{"id":6275,"date":"2016-03-23T00:00:00","date_gmt":"2016-03-22T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/workaholic\/"},"modified":"2024-08-07T12:35:17","modified_gmt":"2024-08-07T10:35:17","slug":"workaholic","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/it\/rezensionen\/buecher-rezensionen\/2016\/03\/workaholic","title":{"rendered":"Stacanovista"},"content":{"rendered":"<figure style=\"width: 554px\" class=\"wp-caption alignnone\"><img decoding=\"async\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/Reger.jpg\" alt=\"\" width=\"554\" height=\"413\" \/><figcaption class=\"wp-caption-text\">Atipico: Max Reger seduto sul balcone, 1911 Foto: Max-Reger-Institut, Karlsruhe<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>Ora anche lui ha un anniversario: Max Reger, morto 100 anni fa, la cui fama \u00e8 stranamente proporzionale alla sua opera sconosciuta. Si dice che Reger abbia scritto molti corali per organo. Ma chi conosce il Concerto per violino in la maggiore del 1908, i quartetti per archi, i <em>Sinfonietta<\/em> del 1905 o il colossale <em>Fantasia sinfonica e fuga<\/em> per organo op. 57 del 1901, che non si adatta affatto all'immagine di un ammiratore di Johann Sebastian Bach?<\/p>\n<p>Susanne Popp sgombra il campo dai pregiudizi: Il punto di riferimento costante \u00e8 stato lo straordinariamente ammirato Bach, ma Reger lo ha inteso come l'inizio e la fine di tutta la musica allo stesso tempo. Quando scrisse di nuovo fughe, preludi e corali, non fu mai nel senso di una restaurazione, ma al servizio della continuazione di un'enorme eredit\u00e0 sotto auspici progressisti. Popp descrive in modo vivido non solo la sua vita, ma anche molte opere: \"massicce masse di suono\" nel <em>Inferno fantasy<\/em> per esempio, \"che non hanno un centro tonale e abbracciano l'intera gamma dodecafonica\". Oppure l'opera tarda <em>Requiem aeternam <\/em>(1915), che Popp interpreta addirittura come un'anticipazione dell'estetica di Gy\u00f6rgy Ligeti per le sue \"superfici sonore e campi espressivi\".<\/p>\n<p>Susanne Popp \u00e8 direttrice dell'Istituto Max Reger di Karlsruhe dal 1981. Ha quindi una grande familiarit\u00e0 con le fonti. Dimostra che Richard Wagner \u00e8 stato il fattore decisivo per la sua carriera di compositore. L'erudito ricercatore musicale Hugo Riemann fece conoscere a Reger soprattutto la linea B tedesca, cio\u00e8 Bach-Beethoven-Brahms. Il compositore non fu in buoni rapporti con gli italiani e i francesi per tutta la vita. In questo caso era dogmatico: Scarlatti aveva il fuoco, ma non il calore di Bach - lo avrebbe sottoscritto immediatamente, come molti dei suoi colleghi tedeschi.<\/p>\n<p>Questa biografia conta 542 pagine. Solo le note e i riferimenti alle fonti comprendono 60 pagine - una prova di quanto Susanne Popp abbia letto per questo libro eccezionale. Molti passaggi citati di lettere scritte dal maniaco della scrittura e della composizione dipingono un quadro molto diretto, che in alcuni punti fa sorridere e in altri fa riflettere. Reger era molto dipendente dall'alcol, e fumava costantemente sigari molto forti. La sua morte, avvenuta l'11 maggio 1916, fu probabilmente dovuta al fumo. Susanne Popp ha anche un'altra spiegazione, molto plausibile, per il battito cardiaco fatale alla fine: \"Previsto da tutti, eppure all'improvviso, il suo cuore non era pi\u00f9 in grado di sopportare la pressione permanente di comporre contro la morte e di lottare contro l'oblio in concerto\".<\/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\/Regklein.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Susanne Popp, Max Reger - Werk statt Leben, 542 p., 39,90 \u20ac, Breitkopf und H\u00e4rtel, Wiesbaden 2015, ISBN 978-3-7651-0450-3<\/em><br \/>\nRecensioni delle opere per organo nella nuova Max-Reger-Werkausgabe:<br \/>\n<a href=\"\/de\/rezensionen\/noten\/2014\/04\/reger4.html\">Volume I\/4, Preludi corali\u00a0 <\/a><br \/>\n<a href=\"\/de\/rezensionen\/noten\/2016\/04\/reger-orgelwerke.html\">Volumi I\/5-7, Pezzi per organo I-III<\/a><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>In qualit\u00e0 di direttrice del suo istituto, Susanne Popp \u00e8 la biografa ideale di Max Reger. Presenta anche molte delle sue opere. <\/strong><\/p>","protected":false},"author":1,"featured_media":6276,"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-6275","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-buecher-rezensionen","category-rezensionen"],"acf":{"author":"Torsten M\u00f6ller"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Workaholic - 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\/buecher-rezensionen\/2016\/03\/workaholic\/\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Workaholic - Schweizer Musikzeitung\" \/>\n<meta property=\"og:description\" content=\"Als Leiterin seines Instituts ist Susanne Popp die ideale Biografin f\u00fcr Max Reger. 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