{"id":23482,"date":"2023-01-19T10:39:47","date_gmt":"2023-01-19T09:39:47","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/?p=23482"},"modified":"2025-04-07T16:51:34","modified_gmt":"2025-04-07T14:51:34","slug":"autour-de-chopin","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2023\/01\/autour-de-chopin","title":{"rendered":"Intorno a Chopin"},"content":{"rendered":"
\"\"
Fr\u00e9d\u00e9ric Chopin. Disegno di Franz Xaver Winterhalter, wikimedia commons<\/a><\/figcaption><\/figure>\n

Quali personalit\u00e0 pi\u00f9 dissimili possono esistere tra il riservato e modesto Chopin, cresciuto in ambienti aristocratici e che ha scoperto rapidamente il suo linguaggio musicale, e l'esuberante ed espansivo Liszt, di estrazione modesta, con un'istruzione discontinua, i cui pezzi per lungo tempo assomigliano a improvvisazioni? Introverso, che prediligeva l'intimit\u00e0 del cenacolo salottiero, il primo suonava soprattutto le proprie opere perfettamente equilibrate, riflesso di una ricca vita interiore, sintesi di lirismo e armonia complessa; estroverso, promotore del concerto moderno tenuto in grandi sale, il secondo non si stancava mai di pubblicizzare le partiture dei suoi contemporanei, tra cui Chopin, mentre le sue composizioni erano spesso ispirate a soggetti non musicali (natura, letteratura o metafisica). Al momento della morte del polacco, l'ungherese era solo a met\u00e0 della sua vita, in un momento in cui stava abbandonando la carriera di virtuoso-viaggiatore per raggiungere la maturit\u00e0 creativa. In un'opera che forma un ritratto allo specchio, Jean-Yves Cl\u00e9ment mette in luce le differenze e le simmetrie, le somiglianze e le opposizioni che si possono trovare nella biografia e nell'estetica pianistica e compositiva dei due musicisti, i cui destini si sono spesso incrociati.<\/p>\n

\"\"<\/p>\n

Un libretto dello stesso autore, pubblicato da Le Passeur, ha la forma di un diario fittizio, che Chopin potrebbe aver scritto sia come retrospettiva catartica del suo soggiorno a Maiorca, generalmente deludente, sia come ricordo dei sentimenti che gli hanno ispirato la raccolta di 24 preludi op. 28, un mosaico di stati d'animo diversi. Nel corso di 33 brevi capitoli, intreccia anche numerose riflessioni e considerazioni sull'arte, nonch\u00e9 il resoconto del viaggio dall'umida certosa di Valldemossa a Nohant, il rifugio berrichon di Georges Sand, intervallato da lunghe soste a Marsiglia e Genova. Lo stile di questo racconto romanzato, basato su eventi reali, \u00e8 stato modellato su quello delle lettere del compositore polacco.<\/p>\n

\"\"<\/p>\n

In questo libro prezioso e conciso, corredato da un libretto di illustrazioni in quarto di pagina, Jean-Jacques Eigeldinger rivela le amicizie che Chopin strinse con Alkan, Delacroix, Pauline Viardot, il tenore Nourrit, il devoto violoncellista Franchomme e l'editore e costruttore dei suoi pianoforti preferiti, Camille Pleyel. Toccando una serie di temi chopiniani (affinit\u00e0 e reticenze musicali, il rapporto tra canzone e pianoforte, l'influenza del violoncello sulla scrittura della mano sinistra), il musicologo rivela molti aspetti poco noti di questo incomparabile poeta del pianoforte.<\/p>\n

\"\"<\/p>\n

Jean-Ives Cl\u00e9ment: Chopin e Liszt. La magnificence des contraires, 180 p., \u20ac 18,00, Editions Premi\u00e8res Loges, Paris 2021, ISBN 978-2-84385-388-3<\/em><\/p>\n

Jean-Ives Cl\u00e9ment: Le retour de Majorque. Diario di Fr\u00e9d\u00e9ric Chopin, 168 p., \u20ac 7,90, Le Passeur Editeur, Paris 2022, ISBN 978-2-36890-989-8<\/em><\/p>\n

Jean-Jacques Eigeldinger: Fr\u00e9d\u00e9ric Chopin et ses amis musiciens fran\u00e7ais, 96 p., Fr. 35.00, Ditesheim & Maffei, Neuch\u00e2tel 2021, ISBN 978-2-8399-3306-.<\/em><\/p>","protected":false},"excerpt":{"rendered":"

Tre opere recenti dedicate al compositore polacco: un confronto con Liszt, un diario immaginario e legami amichevoli con alcuni artisti parigini. <\/p>","protected":false},"author":1,"featured_media":23483,"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":[1618,1620,1621,1622],"class_list":["post-23482","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques","category-livres-et-partitions","tag-chopin","tag-clement","tag-eigeldinger","tag-liszt"],"acf":[],"yoast_head":"\nAutour de Chopin - Revue Musicale Suisse<\/title>\n<meta name=\"robots\" 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