{"id":30157,"date":"2024-03-30T15:37:00","date_gmt":"2024-03-30T14:37:00","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/?p=30157"},"modified":"2024-06-19T18:20:20","modified_gmt":"2024-06-19T16:20:20","slug":"herrmann-et-benoit","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2024\/03\/herrmann-et-benoit","title":{"rendered":"La vita e l'opera di Herrmann - Il polimatico Beno\u00eet"},"content":{"rendered":"
\"\"
Prove del radiodramma \"La guerra dei mondi\" nel 1938: Orson Welles, a braccia alzate, e Bernard Herrmann, a capo dell'orchestra della CBS Radio. Foto: Acme Telephoto\/wikimedia commons<\/a><\/figcaption><\/figure>\n

Riconosciuto unanimemente come uno dei pi\u00f9 straordinari musicisti che abbiano composto per il cinema, Bernard Herrmann \u00e8 rimasto frustrato per non essere stato meglio apprezzato per i suoi lavori da concerto o per le sue opere liriche. Altezze di Wuthering<\/em> a cui era cos\u00ec legato, ma che non vide mai rappresentato in vita sua. Durante la sua difficile infanzia, in cui sub\u00ec violenze a scuola e tensioni familiari, si rifugi\u00f2 nella musica, oltre che nella letteratura e nelle opere di Freud, che ispirarono la sua capacit\u00e0 di caratterizzare i personaggi e di utilizzare le colonne sonore per rivelarne i segreti e i difetti. Influenzato da compositori francesi (Debussy, Ravel), inglesi (Delius, Elgar, Vaughan Williams) e americani (Copland, Cowell e Ives), scrisse principalmente in uno stile post-romantico, creando efficacemente atmosfere variegate e sottili transizioni, pur rimanendo aperto alle innovazioni musicali che potevano essere utilizzate per rappresentare il fantastico, il macabro o l'onirico. La sua orchestrazione inventiva utilizza un numero ridotto di strumenti a seconda delle necessit\u00e0 (e persino solo rumori in Gli uccelli<\/em>) o, al contrario, un'orchestra pletorica (tra cui nove arpe per Tempesta sotto il mare<\/em>), utilizzando strumenti antichi come il serpente e la viola d'amore, ma anche il trautonium e un sintetizzatore Moog. Il suo esordio avviene alla radio, dove ha modo di lavorare con il giovane Orson Welles, che diventa il primo regista con cui collabora, per Il cittadino Kane<\/em>. Sebbene in seguito sia stato associato ad altri grandi registi, da Dieterle a Scorsese e da Mankiewicz a Truffaut, il suo carattere irascibile e intrattabile, il suo orgoglio e la sua suscettibilit\u00e0 non aiutarono la sua carriera e furono alla base della rottura con Hitchcock, grazie al quale aveva comunque avuto l'opportunit\u00e0 di scrivere le sue migliori partiture. In questa affascinante e ben scritta biografia pubblicata da Actes Sud, Karol Beffa non si limita a questa simbiosi con il maestro della suspense, ma analizza brevemente anche la maggior parte delle sue musiche da film e alcune da concerto.<\/p>\n

\"\"
\"Intorno al pianoforte\", dipinto di Henri Fantin-Latour: Emmanuel Chabrier al pianoforte; Camille Beno\u00eet in piedi alla sua sinistra, con la mano sullo spartito. Museo d'Orsay\/wikimedia commons<\/a><\/figcaption><\/figure>\n

Nonostante le sue innumerevoli doti, anche nel campo della storia dell'arte (fu nominato assistente curatore dei dipinti al Mus\u00e9e du Louvre nel 1894), il compositore, musicografo e polimatico Camille Beno\u00eet (1851-1923) \u00e8 oggi praticamente dimenticato. Per onorarne la memoria in occasione del centenario della morte, La Rumeur libre ha pubblicato un cofanetto di tre libri: Karol Beffa dedica un volume al commento di brani di questo roanese, le cui opere sono influenzate non solo dal suo maestro Franck, ma anche da Wagner e Faur\u00e9; Guillaume M\u00e9tayer ha scritto il volume biografico e i due autori hanno unito le forze per presentare una raccolta di vari articoli, analisi e recensioni di questo energico scrittore, che sapeva scegliere i termini con precisione. Le appendici dei primi due volumi comprendono riproduzioni di spartiti, poesie ed estratti della sua corrispondenza. Come \u00e8 possibile che una personalit\u00e0 che eccelleva in diverse specialit\u00e0 e contribuiva attivamente alla diffusione delle idee estetiche del suo tempo sia stata cos\u00ec ignorata dai posteri? La riscoperta di Camille Beno\u00eet va di pari passo con una riflessione sul passaggio dalla notoriet\u00e0 al completo silenzio, esempio lampante di amnesia storica.\"\"<\/p>\n

Karol Beffa, Guillaume M\u00e9tayer: Camille Beno\u00eet Musicien, 640 p., La rumeur libre, Sainte-Colombe-sur-Gand 2024, ISBN 9782355773246\"\"<\/em><\/p>\n

Karol Beffa: Bernard Herrmann, 176 p., \u20ac 20,00, Actes Sud, Arles 2024, ISBN 978-2-330-18557-2<\/em><\/p>\n

 <\/p>","protected":false},"excerpt":{"rendered":"

Presentiamo due compositori: Bernard Herrmann, le cui partiture cinematografiche hanno messo in ombra la sua produzione di opere da concerto, e Camille Beno\u00eet, che \u00e8 stato completamente dimenticato.<\/p>","protected":false},"author":1,"featured_media":30183,"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":[1981,1978,1979,1980,1962,1982],"class_list":["post-30157","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques","category-livres-et-partitions","tag-alfred-hitchcock","tag-bernard-herrmann","tag-camille-benoit","tag-guillaume-metayer","tag-karol-beffa","tag-orson-welles"],"acf":[],"yoast_head":"\nLa 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