{"id":54970,"date":"2024-06-02T14:21:40","date_gmt":"2024-06-02T12:21:40","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/?p=54970"},"modified":"2024-06-03T08:25:26","modified_gmt":"2024-06-03T06:25:26","slug":"etueden-saint-sae%cc%88ns","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/it\/rezensionen\/noten-rezensionen\/2024\/06\/etueden-saint-sae%cc%88ns","title":{"rendered":"Cicli di studi di Camille Saint-Sa\u00ebns"},"content":{"rendered":"
\"\"
Il bambino prodigio Camille Saint-Sa\u00ebns all'et\u00e0 di 11 anni, presumibilmente suonando egli stesso degli etudes. Disegno anonimo, pubblicato per la prima volta su \"L'illustration\" nel 1846. Wikimedia commons<\/a><\/figcaption><\/figure>\n

Negli ultimi anni, la casa editrice B\u00e4renreiter ha dedicato grande attenzione anche al repertorio pianistico francese. Sono apparse in rapida successione numerose nuove edizioni di opere di Debussy, Ravel, Satie, Faur\u00e9, Chabrier, Vierne e Camille Saint-Sa\u00ebns. Di quest'ultimo sono state pubblicate recentemente anche le due raccolte di studi op. 52 e op. 111.<\/p>\n

Ogni libretto comprende sei numeri completamente diversi, il che forse rimanda al modello di Bach, che amava raggruppare le sue suite in serie di sei. Tuttavia, con il numero totale di dodici, Saint-Sa\u00ebns avrebbe potuto orientarsi anche sugli Studi op. 10 o op. 25 di Chopin.<\/p>\n

In ogni caso, alcuni compiti pianistici ricordano Chopin. Nell'op. 111 ci sono due studi che trattano ampiamente le terze (diatoniche e cromatiche, grandi e piccole, destra e sinistra). Anche gli arpeggi, le scale cromatiche e i doppi stop di vario tipo sono onnipresenti.<\/p>\n

Ma anche Bach viene onorato. Dopo tutto, tre numeri portano il titolo di \"Pr\u00e9lude et fugue\". L'allenamento alla polifonia era ovviamente centrale anche per il virtuoso del pianoforte Saint-Sa\u00ebns.<\/p>\n

L'\u00e9tude conclusivo di ogni volume \u00e8 un po' pi\u00f9 esteso e combina varie formule esecutive in un pezzo da concerto pi\u00f9 lungo. Nell'op. 52 si tratta di un valzer brillante, mentre l'op. 111 si conclude con una toccata basata sul finale del Quinto Concerto per pianoforte e orchestra (la cosiddetta \"egiziana\").<\/p>\n

Le due raccolte di studi sono raramente o mai ascoltate sui palcoscenici dei concerti. Le ragioni sono probabilmente da ricercare in questa situazione. Con l'eccezione dei due numeri finali sopra citati, i brani non sono davvero musicalmente accattivanti nella loro lunghezza. L'attenzione \u00e8 troppo concentrata sull'aspetto puramente pianistico. Anche le fughe non convincono per il loro tono accademico. Come materiale di esercitazione per alcune sfide tecniche, tuttavia, gli studi di Saint-Sa\u00ebns sono un ricco tesoro. Soprattutto il n. 2 del primo volume (Per l'indipendenza delle dita dei piedi<\/em>) offre compiti originali e difficili ...<\/p>\n

In questo contesto vanno menzionati anche i suoi Etudes op. 135, che riguardano esclusivamente la mano sinistra. L'editore Catherine Massip ha scritto introduzioni dettagliate e leggibili a tutte e tre le raccolte. Esse trattano la storia della composizione, i dedicatari, l'interpretazione e la ricezione delle opere.<\/p>\n

Tuttavia, se volete avvicinarvi al compositore Saint-Sa\u00ebns dal punto di vista musicale, dovreste forse dare un'occhiata pi\u00f9 da vicino alla sua musica da camera.
\nIl suo Violino.<\/a> e le sonate per violoncello, ma soprattutto i due trii per pianoforte op. 18 e op. 92, veri e propri capolavori ancora poco apprezzati dalle nostre parti.\"\"<\/p>\n

Camille Saint-Saens: Six Etudes pour piano, Premier livre op. 52, a cura di Catherine Massip, BA 11854, \u20ac 21,95, B\u00e4renreiter, Kassel<\/em><\/p>\n

Id.: Deuxi\u00e8me livre op. 111, BA 11855
\n<\/em><\/p>","protected":false},"excerpt":{"rendered":"

In definitiva, i brani delle op. 52 e 111 appartengono pi\u00f9 alla letteratura di prova che a quella esecutiva. Ma l\u00ec offrono preziose possibilit\u00e0. <\/p>","protected":false},"author":29,"featured_media":54974,"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":[1799,4099,1587],"class_list":["post-54970","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-noten-rezensionen","category-rezensionen","tag-camille-saint-saens","tag-etuede","tag-klavier"],"acf":[],"yoast_head":"\nEt\u00fcdenzyklen von Camille Saint-Sae\u0308ns - Schweizer Musikzeitung<\/title>\n<meta name=\"description\" content=\"Letztlich geh\u00f6ren die St\u00fccke aus Opus 52 und 111 wohl eher zur \u00dcbe- als zur Vortragsliteratur. 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