100 Years of Herbert von Karajan and Early music / 1 (2/5)

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« How do you Read Music? With MusicalWords! | Main | 100 Years of Herbert von Karajan and early music /2 (2/5) »

By Redazione Musica | settembre 16, 2008

100 Years of Herbert von Karajan

Herbert von Karajan e la musica antica

Quando si parla di Herbert von Karajan difficilmente si fa riferimento alle sue esecuzioni di musica barocca: gli appassionati, ma anche gli addetti ai lavori, associano il nome del grande Maestro più al repertorio romantico e all’opera lirica che non ai nomi di Vivaldi, Bach ed Handel, per non parlare dei compositori rinascimentali.

Eppure, a voler esaminare con attenzione la sterminata discografia di von Karajan, si troverebbe più di una registrazione di musiche di autori barocchi, in primis proprio i già citati Bach, Vivaldi ed Handel, ma anche Albinoni e Pachelbel; vi sono testimonianze di sue escursioni perfino nel repertorio gregoriano e palestriniano[1].

Sicuramente, per la maggior parte del pubblico e della critica von Karajan ha dato il meglio di sé nella musica romantica e tardo-romantica; di questo, probabilmente, ne era consapevole lui stesso, vista la reiterata frequentazione di autori come Beethoven, Brahms, Bruckner, Strauss, Wagner, Sibelius ecc.

C’è da chiedersi, quindi, cosa lo spingesse a cimentarsi anche in un repertorio che non apparteneva propriamente alle sue corde – e a quali risultati artistici abbia portato questa frequentazione.

Inoltre, è interessante capire come siano state accolte queste interpretazioni, in particolare negli anni in cui si andava sviluppando la sensibilità per le esecuzioni filologiche.

Cerchiamo di rispondere innanzitutto alla prima domanda. Credo che l’interesse di von Karajan per la musica antica sia da ricercare molto semplicemente nella volontà di provarsi in qualsiasi tipo di repertorio, o meglio di lasciare la sua personalissima impronta interpretativa anche in quell’ambito; ma questo è un aspetto riconducibile anche ad un certo mondo direttoriale appartenente al passato e derivante direttamente dal tardo romanticismo: i direttori d’orchestra della vecchia scuola – e in generale i musicisti – non si specializzavano in un determinato repertorio, ma dirigevano – o suonavano – tutto, incuranti delle diversità di epoche e stili, spinti unicamente dalla volontà, anch’essa tipicamente romantica, di diffondere il verbo musicale e le emozioni che ne scaturivano. Non esistevano ensemble specializzati in esecuzioni di musica antica: la stessa orchestra che suonava una sinfonia di Brahms, poteva eseguire, pressappoco con lo stesso organico, anche una suite di Bach.

(domani la II parte)

Jacopo Simoncini
jacoposimoncini[at]musicalwords.it

[1]Cfr.: http://www.kv-staatsopernchor.at/italiano/1927.html

* * *

Herbert von Karajan and Early Music

If we think of Herbert von Karajan, we hardly think of him as a famous interpreter of Baroque Music: fans and experts associate his name mostly to Romantic Music and Opera. But surprisingly enough his discography includes more pieces of Baroque Music (like Bach and Handel) than any others.
To critics and to the public Karajan gave the best of himself conducting composers like Bruckner, Wagner, Beethoven, Strauss and Sibelius. That is why we asked ourselves which was the intimate reason that brought him to make this choice of repertoire and what kind of artistic results did he obtain.
We believe that the interest for ancient Music s due to the great curiosity and Music sensitivity that belonged to his art: that is why we can say he left his own personal mark also in conducting this repertoire. This was very frequent for conductors of that period.

Jacopo Simoncini

(translated by Claudia Jane Scroccaro)

One Response to “100 Years of Herbert von Karajan and Early music / 1 (2/5)”

Herbert von Karajan and Early music 1/(2/5) | Midi Blog Says:
settembre 16th, 2008 at 00:18

[...] von Karajan and Early music 1/(2/5) Archiviato in: Midi — Settembre 16, 2008 @ 2:02 am webinfo@adnkronos.com: Quando si parla di Herbert von Karajan difficilmente si fa riferimento alle sue esecuzioni di [...]