{"id":6524,"date":"2022-10-26T00:00:00","date_gmt":"2022-10-25T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/ein-quintett-mozartscher-praegung\/"},"modified":"2024-08-19T12:12:21","modified_gmt":"2024-08-19T10:12:21","slug":"ein-quintett-mozartscher-praegung","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/it\/rezensionen\/noten-rezensionen\/2022\/10\/ein-quintett-mozartscher-praegung","title":{"rendered":"Un quintetto dal sapore mozartiano"},"content":{"rendered":"<figure style=\"width: 554px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/Johannes_Brahms_by_Luckhardt_c1885.png\" alt=\"\" width=\"554\" height=\"350\" \/><figcaption class=\"wp-caption-text\">Johannes Brahms intorno al 1885. foto: <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Johannes_Brahms_by_Luckhardt_c1885.png\" target=\"_blank\" rel=\"noopener\">Fritz Luckhardt \/ wikimedia commons<\/a><\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>\"Primavera\" \u00e8 il nome dell'associazione che i contemporanei di Brahms, in particolare Clara Schumann, avevano con questo quintetto. Persino Hugo Wolf, che per il resto non amava Brahms, all'ascolto del primo movimento si trov\u00f2 \"in un prato libero e soleggiato, in cui era meravigliosa la mano del sapiente compositore\". Johannes Brahms si era gi\u00e0 cimentato nel genere del quintetto per archi nel 1860, ben vent'anni prima, all'epoca con due violoncelli. Ne erano nati il Quintetto per pianoforte in fa minore op. 34a e la Sonata in fa minore per due pianoforti op. 34b.<\/p>\n<p>Nella primavera del 1882, a Bad Ischl, si sent\u00ec completamente a suo agio con questo genere, nel suo stile mozartiano con due viole. Il risultato \u00e8 un capolavoro che oggi si colloca accanto ai quintetti per archi di Wolfgang Amadeus Mozart. Appena uscito di stampa nel gennaio del 1883, fu eseguito da rinomati ensemble e accolto con entusiasmo dal pubblico di diverse metropoli musicali. La sua forma perfetta e il suo carattere allegro, sostituito solo in alcuni punti da passaggi elegiaci o drammatici, hanno probabilmente contribuito a questo trionfo unico. Originale \u00e8 anche l'esperimento formale di combinare il movimento lento con lo scherzo: tre sezioni gravi (che citano una prima sarabanda pianistica) incorniciano due sezioni veloci in 6\/8 o alla breve, anche una precedente gavotta per pianoforte di Johannes Brahms.<\/p>\n<p>Kathrin Kirsch, docente di musicologia a Kiel e supervisore di questa edizione Urtext, si \u00e8 gi\u00e0 fatta un nome come specialista di Brahms in precedenti pubblicazioni. In questa pubblicazione ha prestato particolare attenzione all'ultima fase della creazione dell'opera, dal modello dell'incisore alla prima stampa. Le prove preliminari, ossia le prove di stampa di un'opera prima della produzione e della distribuzione della stampa dell'edizione, consentono di trarre conclusioni sui metodi di lavoro di Brahms in questa fase avanzata della creazione. Le annotazioni manoscritte mostrano come egli differenziasse la composizione e standardizzasse il testo musicale dal punto di vista editoriale. Kathrin Kirsch documenta che anche il direttore Robert Keller e l'editore Fritz Simrock giocarono un ruolo importante in questo processo per il Quintetto per archi n. 1 in fa maggiore op. 88 attraverso numerosi passaggi epistolari.<\/p>\n<p>Questo Urtext non solo \u00e8 ottimamente studiato e commentato, ma \u00e8 anche facile da leggere grazie al suo grande formato e al carattere tipografico intuitivo. Si \u00e8 rinunciato a una disposizione tecnica con diteggiature e archi. Per evitare il panico nel girare le pagine, il primo e il secondo movimento sono stampati su tre pagine adiacenti. Ci\u00f2 rende molto pi\u00f9 semplice la prova e l'esecuzione di quest'opera tecnicamente impegnativa ma bellissima!<\/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\/11_crit_note_Kammermusik.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Johannes Brahms: Quintetto per archi n. 1 in fa maggiore op. 88, a cura di Kathrin Kirsch, Parti: HN 1482, \u20ac 35,00; partitura di studio: HN 7482, \u20ac 12,00; G. Henle, Monaco di Baviera <\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>Un capolavoro della maturit\u00e0 riedito con un'attenzione particolare all'ultima fase della sua creazione.<\/strong><\/p>","protected":false},"author":1,"featured_media":6525,"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":[1691,1692,1693],"class_list":["post-6524","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-noten-rezensionen","category-rezensionen","tag-brahms","tag-lehmann","tag-streichquintett"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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