{"id":7188,"date":"2018-01-25T00:00:00","date_gmt":"2018-01-24T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/liszt-a-la-dupre\/"},"modified":"2024-09-05T19:11:00","modified_gmt":"2024-09-05T17:11:00","slug":"liszt-a-la-dupre","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/it\/rezensionen\/noten-rezensionen\/2018\/01\/liszt-a-la-dupre","title":{"rendered":"Liszt alla Dupr\u00e9?"},"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\/Marcel_Dupre_devant_son_orgue_a_Meudon.jpg\" alt=\"\" width=\"554\" height=\"351\" \/><figcaption class=\"wp-caption-text\">Marcel Dupr\u00e9 davanti al suo organo a Meudon, 1938 Biblioth\u00e8que nationale de France\/wikimedia commons<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>Dalla tenuta del grande virtuoso d'organo parigino Marcel Dupr\u00e9 proviene questo arrangiamento del 1948 del brano di Franz Liszt <em>Variazioni su \"Piangere, lamentarsi, preoccuparsi, agitarsi\".<\/em>che qui viene pubblicata come prima edizione. Dupr\u00e9 adotta principalmente alcuni elementi della versione pianistica di Liszt che mancano nella versione organistica. L'idea di integrare le opere organistiche di Liszt nello specchio delle loro versioni pianistiche si basa sul presupposto - forse errato? - sul presupposto che lo stile organistico di Liszt non fosse allo stesso livello della sua brillante scrittura pianistica.<\/p>\n<p>Questo principio \u00e8 stato utilizzato anche da Jean Guillou, ad esempio, nella sua \"version syncr\u00e9tique\" di <em>Preludio e fuga sul nome BACH<\/em> e nelle vecchie edizioni organistiche di Liszt (ad esempio quella di Straube) ci sono sempre interventi nel testo musicale originale. Non si pu\u00f2 discutere in questa sede se un compositore intelligente e visionario come Liszt possa essere ritenuto \"incapace\" di confrontarsi con lo strumento e le sue possibilit\u00e0, ma in ogni caso \u00e8 opportuno esaminarlo criticamente, poich\u00e9 il confronto delle due versioni originali rivela forti differenze idiomatiche nella notazione, a seconda dello strumento.<\/p>\n<p>Tra l'altro, non \u00e8 chiaro quale delle due versioni originali di Liszt sia stata scritta per prima; ricerche pi\u00f9 recenti (Michael Heinemann, Martin Haselb\u00f6ck) collocano la versione per organo per prima. Resta da vedere se gli adattamenti del testo musicale, come fa Dupr\u00e9 in questo caso, non debbano essere lasciati agli esecutori, o in altre parole: chiunque sia in grado di padroneggiare opere come questa dovrebbe anche avere una conoscenza sufficiente dello strumento e delle sue possibilit\u00e0 per fare da s\u00e9 certi interventi al meglio delle proprie conoscenze e convinzioni.<\/p>\n<p>Il problema va oltre: Dupr\u00e9 aggiunge naturalmente anche diverse registrazioni, cambi manuali e articolazioni, che devono essere considerate sullo sfondo della sua prassi esecutiva - assolutamente dogmatica - e degli strumenti sinfonici francesi a sua disposizione. Come dobbiamo comportarci? Stiamo forse suonando \"Liszt alla Dupr\u00e9\"? In ogni caso, questa realizzazione di <em>Piangere, lamentarsi...<\/em> fornisce un interessante spaccato della \"cucina\" di un grande virtuoso e dovrebbe, soprattutto nel confronto con i due originali, ma anche con l'edizione dello stesso Dupr\u00e9 delle tre grandi opere di Liszt (Bornemann 1941), che curiosamente differisce molto nelle registrazioni, fornire uno o due suggerimenti.<\/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\/1_crit_Note_Orgel.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Franz Liszt: Variazioni su \"Weinen, Klagen, Sorgen, Zagen\", arrangiamento per organo di Marcel Dupr\u00e9; a cura di Jeremy Filsell, BU 2771, \u20ac 15,00, Dr J. Butz-Musikverlag, Bonn 2016, prima edizione<\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>Nella sua versione delle \"Variazioni su 'Weinen, Klagen, Sorgen, Zagen'\" di Franz Liszt, Marcel Dupr\u00e9 si \u00e8 affidato maggiormente alla versione per pianoforte. E a ragione?<\/strong><\/p>","protected":false},"author":1,"featured_media":7189,"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-7188","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 v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Liszt \u00e0 la Dupr\u00e9? - 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\/noten-rezensionen\/2018\/01\/liszt-a-la-dupre\/\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Liszt \u00e0 la Dupr\u00e9? - Schweizer Musikzeitung\" \/>\n<meta property=\"og:description\" content=\"Marcel Dupr\u00e9 verliess sich bei seiner Fassung von Franz Liszts \u00abVariationen \u00fcber \u2039Weinen, Klagen, Sorgen, Zagen\u203a\u00bb eher auf dessen Klavierversion. 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