{"id":213,"date":"2020-03-29T16:15:50","date_gmt":"2020-03-29T16:15:50","guid":{"rendered":"https:\/\/musicaeconoscenza.it\/newp\/?page_id=213"},"modified":"2020-07-28T07:34:43","modified_gmt":"2020-07-28T07:34:43","slug":"il-commiato-analisi-del-primo-tempo","status":"publish","type":"page","link":"https:\/\/musicaeconoscenza.it\/newp\/index.php\/il-commiato-di-anton-dvorak\/il-commiato-analisi-del-primo-tempo\/","title":{"rendered":"Ascolto comparato 1\u00b0 tempo"},"content":{"rendered":"\n<p>In questa pagina \u00e8 possibile comparare le due versioni, osservando allo stesso tempo lo spartito della parte del violoncello<\/p>\n\n\n<div class=\"ead-preview\"><div class=\"ead-document\" style=\"position: relative;padding-top: 90%\"><div class=\"ead-iframe-wrapper\"><iframe src=\"\/\/docs.google.com\/viewer?url=https%3A%2F%2Fmusicaeconoscenza.it%2Fnewp%2Fwp-content%2Fuploads%2Fpdf%2FDvorak_Parte_Cello_1.pdf&amp;embedded=true&amp;hl=en\" title=\"Embedded Document\" class=\"ead-iframe\" style=\"width: 100%;height: 100%;border: none;position: absolute;left: 0;top: 0;visibility: hidden;\"><\/iframe><\/div>\t\t\t<div class=\"ead-document-loading\" style=\"width:100%;height:100%;position:absolute;left:0;top:0;z-index:10\">\n\t\t\t\t<div class=\"ead-loading-wrap\">\n\t\t\t\t\t<div class=\"ead-loading-main\">\n\t\t\t\t\t\t<div class=\"ead-loading\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/plugins\/embed-any-document\/images\/loading.svg\" width=\"55\" height=\"55\" alt=\"Loader\">\n\t\t\t\t\t\t\t<span>Loading&#8230;<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div class=\"ead-loading-foot\">\n\t\t\t\t\t\t<div class=\"ead-loading-foot-title\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/plugins\/embed-any-document\/images\/EAD-logo.svg\" alt=\"EAD Logo\" width=\"36\" height=\"23\"\/>\n\t\t\t\t\t\t\t<span>Taking too long?<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<p>\n\t\t\t\t\t\t\t<div class=\"ead-document-btn ead-reload-btn\" role=\"button\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/plugins\/embed-any-document\/images\/reload.svg\" alt=\"Reload\" width=\"12\" height=\"12\"\/> Reload document\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<span>|<\/span>\n\t\t\t\t\t\t\t<a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/pdf\/Dvorak_Parte_Cello_1.pdf\" class=\"ead-document-btn\" target=\"_blank\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/plugins\/embed-any-document\/images\/open.svg\" alt=\"Open\" width=\"12\" height=\"12\"\/> Open in new tab\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div><\/div>\n\n\n<p><\/p>\n\n\n\n<p class=\"has-text-align-center\"><br><strong>Analisi<\/strong> <strong>delle due interpretazioni<\/strong><\/p>\n\n\n<div id=\"pl-gb213-69dee5a300888\"  class=\"panel-layout\" ><div id=\"pg-gb213-69dee5a300888-0\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-0-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-0-0-0\" class=\"so-panel widget widget_text panel-first-child panel-last-child\" data-index=\"0\" >\t\t\t<div class=\"textwidget\"><p>Alla battuta 87, l&#8217;attacco: drammatico e passionale quello della Walewska, netto e misurato quello di Rostropovi\u010d;<\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-1\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-1-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-1-0-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"1\" ><h3 class=\"widget-title\">Walewska &#8211; Attacco 1\u00b0 tempo<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W01.mp3?_=1\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W01.mp3?_=1\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W01.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W01.mp3<\/a><\/audio><\/div><\/div><div id=\"pgc-gb213-69dee5a300888-1-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-1-1-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"2\" ><h3 class=\"widget-title\">Rostropovi\u010d: Attacco 1\u00b0 Tempo<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R01.mp3?_=2\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R01.mp3?_=2\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R01.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R01.mp3<\/a><\/audio><\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-2\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-2-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-2-0-0\" class=\"so-panel widget widget_text panel-first-child panel-last-child\" data-index=\"3\" >\t\t\t<div class=\"textwidget\"><p>Si prosegue con le stesse caratteristiche da ambedue le parti, ma gi\u00e0 i trilli delle battute 103 &#8211; 109 confermano la enorme differenza tra i due interpreti: mentre Rostropovi\u010d li esegue piatti e perfetti,\u00a0la Walewska ne accentua volutamente le differenze, addirittura cambiando la velocit\u00e0 del trillo e dando spessore inusitato ai \u201ccrescendo\u201d segnalati sulla partitura.<\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-3\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-3-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-3-0-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"4\" ><h3 class=\"widget-title\">Walewska: Trilli<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W02.mp3?_=3\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W02.mp3?_=3\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W02.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W02.mp3<\/a><\/audio><\/div><\/div><div id=\"pgc-gb213-69dee5a300888-3-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-3-1-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"5\" ><h3 class=\"widget-title\">Rostropovi\u010d: Trilli<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R02.mp3?_=4\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R02.mp3?_=4\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R02.