{"id":29909,"date":"2021-06-30T12:04:01","date_gmt":"2021-06-30T10:04:01","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/?p=29909"},"modified":"2023-11-09T09:41:11","modified_gmt":"2023-11-09T08:41:11","slug":"piano-dalcrozien","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/disques\/2021\/06\/piano-dalcrozien","title":{"rendered":"Pianoforte dalcroziano"},"content":{"rendered":"<figure id=\"attachment_22934\" aria-describedby=\"caption-attachment-22934\" style=\"width: 554px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-22934 size-thumbnail\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/400px-Emile_Jaques-Dalcroze-554x400.jpg\" alt=\"\" width=\"554\" height=\"400\" \/><figcaption id=\"caption-attachment-22934\" class=\"wp-caption-text\">Emile Jaques-Dalcroze in \"Die Schweiz im neunzehnten Jahrhundert\", herausgegeben von schriftstellern schweizerischen unter Leitung von P. Seippel, Lausanne 1899, Vol. 2, pag. 609. Fonte:\u00a0<a href=\"https:\/\/en.wikipedia.org\/wiki\/%C3%89mile_Jaques-Dalcroze#\/media\/File:Emile_Jaques-Dalcroze.jpg\" target=\"_blank\" rel=\"noopener\">Biblioteca britannica \/ wikimedia commons<\/a><\/figcaption><\/figure>\n<p>Dopo aver completato la sua formazione musicale al Conservatorio di Ginevra, il compositore e grande didatta Emile Jaques-Dalcroze prosegu\u00ec i suoi studi a Vienna, con Bruckner e Fuchs, e a Parigi, dove lavor\u00f2 con Delibes e Faur\u00e9 e conobbe Mathis Lussy, autore di un libro di racconti e di un'opera di musica. <em>Un trattato sull'espressione musicale<\/em> e le teorie del ritmo che lo influenzarono profondamente. Questa duplice influenza germanica e latina si ritrova nelle prime opere del compositore ginevrino. Pianista esperto, Jaques-Dalcroze affid\u00f2 al suo strumento una produzione prolifica che non comprende sonate, ma piuttosto brevi pezzi, per lo pi\u00f9 in forma libera, generalmente raggruppati in raccolte. La Fondazione Famiglia Emile Jaques-Dalcroze, l'Association des Amis de Jaques-Dalcroze e l'Association Harmonia Helvetica hanno realizzato un'antologia in tre volumi per l'etichetta Toccata records, con l'obiettivo di salvare dall'oblio le opere pi\u00f9 significative. Questa ampia panoramica rivela chiaramente la sua evoluzione stilistica: dapprima, prima del 1900, brani di genere che ricordano sia Schumann sia i salotti parigini, in particolare il delizioso e giocoso <em>Polka enarmonica<\/em> o il quasi faureo <em>Aria <\/em>da <em>Tre pezzi<\/em> op.46, mentre un <em>Improvviso-Capriccio<\/em> L'op. 44 \u00e8 vicina a Chabrier; poi, dopo l'attuazione della sua omonima M\u00e9thode, composizioni pi\u00f9 personali, in cui predomina l'intento didattico della percezione corporale del ritmo. Il ritmo \u00e8 trattato con notevole diversit\u00e0, ad esempio nella sua opera migliore, l'op. 20 <em>Capricci e studi ritmici<\/em>Le armonie pi\u00f9 ricche, le modulazioni costanti e le melodie, spesso prive di battute e dal respiro pi\u00f9 libero, rivelano una sensibilit\u00e0 pi\u00f9 vicina alla musica francese del primo Novecento. Naturalmente, i movimenti di danza abbondano, anche se non sono pi\u00f9 basati esclusivamente su modelli preesistenti. L'influenza delle danze d'oltreoceano (tango, foxtrot, charleston, rag-time, ecc.) e della musica leggera rinnova il suo linguaggio, e l'atmosfera da music-hall che ne deriva ci ricorda che l'inventore di Rythmique era anche un allegro chansonnier. L'esecuzione impegnata e convincente dei quattro eccellenti pianisti (Paolo Muna\u00f2, Xavier Par\u00e9s, Adalberto Maria Riva e Patricia Siffert) che hanno partecipato a questo progetto rende piena giustizia a questi brani, dai quali estraggono tutta la loro vitalit\u00e0 dinamica e la loro maliziosa vivacit\u00e0. Degna di nota \u00e8 anche la qualit\u00e0 delle note del libretto, scritte da Jacques Tchamkerten, uno specialista del grande ritmico.<\/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\/TOCC0473cover.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Emile Jaques-Dalcroze: Musica per pianoforte, Volume Primo (Polka enharmonique op. 47, Trois morceaux op. 46, Trois morceaux op. 45, Trois morceaux op. 44, Skizzen op. 10). Adalberto Maria Riva. Toccata Classics TOCC 0473<\/em><\/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\/TOCC0532Cover.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Emile Jaques-Dalcroze: Musica per pianoforte, volume secondo (Esquisses pour un exercice de cordes, 20 Caprices and Rhythmic Studies, Cascades). Paolo Muna\u00f2. Toccata Classics TOCC 0532<\/em><\/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\/TOCC0540cover.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Emile Jaques-Dalcroze: Piano Music, Volume Three (Works for Piano Solo and Piano Duet: Trois esquisses genevoises sous forme de dance, Musiques pour faire danser Books 1 and 2, Trois rondeaux joyeux pour la danse, Trois entr\u00e9es dansantes, Six danses bigarr\u00e9es, Danse romande). Xavier Par\u00e9s e Patricia Siffert. Toccata Classics TOCC 0540<\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>Tre CD pubblicati di recente testimoniano la diversit\u00e0 dell'opera pianistica di Jaques-Dalcroze.<\/p>","protected":false},"author":1,"featured_media":22934,"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":[1614,1615],"tags":[1852,1848,1849,1850,1853,1851],"class_list":["post-29909","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques","category-disques","tag-adalberto-maria-riva","tag-emile-jaques-dalcroze","tag-jacques-tchamkerten","tag-oeuvres-pour-piano-paolo-munao","tag-patricia-siffert","tag-xavier-pares"],"acf":[],"yoast_head":"<!-- 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