R. V. Williams.. Tallis Fantasia /1 (2/12)

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« Leo Olschki’s news! | Main | R. V. Williams… Tallis Fantasia /2 (2/12) »

By Redazione Musica | dicembre 2, 2008

Eccoci giunti alla prima analisi della musica di R. V. Williams.

ABBIAMO AGGIUNTO UNA PLAYLIST DEDICATA ALLO SPECIALE SU SU R. V. WILLIAMS NELLA NOSTRA PAGINA DI YOUTUBE.IT —> <http://it.youtube.com/view_play_list?p=6790D4A86A42D4F1>

****************************************

Fantasia on a Theme by Thomas Tallis:
quando un’ opera d’arte diventa espressione di appartenenza

Esistono musiche che, deliberatamente concepite per questo scopo o meno, finiscono per diventare “aggreganti”: finiscono, cioè, per essere sentite come un denominatore comune, in precisi contesti sociali e culturali, da individui diversi. Persone differenti, appartenenti ad uno stesso contesto ma con differenti percorsi formativi ed esperienze alle spalle, possono sentirsi accomunati, pur nella loro diversità, da queste musiche. Ne possono essere esempi chiarificatori il Va Pensiero dal Nabucco di Giuseppe Verdi, per quanto riguarda l’Italia; la XI Sinfonia di Beethoven ha rappresentato, e rappresenta ancora, la teutonicità forse anche meglio dell’opera wagneriana; La Moldava di Smetana e Il Bel Danubio Blu di Strauss Jr. sono sentite quasi come un secondo inno nazionale da Cechi e Austriaci. La Polonia si è ritrovata nelle mirabili polacche di Chopin. Insomma, ogni realtà storica e sociale è riuscita a trovare, pur nella multiformità della sua essenza, un suo “collante” musicale, un suo luogo di aggregazione in suoni.

(I parte della Tallis Fantasia)

Anche l’Inghilterra, seppur in ritardo rispetto al resto del mondo musicale colto, ha trovato una sua musica “aggregante”, che simboleggia al meglio la sua identità. In questo nemmeno la grandezza di Purcell, che pure aveva mantenuto alto il nome della musica Inglese quando, per tutto il ‘700 e l’800, era diventata quasi un “cenerentola” del panorama musicale europeo, era riuscito in questo. Si è dovuto aspettare il 1910, quando dalla penna di Vaughan Williams vede la luce la bellissima Fantasia on a Theme by Thomas Tallis.
Purcell non aveva contribuito, ma Thomas Tallis (1505-1585) e la sua epoca si. E in maniera molto più diretta di quanto si possa pensare, diventando da allora quasi un punto di riferimento per tutta l’opera di Vaughan Williams. Ma fu, più in generale, tutto il periodo compreso tra il 1904 e il 1910 ad essere fondamentale per la genesi di quest’opera: inizialmente con la redazione dell’English Hymnal tra il1904 e il 1906, con cui Vaghan Williams potè approfondire la sua conoscenza sulla polifonia antica. Nel 1907-08 poi, a quasi 36 anni suonati, Vaughan Williams venne colto dalla febbre francese, e andò 8 mesi in Francia ad assorbire i nuovi orizzonti e le nuove possibilità espressive nate con Debussy al di là della Manica. E il periodo di studi con Ravel è chiaramente percepibile nella Fantasia, che è la prima grande opera di Vaughan Williams dopo questo periodo di studio, dal punto di vista della maestria tecnica e nell’uso del colore orchestrale (assai difficile da tirar fuori, essendo la Fantasia concepita solo per archi). Questa maestria, questo incontro fondamentale col mondo francese, farà poi la grandezza anche delle opere successive. Ma se i colori e libertà tonale possono sembrarci immediatamente provenire dal mondo musicale d’oltremanica coevo, tuttavia le forme e le atmosfere sono indiscutibilmente e radicalmente antiche, e soprattutto Inglesi. Sicuramente i lavori precedenti questo periodo (e parliamo di lavori orchestrali già importanti come In the Fen Country, del 1904, o la Norfolk Rhapsody n.1 del 1906) si avvicinano di più a Richard Strauss, che non ad un Ravel o un Debussy. E di fatti, vennero poi tutti revisionati dopo il 1914.
Proprio nella redazione dell’ English Hymnal, Vaughan Williams incontrò per la prima volta il tema che diverrà base, poi, per la sua fantasia: Tallis nel 1567 aveva contribuito con nove melodie, ognuna costruita su un modo differente, alla realizzazione del Metrical Psalter dell’arcivescovo Mattew Parker. Il Metrical Psalter altro non era che una parafrasi, una traduzione di tutto, o di parte, del libro dei salmi della Bibbia, e Tallis prestò la sua arte per musicare nove di questi. La terza di queste nove melodie, costruita in modo frigio, venne composta per il testo “Why Fum’th in Fight?“, che altro non è che una una parafrasi del secondo salmo “Perchè le genti congiurano, perchè invano cospirano i popoli”; col suo magistero, Tallis ne fece un magnifico Inno per 4 voci a cappella. E fu proprio quest’ Inno a colpire a tal punto l’immaginazione di Vaughan William, da fargliene estrapolare la melodia per riutilizzarla in un’opera completamente nuova.

Stefano Naimoli

(continua a leggere l’articolo)

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2 Responses to “R. V. Williams.. Tallis Fantasia /1 (2/12)”

R. V. Williams.. Tallis Fantasia /1 (2/10) | Attualita' Says:
dicembre 2nd, 2008 at 04:01

[...] Villadiseriane, Bergamo 2006, pag. 268. Vai alla Fonte [...]
R. V. Williams… Tallis Fantasia (2/10) | Musical Words - Blog di Musica * Arte * Lettere Says:
dicembre 3rd, 2008 at 09:20

[...] R. V. Williams.. Tallis Fantasia /1 (2/10) [...]