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R02.mp3<\/a><\/audio><\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-4\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-4-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-4-0-0\" class=\"so-panel widget widget_text panel-first-child panel-last-child\" data-index=\"6\" >\t\t\t<div class=\"textwidget\"><p>Quando poi si giunge agli &#8220;spiccato&#8221; di batt.110-119, allora si sente l&#8217;inutilit\u00e0 di farli asettici e impeccabili (R), e il conseguente avvincente stupore di sentirli invece come &#8220;rubati&#8221; e via via affrettati (W)\u2026<\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-5\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-5-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-5-0-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"7\" ><h3 class=\"widget-title\">Walewska: Spiccati<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W03.mp3?_=5\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W03.mp3?_=5\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W03.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W03.mp3<\/a><\/audio><\/div><\/div><div id=\"pgc-gb213-69dee5a300888-5-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-5-1-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"8\" ><h3 class=\"widget-title\">Rostropovi\u010d: Spiccati<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R03.mp3?_=6\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R03.mp3?_=6\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R03.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R03.mp3<\/a><\/audio><\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-6\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-6-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-6-0-0\" class=\"so-panel widget widget_text panel-first-child panel-last-child\" data-index=\"9\" >\t\t\t<div class=\"textwidget\"><p>\u2026quasi per comunicare l&#8217;ansia drammatica di giungere, dopo i riposi riflessivi e intensi delle battute 115, 117 e 119, fino all&#8217;intimo e violento appello della battuta 120, il cui primo movimento ci percuote dandoci un brivido fortissimo (W), oppure ci carezza languidamente tentando di quietarci (R).<\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-7\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-7-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-7-0-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"10\" ><h3 class=\"widget-title\">Walewska: Battuta 120<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-7\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W04.mp3?_=7\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W04.mp3?_=7\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W04.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W04.mp3<\/a><\/audio><\/div><\/div><div id=\"pgc-gb213-69dee5a300888-7-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-7-1-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"11\" ><h3 class=\"widget-title\">Rostropovi\u010d: Battuta 120<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-8\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R04.mp3?_=8\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R04.mp3?_=8\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R04.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R04.mp3<\/a><\/audio><\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-8\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-8-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-8-0-0\" class=\"so-panel widget widget_text panel-first-child panel-last-child\" data-index=\"12\" >\t\t\t<div class=\"textwidget\"><p>E quanto differente la enunciazione degli archetipi domanda-risposta (battute 128 &#8211; 131), generati da un dubbio esistenziale profondo (W), o come volutamente prolungati quasi per spezzarne l&#8217;emozione (R).<\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-9\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-9-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-9-0-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"13\" ><h3 class=\"widget-title\">Walewska: Battute 128 &#8211; 131<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-9\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W05.mp3?_=9\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W05.mp3?_=9\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W05.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W05.mp3<\/a><\/audio><\/div><\/div><div id=\"pgc-gb213-69dee5a300888-9-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-9-1-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"14\" ><h3 class=\"widget-title\">Rostropovi\u010d: Battute 128 &#8211; 131<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-10\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R05.mp3?_=10\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R05.mp3?_=10\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R05.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R05.mp3<\/a><\/audio><\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-10\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-10-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-10-0-0\" class=\"so-panel widget widget_text panel-first-child panel-last-child\" data-index=\"15\" >\t\t\t<div class=\"textwidget\"><p>Ed eccoci al secondo tema, quello dell&#8217;amore, che Dvor\u00e0k non poteva riascoltare senza profondo coinvolgimento e commozione: se avesse udito l&#8217;interpretazione intensissima e accorata (e in alcuni passi quasi disperata) della Walevska (W), sarebbe svenuto! Invece, Rostropovitch ci presenta un tema riflessivo e semplicemente commosso (R) che stranamente viene rallentato (quasi a smorzarne consciamente la passione), nelle <i>battute 147-148\u2026<\/i><\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-11\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-11-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-11-0-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"16\" ><h3 class=\"widget-title\">Walewska: Battute 147 &#8211; 148<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-11\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W06.mp3?_=11\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W06.mp3?_=11\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W06.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W06.mp3<\/a><\/audio><\/div><\/div><div id=\"pgc-gb213-69dee5a300888-11-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-11-1-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"17\" ><h3 class=\"widget-title\">Rostropovi\u010d: Battute 147 &#8211; 148<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-12\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R06.mp3?