{"id":7057,"date":"2018-12-07T00:00:00","date_gmt":"2018-12-06T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/bis-heute-strittige-tempi\/"},"modified":"2024-09-05T15:48:11","modified_gmt":"2024-09-05T13:48:11","slug":"bis-heute-strittige-tempi","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/it\/rezensionen\/noten-rezensionen\/2018\/12\/bis-heute-strittige-tempi","title":{"rendered":"Tempi controversi ancora oggi"},"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\/515156_original_R_K_by_Lilo-Kapp_pixelio.de_.jpg\" alt=\"\" width=\"554\" height=\"369\" \/><figcaption class=\"wp-caption-text\">Foto: Lilo Kapp\/pixelio.de<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>\"In termini di estensione e struttura, la Sonata Hammerklavier va ben oltre tutto ci\u00f2 che \u00e8 stato mai osato e padroneggiato nel campo della composizione di sonate\", scrisse Alfred Brendel a proposito dell'Op. 106 di Beethoven. E Beethoven stesso disse al suo editore: \"Ecco una sonata che dar\u00e0 filo da torcere ai pianisti, che sar\u00e0 suonata tra cinquant'anni\". Si rendeva conto che sarebbe stata ancora una sfida enorme per gli esecutori e gli ascoltatori tra duecento anni?<\/p>\n<p>La Wiener Urtext-Edition ha appena pubblicato quest'opera monumentale in un'esemplare edizione unica (una delle poche disponibili, peraltro). (Anche questo non \u00e8 un compito facile: non esistono autografi o copie della Sonata Hammerklavier, ma varie prime edizioni che si contraddicono in aspetti fondamentali. La prima edizione londinese, ad esempio, cambia l'ordine dei due movimenti centrali, cosa che almeno Beethoven approvava. Altre differenze derivano da correzioni e aggiunte successive. Ad esempio, la lettura delle accidentali rimane ambigua o addirittura incerta in alcuni punti. Infine, c'\u00e8 la questione controversa dei tempi corretti.<\/p>\n<p>Beethoven ha scritto i segni del metronomo solo per questa sonata per pianoforte. E sono davvero molto incisivi! Soprattutto per il primo movimento, ma anche per la fuga finale, il risultato \u00e8 un tempo incredibilmente veloce.<\/p>\n<p>Johann Sonnleitner ha dedicato una sezione dettagliata a questo argomento nella prefazione di questa nuova edizione. Egli non crede nella realizzazione convenzionale dei numeri del metronomo e sostiene un metodo di misurazione pi\u00f9 antico e variabile. Non \u00e8 necessario essere necessariamente d'accordo con Sonnleitner per trovare il suo approccio interessante e degno di essere letto. Per inciso, lo stesso vale per le diteggiature di Alexander Jenner.<\/p>\n<p>Uno dei primi a credere in questi tempi veloci e a tentare di realizzarli fu Artur Schnabel, che registr\u00f2 la Sonata Hammerklavier nel 1935 come parte della sua registrazione completa. Non riusc\u00ec a realizzare tutto comme il faut, il che era certamente dovuto anche alle limitate possibilit\u00e0 di correzione dell'epoca. Ma il suo slancio artistico e il suono (!) sono ancora molto impressionanti. Chi preferisce un'interpretazione pi\u00f9 moderata e trasparente apprezzer\u00e0 sicuramente le versioni di Alfred Brendel. Egli ha dedicato tutta la sua vita di pianista a quest'opera. Le registrazioni femminili sono sorprendentemente poche: In particolare, va menzionata l'incisione di Maria Grinberg, una grande pianista sovietica che ha registrato tutte le 32 sonate per pianoforte di Beethoven per Melodija negli anni Sessanta.<\/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\/12_crit_note_Klavier_Beethoven106.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Ludwig van Beethoven: Sonata per pianoforte e orchestra op. 106, Grande Sonata per l'Hammerklavier, a cura di Peter Hauschild, revisione di Jochen Reutter, note di Johann Sonnleitner, UT 50432, \u20ac 10,95, Wiener Urtext Edition, Schott\/Universal Edition 2018<\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>Esistono prime edizioni contraddittorie della Sonata per pianoforte e orchestra op. 106 di Beethoven e i segni del metronomo rimangono tuttora un mistero. <\/strong><\/p>","protected":false},"author":1,"featured_media":7058,"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":[],"class_list":["post-7057","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-noten-rezensionen","category-rezensionen"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - 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