{"id":7969,"date":"2022-06-28T00:00:00","date_gmt":"2022-06-27T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/schoecks-elegische-kuehnheit\/"},"modified":"2024-03-12T16:19:26","modified_gmt":"2024-03-12T15:19:26","slug":"schoecks-elegische-kuehnheit","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/it\/rezensionen\/tontraeger-rezensionen\/2022\/06\/schoecks-elegische-kuehnheit","title":{"rendered":"L'audacia elegiaca di Schoeck"},"content":{"rendered":"
\"\"
Orchestra da camera di Basilea. Foto: Sandro Isler, Matthias M\u00fcller<\/figcaption><\/figure>\n
\n

\"Ci sono davvero suoni di un altro mondo, non ho mai sentito nulla di simile\", scrisse il compositore Fritz Brun a proposito della nuova opera. Era il 1923, un'epoca in cui si respirava un'aria di modernit\u00e0, sia a Parigi che a Vienna. L'opera sembr\u00f2 audace anche agli zurighesi, ma Brun non disse \"nuova\", bens\u00ec \"dell'altro mondo\", il che descriveva abbastanza bene la situazione. Othmar Schoeck si trovava su una soglia. Anche con il Venere<\/em> aveva suonato una nota diversa, poco dopo sar\u00e0 Pentesilea <\/em>tra i pi\u00f9 moderni per un breve periodo - e lasciarsi andare un po'. Perch\u00e9 qui \u00e8 pi\u00f9 unico e pi\u00f9 personale, nella Elegia<\/em>un ciclo di 24 canzoni orchestrali dopo Eichendorff e Lenau.<\/p>\n

Audacia: la parola pu\u00f2 sorprendere in questa musica in gran parte calma e malinconica, che non \u00e8 affatto ipercromatica, n\u00e9 neoclassicamente sfacciata n\u00e9 espressionisticamente esagerata, ma che tuttavia si spinge oltre i confini. Certo, appartiene ancora al periodo tardo-romantico tonale, ma non \u00e8 sovraccarica come in Mahler, Strauss o il maestro Reger, bens\u00ec purificata, grandiosamente condensata e quindi pronta per l'et\u00e0 moderna. Le melodie girano su se stesse - un segno di malinconia. Si parla costantemente di addio. L'audacia risiede nello stato d'animo profondamente triste ma pieno di luce e in un linguaggio tonale molto originale, che \u00e8 particolarmente evidente nella versione orchestrale. Qui si ottiene molto con poco. Un capolavoro fenomenale.<\/p>\n

Il nome di un poeta, Lenau, ricorder\u00e0 ad alcuni l'ultima opera di Heinz Holliger Lunea <\/em>e qui \u00e8 davvero al timone, alla guida dell'Orchestra da Camera di Basilea e dell'altrettanto fenomenale Christian Gerhaher in questa nuova registrazione. La musica \u00e8 eseguita con grande amore e attenzione. E il suono \u00e8 incredibilmente differenziato. L'aspetto sorprendente: L'allestimento di Schoeck richiede un certo stile, molto tipico, da parte dei cantanti. Leggero, per lo pi\u00f9 non invadente, a volte quasi parlato, senza pathos pesante, ma estremamente espressivo e prorompente in alcuni punti. Gerhaher, che ha cantato Lenau anche in Lunea<\/em> sang, colpisce nel segno.\"\"<\/p>\n

Othmar Schoeck: Elegia op. 36 per voce e orchestra da camera. Christian Gerhaher, baritono; Orchestra da camera di Basilea; direzione di Heinz Holliger. Sony Classical 19439963302<\/em><\/p>\n<\/div>\n

\n
<\/dt>\n<\/dl>","protected":false},"excerpt":{"rendered":"

Il baritono Christian Gerhaher e l'Orchestra da Camera di Basilea, sotto la direzione di Heinz Holliger, suonano la nota giusta per l'Elegia op. 36 di Othmar Schoeck. 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