_=12\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R06.mp3?_=12\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R06.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R06.mp3<\/a><\/audio><\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-12\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-12-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-12-0-0\" class=\"so-panel widget widget_text panel-first-child panel-last-child\" data-index=\"18\" >\t\t\t<div class=\"textwidget\"><p>\u2026e sopratutto senza dare rilievo ai primi movimenti di <i>batt. 150 e 152 (R)<\/i>, c he invece la Walewska addirittura urla con gli occhi dell&#8217;anima sbarrati (W).<\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-13\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-13-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-13-0-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"19\" ><h3 class=\"widget-title\">Walewska: Battute 150 &#8211; 152<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-13\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W07.mp3?_=13\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W07.mp3?_=13\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W07.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W07.mp3<\/a><\/audio><\/div><\/div><div id=\"pgc-gb213-69dee5a300888-13-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-13-1-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"20\" ><h3 class=\"widget-title\">Rostropovi\u010d: battute 150 &#8211; 152<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-14\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R07.mp3?_=14\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R07.mp3?_=14\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R07.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R07.mp3<\/a><\/audio><\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-14\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-14-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-14-0-0\" class=\"so-panel widget widget_text panel-first-child panel-last-child\" data-index=\"21\" >\t\t\t<div class=\"textwidget\"><p>Il Concerto prosegue senza sostanziali differenze (W) tra<i> battuta 158 e battuta 192,<\/i> se si eccettua, da parte di Rostropovi\u010d, l&#8217;esecuzione pi\u00f9 brillante e &#8220;staccata&#8221; delle variazioni di commento (R)\u00a0<i>(battute 158-165),<\/i> e pi\u00f9 rapida e frettolosa delle quartine nelle\u00a0<i>battute 172-173<\/i> <i>e 182,<\/i> nonch\u00e9 delle biscrome di <i>battute 186-190,<\/i> che danno quasi un senso di ribellione anzich\u00e9 di introspezione come nella interpretazione della Walewska.<\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-15\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-15-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-15-0-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"22\" ><h3 class=\"widget-title\">Walewska: Battute 158 &#8211; 165<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-15\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W08.mp3?_=15\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W08.mp3?_=15\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W08.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W08.mp3<\/a><\/audio><\/div><\/div><div id=\"pgc-gb213-69dee5a300888-15-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-15-1-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"23\" ><h3 class=\"widget-title\">Rostropovi\u010d: battute 158 &#8211; 165<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-16\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R08.mp3?_=16\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R08.mp3?_=16\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R08.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R08.mp3<\/a><\/audio><\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-16\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-16-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-16-0-0\" class=\"so-panel widget widget_text panel-first-child panel-last-child\" data-index=\"24\" >\t\t\t<div class=\"textwidget\"><p>Mentre, la ripresa del violoncello (W)\u00a0<i>(battuta 224 e seguenti)<\/i> viene da Rostropovitch maggiormente dilatata (R) con notevole espressivit\u00e0 ma con minore senso drammatico;<\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-17\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-17-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-17-0-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"25\" ><h3 class=\"widget-title\">Walewska: Battute 224 e seguenti<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-17\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W09.mp3?_=17\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W09.mp3?_=17\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W09.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W09.mp3<\/a><\/audio><\/div><\/div><div id=\"pgc-gb213-69dee5a300888-17-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-17-1-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"26\" ><h3 class=\"widget-title\">Rostropovi\u010d: battute 224 e seguenti<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-18\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R09.mp3?_=18\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R09.mp3?_=18\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R09.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R09.mp3<\/a><\/audio><\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-18\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-18-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-18-0-0\" class=\"so-panel widget widget_text panel-first-child panel-last-child\" data-index=\"27\" >\t\t\t<div class=\"textwidget\"><p>e analogamente, la minuta sottolineatura del tema orchestrale compiuta tra la\u00a0<i>battuta 240 e la 256,<\/i> \u00e8 in Rostropovi\u010d un pianto sommesso, dolce, anche crescente, ma non tale da giustificare adeguatamente la violenta reazione delle <i>battute 256-267 (R)<\/i>, mentre la Walewska d\u00e0 un senso di eccezionale accoratezza fino alla\u00a0<i>battuta 249,<\/i> che diviene vera e propria angoscia sempre pi\u00f9 in aumento dalla <i>battuta 250 a 255,<\/i> tanto che l&#8217;esplosione di <i>battuta 256 e seguenti<\/i>\u00a0appare addirittura fisiologicamente necessaria: questo \u00e8 uno dei momenti di massima densit\u00e0 emozionale di tutto il Concerto, da Lei insuperabilmente presentato (W).