{"id":8005,"date":"2021-08-31T00:00:00","date_gmt":"2021-08-30T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/boehmische-entdeckungen\/"},"modified":"2024-10-01T16:18:12","modified_gmt":"2024-10-01T14:18:12","slug":"boehmische-entdeckungen","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/it\/rezensionen\/tontraeger-rezensionen\/2021\/08\/boehmische-entdeckungen","title":{"rendered":"Scoperte boeme"},"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\/Camerata-RousseauNeu.png\" alt=\"\" width=\"554\" height=\"307\" \/><figcaption class=\"wp-caption-text\">Camerata Rousseau. Foto: zVg<\/figcaption><\/figure>\n<p>.<\/p>\n<div class=\"text-section\">\n<p>Il fatto che i genitori abbiano dato ai due cugini lo stesso nome di battesimo Jan Anton non \u00e8 stata una buona idea a posteriori: entrambi mostravano un talento per la musica e in particolare per la composizione, il che era destinato a generare confusione. Nato nove anni dopo, decise da giovane di prendere il nome di Leopold. I due fratelli Kozeluch furono tra i pi\u00f9 rinomati compositori boemi della seconda met\u00e0 del XVIII secolo e oltre. Dopo l'apprendistato in patria, Jan Anton continu\u00f2 la sua formazione a Vienna con Gassmann, Gluck e Hasse e in seguito si fece un nome a Praga, soprattutto come compositore di opere vocali sacre.<\/p>\n<p>Leopold - dopo aver studiato con il cugino e con Duschek - si perfezion\u00f2 anche a Vienna, dove probabilmente ebbe come maestro Albrechtsberger. Ben presto ottenne un successo strepitoso come virtuoso del pianoforte, insegnante di musica e compositore. Ignor\u00f2 l'offerta di diventare il successore di Mozart come organista di corte a Salisburgo. Nel 1792 divenne \"Kammer Kapellmeister und Hofmusik Compositor\" presso la corte imperiale di Vienna, carica che mantenne fino alla morte nel 1818. \u00c8 noto che fece commenti denigratori su Haydn e che fu pesantemente criticato da Mozart e Beethoven. Nonostante queste animosit\u00e0 personali, oggi piuttosto divertenti, \u00e8 indiscutibile che abbia avuto un'influenza decisiva sullo stile del classicismo viennese. Tuttavia, gran parte della sua immensa opera non \u00e8 ancora stata riscoperta.<\/p>\n<p>Il CD combina un concerto per fagotto e uno per oboe di Jan Anton e una sinfonia di Leopold Kozeluch, oltre alla registrazione in prima mondiale di un altro concerto per fagotto, attribuito sia a Leopold che a suo cugino (anche se la confusione sui nomi si riflette anche sulla copertina). I due concerti per fagotto, molto diversi tra loro, sono opere attraenti in cui il solista Sergio Azzolini pu\u00f2 dimostrare tutte le sfaccettature della sua abilit\u00e0 su uno strumento originale del 1794 circa: linguaggio musicale espressivo, archi melodici cantabili e brillantezza tecnica. Lo stesso si pu\u00f2 dire del concerto per oboe in fa maggiore con l'eccellente solista Giovanni De Angeli. La Sinfonia in sol minore in tre movimenti di Leopold Kozeluch, composta intorno al 1787, \u00e8, come le opere pi\u00f9 note in questa tonalit\u00e0 di Mozart, Haydn e Vanhal, un pezzo altamente espressivo e drammatico, con armonie audaci e contrasti dinamici emozionanti, che fu immediatamente eseguito in tutta Europa.<\/p>\n<p>\u00c8 merito della Camerata Rousseau e del suo direttore Leonardo Muzii presentare queste quattro opere, registrate nel 2016, nella migliore luce possibile in un nuovo CD. L'orchestra suona con impegno, bel suono, differenziazione e precisione. Il suo nome si riferisce al famoso filosofo, poeta e compositore ginevrino e ricorda che i musicisti del Dipartimento di Musica Antica del Conservatorio di Ginevra la fondarono per eseguire composizioni del XVIII e XIX secolo nello stile proprio. Da allora si \u00e8 trasferita a Basilea e vi partecipano anche i diplomati della Schola Cantorum Basiliensis. Merita una menzione speciale l'approfondito testo del libretto di Karl B\u00f6hmer, che contiene tutto ci\u00f2 che vale la pena sapere sui due compositori e sulle loro opere.<\/p>\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/old.musikzeitung.ch\/imaging\/stk\/musikzeitung\/article-image-left\/website\/de\/rezensionen\/tontraeger\/2021\/09_10\/kozeluch\/content\/05\/imageBinary\/09_crit_cd_Lienhard.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<p><em>Jan Anton Kozeluch (1738-1814) e Leopold Kozeluch (1747-1818): Concerti e Sinfonia. Sergio Azzolini, fagotto; Giovanni De Angeli, oboe; Camerata Rousseau su strumenti d'epoca; direttore Leonardo Muzii. Sony classical 19439788202<\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>La Camerata Rousseau esegue concerti per fagotto e oboe e una sinfonia di Jan Anton e Leopold Kozeluch, anche se l'attribuzione delle opere ai due cugini non \u00e8 sempre chiara. <\/strong><\/p>","protected":false},"author":1,"featured_media":8006,"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":[29,1420],"tags":[3076,3074,3075,3002],"class_list":["post-8005","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rezensionen","category-tontraeger-rezensionen","tag-camerata-rousseau","tag-jan-anton-kozeluch","tag-leonardo-muzii","tag-leopold-kozeluch"],"acf":[],"yoast_head":"<!-- This site is optimized 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