo Grand Tour, il viaggio di istruzione che le classi agiate dei Paesi del Nord (soprattutto Germania e Inghilterra) offrivano ai loro discendenti maschi per completare la loro educazione e sviluppare i loro gusti. Dopo una prolungata visita a Weimar per rivedere il vecchio amico Goethe, la cui ombra tutelare guidava spesso i suoi pensieri, l'itinerario classico del giovane viaggiatore lo port\u00f2 dall'Austria all'Italia, dove godette della bellezza del paesaggio pur deplorando lo stato deplorevole dell'arte musicale. Dopo questo lungo soggiorno in Italia, attravers\u00f2 la Svizzera, per lo pi\u00f9 a piedi, sorpreso dai capricci del tempo e affascinato dai ghiacciai, per poi raggiungere Parigi attraverso la Germania meridionale e la valle del Reno, e infine Londra. Il suo diario di viaggio, alcune delle cui pagine sono degne dei maestri del genere, con la sua narrazione piacevole, vivace, spontanea e persino giocosa, descrive con concisione, sensibilit\u00e0 e arguzia le avventure e gli eventi di cui \u00e8 testimone, le impressioni che prova a contatto con la natura, nonch\u00e9 la societ\u00e0 in cui si evolve e i personaggi con cui fa conoscenza. La raccolta tascabile pubblicata da Le Passeur riproduce un'elegante e talvolta imprecisa traduzione francese, realizzata nel 1864, di una selezione di 61 lettere abbreviate dal fratello del compositore. In attesa di un'edizione completa e critica, questo \u00e8 soprattutto un invito a godersi una piacevole passeggiata in ottima compagnia.<\/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\/12_crit_buch_Mettraux.png\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<\/div>\n<div class=\"text-section\">\n<p>Raccolti dalle numerose e variegate letture del musicologo Jean-No\u00ebl von der Weid, deliziosi aneddoti, riflessioni estetiche o filosofiche, brani letterari - spesso singolari o addirittura bizzarri - tratti da romanzi, racconti, diari e saggi, oltre a qualche poesia, compongono un improbabile dizionario. Vi sono anche raffinati omaggi dell'autore, ad esempio a Chopin, Feldman, Scelsi e Stockhausen, e frammenti di corrispondenza, come una lettera di Cartesio a Mersenne, in cui si parla di fisiologia uditiva, o una dolorosa missiva di Schubert a Kupelwieser. Oltre alla musica, sono venerate anche le altre arti e la filosofia. Visitare <em>Il sogno di Poliphilo<\/em> si strofina le spalle con <em>Memorie<\/em> di Saint-Simon, gli epigrammi di Martial le <em>Diario <\/em>il Goncourt o <em>L'uomo senza qualit\u00e0<\/em> Incontriamo Bergson, Montaigne e Nietzsche, ma anche Baudelaire, Dostoevskij, Jarry, Proust e Thoreau. La semplice gioia della scoperta e la deliziosa sorpresa attendono tutti noi.<\/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\/Mettraux2-2.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<\/div>\n<div class=\"text-section\">\n<p>Le Edizioni Zo\u00e9 hanno fatto molto per portare Robert Walser all'attenzione del pubblico francofono. Scritta da Roman Brotbeck e Reto Sorg, e recentemente tradotta da Marion Graf, questa antologia di sessanta testi tra i circa 300 che il prolifico scrittore di Bienne dedic\u00f2 alla musica offre un ampio panorama che abbraccia il periodo dal 1899 al 1933, dalle prime poesie all'ultimo anno produttivo di Walser, prima degli oltre due decenni di inattivit\u00e0 che seguirono il suo trasferimento nella clinica psichiatrica di Herisau. Fervente amante della musica, era poco interessato al rituale borghese dei concerti e delle serate d'opera, ed era pi\u00f9 attratto dalle voci non pulite e dai fisarmonicisti, che riteneva rappresentassero un mondo autentico. Niente sembra incantare Walser, vero discendente del Romanticismo, pi\u00f9 dell'apparizione inaspettata, quasi miracolosa, di una musica ascoltata per caso durante una passeggiata: un momento di poesia semplice e potenzialmente sublime. Nonostante la musicalit\u00e0 della prosa di Walser (Max Brod la defin\u00ec \"musica spontanea\" e Hermann Hesse \"elegante musica da camera\"), egli non ebbe contatti con i compositori del suo tempo e non comment\u00f2 mai le loro opere.<\/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\/Mettraux3.png\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<\/div>\n<div class=\"text-section\">\n<p><em>Felix Mendelssohn: J'ai fait en conscience mon m\u00e9tier de voyageur, Lettres europ\u00e9ennes (1830-1832), presentato da Nicolas Dufetel, 496 pagine, \u20ac 8,50, Le Passeur, Paris 2022, ISBN 978-2-36890-886-0<br \/>\n<\/em><\/p>\n<p><em>Jean-No\u00ebl von der Weid: Scherzos insolites, 344 pagine, \u20ac 27,00, Edizioni Aedam Musicae, Ch\u00e2teau-Gontier 2021, ISBN 978-2-919046-96-6<\/em><\/p>\n<p><em>Robert Walser: Ce que je peux dire de mieux sur la musique, 224 pagine, Editions Zo\u00e9, Ch\u00eane-Bourg 2019, ISBN 978-2-88927-664-6<\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>Tre libri che uniscono musica e letteratura: le lettere di Mendelssohn, l'antologia di von der Weid e gli scritti di Walser.<\/strong><\/p>","protected":false},"author":1,"featured_media":23431,"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-23430","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>Musique 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