{"id":69463,"date":"2025-12-02T10:01:52","date_gmt":"2025-12-02T09:01:52","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/?p=69463"},"modified":"2026-01-29T10:36:00","modified_gmt":"2026-01-29T09:36:00","slug":"dissonanter-knopfgiesser-und-klangflaechen-fuer-solvejg","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/it\/berichte\/2025\/12\/dissonanter-knopfgiesser-und-klangflaechen-fuer-solvejg","title":{"rendered":"Giesser a tasti dissonanti e paesaggi sonori per Solvejg"},"content":{"rendered":"
\"\"
L'ambiziosa orchestra amatoriale TriRhenum suona sotto la direzione di Julian Gibbons dal 1999. Foto: Johann Frick<\/figcaption><\/figure>\n

Il Orchestra Sinfonica TriRhenum<\/a> si distingue nel panorama musicale di Basilea con i suoi programmi spesso originali di opere raramente eseguite e commissioni a compositori basilesi. Oppure attraverso formati speciali di concerti come La Notte dei Proms di Basilea<\/em>. L'ambiziosa orchestra amatoriale, composta da membri provenienti dalla Svizzera nordoccidentale e dal Baden meridionale, \u00e8 stata fondata nel 1999 dal direttore e suonatore di corno di origine inglese Julian Gibbons, che la dirige tuttora. Ogni anno vengono sviluppati due programmi di concerti. Il pi\u00f9 recente, eseguito nella chiesa di San Martino a Basilea (con replica a Reinach BL), \u00e8 stato dedicato al tema del \"Peer Gynt\". Il programma comprendeva non solo estratti dalla musica incidentale op. 23 e dalle due suite orchestrali op. 46 e op. 55 di Grieg, ma anche una prima mondiale del compositore Lukas Langlotz, nato nel 1971: Giri. Quattro tableaux per \"Peer Gynt\".<\/em>. Langlotz non \u00e8 nuovo a Basilea, poich\u00e9 insegna composizione, teoria musicale, educazione auditiva e partitura all'Accademia di Musica. Ha studiato, tra gli altri, con Rudolf Kelterborn e Betsy Jolas. Le sue opere hanno spesso uno sfondo religioso o fanno riferimento alla musica storica.<\/p>\n

La drammaturgia del concerto segue il dramma<\/h3>\n

La decisione di eseguire le opere di Grieg e Langlotz intrecciate tra loro, anzich\u00e9 una dopo l'altra, si \u00e8 rivelata molto azzeccata. Il narratore Dominique Gisler ha approfondito la comprensione con citazioni dal dramma. La serata \u00e8 stata un'ottima motivazione per affrontare l'opera di Ibsen sulla ricerca e la scoperta dell'identit\u00e0 del suo eroe. Peer Gynt, viaggiatore tra sogno e realt\u00e0, tra il mondo degli spiriti della montagna e il mondo del XIX secolo, \u00e8 in realt\u00e0 una persona assolutamente antipatica, priva di empatia, di rispetto per le donne, ma con fantasie megalomani di dominio del mondo. Diventato ricco come mercante e schiavista in Africa, mente a se stesso sulla sua inutile vita. Derubato di tutte le sue ricchezze, torna in Norvegia da vecchio. Il \"lanciatore di bottoni\", un angelo della morte o un messaggero del diavolo, gli predice la sua fine, ma viene salvato da Solvejg, che lo ha aspettato in una capanna per tutta la vita e lo ama. Spesso viene interpretata come la personificazione dell'anima di Peer.<\/p>\n

L'opera di Ibsen, talvolta definita il \"Faust nordico\", si basa sulle fiabe, ma \u00e8 anche un'amara satira del suo tempo. La musica lirica e folkloristica di Grieg, che non si identificava affatto con il personaggio di Peer Gynt, non si adatta particolarmente al dramma, ma \u00e8 molto apprezzata dal pubblico dei concerti. Per un'orchestra amatoriale come la TriRhenum Symphony Orchestra, ovviamente ben preparata da Julian Gibbons, \u00e8 molto grata. Abbiamo ascoltato alcune eccezionali performance solistiche (viola, oboe, flauto, clarinetto) e una sezione di archi molto omogenea. I problemi di intonazione dei fiati non erano troppo evidenti.<\/p>\n

La \"musica teatrale\" di Langlotz<\/h3>\n

L'orchestra ha padroneggiato bene anche il nuovo lavoro di Lukas Langlotz - nelle parole del compositore \"musica teatrale senza palcoscenico\". Girotondo <\/em>non prevede tecniche esecutive inusuali, ma \u00e8 certamente musica contemporanea, anche se non nella sua forma pi\u00f9 avanguardistica. La prima parte, che caratterizza Peer, potrebbe forse essere stata scritta anche dal compianto Penderecki; il secondo movimento, uno scherzo in forma di rond\u00f2, che ritrae sia il mondo dei troll sia l'atmosfera del manicomio del Cairo, si inserisce nella tradizione degli scherzi di Mahler o di Shostakovich, ma senza possedere il loro mordente e il loro umorismo truce. La musica \"Knopfgiesser\" della terza parte - a volte molto dissonante - \u00e8 ossessionante, e la sezione finale, dedicata a Solvejg, contiene bellissimi paesaggi sonori da cui l'inno di Pentecoste Veni Creator Spiritus<\/em> appare. Si conclude con un punto interrogativo, per cos\u00ec dire. Come nell'opera teatrale, il finale rimane aperto. Il pubblico della chiesa ben frequentata era entusiasta.<\/p>","protected":false},"excerpt":{"rendered":"

La musica incidentale di Edvard Grieg per il \"Peer Gynt\" \u00e8 pi\u00f9 conosciuta dell'opera teatrale di Henrik Ibsen. L'orchestra TriRhenum di Basilea l'ha eseguita in alternanza con \"Rounds\" di Lukas Langlotz, che ripercorre anche il \"Faust nordico\". <\/p>","protected":false},"author":23,"featured_media":69464,"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":[1531,28],"tags":[5449,5259,5450,5448],"class_list":["post-69463","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-auffuehrungen","category-berichte","tag-julian-gibbons","tag-lukas-langlotz","tag-peer-gynt","tag-sinfonieorchester-trirhenum"],"acf":[],"yoast_head":"\nDissonanter Knopfgiesser und Klangfl\u00e4chen f\u00fcr Solvejg - Schweizer Musikzeitung<\/title>\n<meta name=\"description\" content=\"Das Basler Orchester TriRhenum spielte Edvard Griegs Schauspielmusik zu \u00abPeer Gynt\u00bb im Wechsel mit Lukas Langlotz\u2019 \u00abRounds. 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