{"id":44365,"date":"2023-05-03T10:34:09","date_gmt":"2023-05-03T08:34:09","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/?p=44365"},"modified":"2023-05-01T14:43:07","modified_gmt":"2023-05-01T12:43:07","slug":"missklaenge-fuer-die-zeitgenossen","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/it\/rezensionen\/noten-rezensionen\/2023\/05\/missklaenge-fuer-die-zeitgenossen","title":{"rendered":"\"Misskl\u00e4nge\" per i contemporanei"},"content":{"rendered":"
\"\"
Franz Liszt nel marzo 1886, fotografato da Nadar. Fonte: Sotheby's\/wikimedia commons<\/a><\/figcaption><\/figure>\n

\"Come sai, nel mio cuore alberga una profonda tristezza, che di tanto in tanto deve esplodere in note\". Con queste parole pronunciate in una lettera del 1883, Franz Liszt stesso forn\u00ec la chiave di lettura delle sue ultime opere pianistiche, che rinunciavano a qualsiasi ostentazione virtuosistica a favore dell'esplorazione dei limiti della tonalit\u00e0. I suoi contemporanei si limitarono a scuotere la testa in segno di disapprovazione. Persino Richard Wagner parl\u00f2 di \"follia germinativa\" e \"dissonanza\", che non riusciva a comprendere. E ancora nel 1976, Klaus Wolters, nella sua opera completa Manuale di letteratura pianistica <\/em>affermava che questa musica non era adatta n\u00e9 per l'insegnamento n\u00e9 per i concerti: \"Niente pi\u00f9 del brillante marchio di fuoco, solo forme scialbe, senza gioia, ombrose...\". Questo giudizio \u00e8 cambiato notevolmente negli ultimi decenni. Oggi queste opere sono ammirate per la loro radicale semplicit\u00e0 e le armonie audaci e trovano sempre pi\u00f9 spazio sul podio.<\/p>\n

La casa editrice B\u00e4renreiter ha ora pubblicato in un'antologia alcuni di questi brani per pianoforte degli anni dal 1880 al 1885. Tra questi, l'incredibilmente cupo Unstern!<\/em> l'enigmatico Nuages gris<\/em> e Sulla tomba di Richard Wagner<\/em>un'opera che esiste anche in un arrangiamento di musica da camera. Sono incluse anche le due versioni della raramente eseguita Romanticismo oubli\u00e9e<\/em> e - ultimo ma non meno importante - La gondola del lutto<\/em>anche in entrambe le versioni. La seconda versione di quest'ultima \u00e8 una delle poche opere pi\u00f9 estese ed \u00e8 caratterizzata da una struttura sottile che culmina in uno scoppio drammatico. Questo pezzo in particolare pu\u00f2 essere meravigliosamente combinato in un recital con opere precedenti di Liszt, come la Sonata in si minore.<\/p>\n

Nella prefazione di questa nuova edizione, il curatore Michael Kube fornisce molte informazioni interessanti sulla genesi dei singoli brani. Nelle dettagliate note interpretative, Steffen Schleiermacher, un pianista che si \u00e8 ovviamente appassionato a questa musica, esprime il suo parere. Le sue indicazioni possono talvolta risultare un po' personali. Ma sono certamente benvenute come suggerimenti.<\/p>\n

Tra l'altro, B\u00e9la Bart\u00f3k fu uno dei primi a prendere sul serio e ad apprezzare le ultime opere di Liszt. In generale, era convinto \"che l'importanza di Liszt per l'ulteriore sviluppo della musica fosse maggiore di quella di Wagner\".<\/p>\n

\"\" Franz Liszt: Pezzi per pianoforte degli anni 1880-1885, a cura di Michael Kube, BA 10871, \u20ac 20,95, B\u00e4renreiter, Kassel \u00a0<\/em><\/p>","protected":false},"excerpt":{"rendered":"

In passato, gli ultimi pezzi per pianoforte di Liszt sono stati accolti con incomprensione. Ora la situazione sta lentamente cambiando.<\/p>","protected":false},"author":29,"featured_media":44366,"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":[1316,29],"tags":[2394,2395,1587,2396],"class_list":["post-44365","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-noten-rezensionen","category-rezensionen","tag-franz-liszt","tag-karl-andreas-kolly","tag-klavier","tag-spaetwerke"],"acf":[],"yoast_head":"\n\u00abMisskl\u00e4nge\u00bb f\u00fcr die Zeitgenossen - Schweizer Musikzeitung<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.musikzeitung.ch\/it\/rezensionen\/noten-rezensionen\/2023\/05\/missklaenge-fuer-die-zeitgenossen\/\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u00abMisskl\u00e4nge\u00bb f\u00fcr die Zeitgenossen - Schweizer Musikzeitung\" \/>\n<meta property=\"og:description\" content=\"Fr\u00fcher begegnete man Liszts sp\u00e4ten Klavierst\u00fccken mit Unverst\u00e4ndnis. 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