{"id":5910,"date":"2021-09-01T00:00:00","date_gmt":"2021-08-31T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/eine-brisante-geschichte\/"},"modified":"2024-08-13T12:01:58","modified_gmt":"2024-08-13T10:01:58","slug":"eine-brisante-geschichte","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/it\/rezensionen\/buecher-rezensionen\/2021\/09\/eine-brisante-geschichte","title":{"rendered":"Una storia esplosiva"},"content":{"rendered":"<figure style=\"width: 554px\" class=\"wp-caption alignnone\"><img decoding=\"async\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/Overhoff-gross.jpeg\" alt=\"\" width=\"554\" height=\"352\" \/><figcaption class=\"wp-caption-text\">Kurt Overhoff. Estratto dalla copertina del libro<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>Kurt Overhoff fu l'insegnante di Wieland Wagner, il fondatore della rivolta \"Neubayreuther\" del 1951, che \u00e8 ben nota. Nella sua dissertazione, Adrian M\u00fcller chiarisce cos'altro si nasconde dietro questo nome. Ha tracciato minuziosamente la vita e l'opera di Overhoff e ha portato alla luce il tragico destino di un musicista di grande talento. Le sue argomentazioni sono molto sobrie, probabilmente perch\u00e9 si tratta di un'opera accademica. Anche il titolo \u00e8 ambiguo, poich\u00e9 n\u00e9 Winifred Wagner, che port\u00f2 Overhoff a Bayreuth, n\u00e9 Wieland Wagner, che spietatamente mand\u00f2 il suo mentore \"nel deserto\" dopo il 1951, sono visti sotto una buona luce. \"Sotto l'incantesimo di Bayreuth\" sembra in qualche modo innocuo.<\/p>\n<p>Kurt Overhoff nacque a Vienna nel 1902. Il giovane si rivel\u00f2 presto un musicista e compositore di grande talento, la cui opera Mira, nella tradizione di Richard Strauss, ottenne un notevole successo a Essen nel 1925. Nel 1931 fu nominato direttore musicale a Heidelberg, dove present\u00f2 in anteprima le proprie opere e apr\u00ec nuove strade con i concerti di dialogo. L'anno fatidico \u00e8 il 1939, quando viene ricoverato nella clinica psichiatrica di Kennenburg dopo un esaurimento nervoso e sedato con un cocktail di farmaci. Non \u00e8 possibile determinare con esattezza il contesto del suo internamento, ma probabilmente era legato al fatto che Overhoff era considerato \"parente ebreo\" nel linguaggio nazista.<\/p>\n<p>Fu Winifred Wagner a portarlo a Bayreuth un anno dopo, anche se dopo un intrigo che aveva impedito il ritorno di Overhoff a Heidelberg. Da quel momento in poi, egli servir\u00e0 l'erede di Bayreuth, cosa che far\u00e0 fedelmente fino al 1951. Secondo le ricerche di M\u00fcller, molte delle rivoluzionarie idee di Wieland in materia di messa in scena hanno avuto origine dai metodi di analisi di Overhoff, che Wieland aveva potuto sperimentare al Teatro di Stato di Altenburg a partire dal 1943 sotto la guida del suo maestro. Dopo essere stato bandito dalla \"Collina Verde\" nel 1951, Overhoff, che nel frattempo si era sposato, non riusc\u00ec pi\u00f9 a trovare lavoro a causa del suo passato psichiatrico e delle dicerie (probabilmente diffuse di proposito).<\/p>\n<p>Tuttavia, l'uomo, rimasto a terra, doveva guadagnare in qualche modo per sfamare la sua famiglia, e cos\u00ec si assunse l'incarico di ghostwriter per il famoso pianista Kurt Leimer. Leimer scrisse quattro concerti per pianoforte, tutti e quattro registrati con entusiasmo e pubblicati dalla casa discografica EMI. Furono eseguiti per la prima volta da Herbert von Karajan e Leopold Stokowski a Berlino e a New York, seguiti da tourn\u00e9e.<\/p>\n<p>Leimer aveva sempre contribuito alla parte pianistica come specifica, ma non aveva idea della composizione complessiva, motivo per cui si trov\u00f2 subito in imbarazzo quando gli fu chiesto. Per questo motivo port\u00f2 in tourn\u00e9e con s\u00e9 il vero compositore Overhoff, travestito da servitore, in modo da poterlo \"informare\" in background su qualsiasi domanda tecnica del direttore d'orchestra.<\/p>\n<p>Si tratta di uno scandaloso caso di frode che M\u00fcller ha portato alla luce e che rivela un destino inimmaginabilmente tragico. Per inciso, il patrimonio di Leimer si trova nella Biblioteca Centrale di Zurigo e il sito web della Fondazione Leimer non menziona affatto Overhoff.<\/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.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/09_crit_buch_Naegele_besser.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p>Adrian M\u00fcller: Kurt Overhoff - Im Banne Bayreuths, (Wagner in der Diskussion, vol. 21), 512 p., \u20ac 48,00, K\u00f6nigshausen und Neumann, W\u00fcrzburg 2020, ISBN 978-3-8260-7095-2<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>Nella sua dissertazione \"Kurt Overhoff - Im Banne Bayreuths\", Adrian M\u00fcller dimostra che i concerti per pianoforte di Kurt Leimer sono stati in realt\u00e0 composti da Overhoff. <\/strong><\/p>","protected":false},"author":1,"featured_media":5911,"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":[1214,29],"tags":[],"class_list":["post-5910","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-buecher-rezensionen","category-rezensionen"],"acf":{"author":"Verena Naegele"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - 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