<\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-19\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-19-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-19-0-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"28\" ><h3 class=\"widget-title\">Walewska: Battute 256 e seguenti<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-19\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W10.mp3?_=19\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W10.mp3?_=19\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W10.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W10.mp3<\/a><\/audio><\/div><\/div><div id=\"pgc-gb213-69dee5a300888-19-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-19-1-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"29\" ><h3 class=\"widget-title\">Rostropovi\u010d: battute 256 e seguenti<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-20\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R10.mp3?_=20\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R10.mp3?_=20\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R10.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R10.mp3<\/a><\/audio><\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-20\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-20-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-20-0-0\" class=\"so-panel widget widget_text panel-first-child panel-last-child\" data-index=\"30\" >\t\t\t<div class=\"textwidget\"><p>Analoga la ripresa del violoncello, <i>dalla battuta 270 alla 283,<\/i> che Rostropovi\u010d espone pi\u00f9 lenta e contenuta, con una emotivit\u00e0 volutamente repressa (R);\u00a0\u00e8 singolare la sua moderazione nel primo movimento della\u00a0<i>battuta 281<\/i>, che invece la Walewska intensamente grida come momento finale di un crescendo emotivo prima di acquietarsi nelle <i>battute 281 &#8211; 284 (W)<\/i>.<\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-21\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-21-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-21-0-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"31\" ><h3 class=\"widget-title\">Walewska: Battute 270 &#8211; 283<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-21\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W11.mp3?_=21\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W11.mp3?_=21\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W11.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W11.mp3<\/a><\/audio><\/div><\/div><div id=\"pgc-gb213-69dee5a300888-21-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-21-1-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"32\" ><h3 class=\"widget-title\">Rostropovi\u010d: battute 270 &#8211; 283<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-22\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R11.mp3?_=22\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R11.mp3?_=22\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R11.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R11.mp3<\/a><\/audio><\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-22\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-22-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-22-0-0\" class=\"so-panel widget widget_text panel-first-child panel-last-child\" data-index=\"33\" >\t\t\t<div class=\"textwidget\"><p>Le seguenti &#8220;variazioni&#8221; di commento<i> (battute 285 &#8211; 292),<\/i> analoghe a quelle delle\u00a0<i>battute 158 e seguenti,<\/i> vengono fatte da Rostropovi\u010d in modo meno brillante di prima, quasi con un senso di ovviet\u00e0, che si comunica a tutta la frase successiva fino alla\u00a0<i>battuta 319,<\/i> perch\u00e9, in fondo, si tratta di sentimenti gi\u00e0 vissuti ed espressi; e qui nettamente contrasta con la Walewska, che ci fa invece percepire come, all&#8217;interno del messaggio dell&#8217;intero primo tempo, questo momento \u00e8 l&#8217;ultimo che ci viene concesso per esprimere quelle sensazioni, e quindi va adeguatamente e intensamente rievocato e vissuto; che dire poi dei &#8220;saltelloni&#8221; ineleganti di Rostropovitch nelle biscrome &#8220;strappate&#8221; delle\u00a0<i>battute 313 &#8211; 318<\/i>?<\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-23\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-23-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-23-0-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"34\" ><h3 class=\"widget-title\">Walewska: Battute 313-318<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-23\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/07\/w11a.mp3?_=23\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/07\/w11a.mp3?_=23\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/07\/w11a.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/07\/w11a.mp3<\/a><\/audio><\/div><\/div><div id=\"pgc-gb213-69dee5a300888-23-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-23-1-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"35\" ><h3 class=\"widget-title\">Rostropovi\u010d: battute 313 &#8211; 318<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-24\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R11a.mp3?_=24\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R11a.mp3?_=24\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R11a.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R11a.mp3<\/a><\/audio><\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-24\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-24-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-24-0-0\" class=\"so-panel widget widget_text panel-first-child panel-last-child\" data-index=\"36\" >\t\t\t<div class=\"textwidget\"><p>Comunque, la ripresa della\u00a0<i>battuta 323,<\/i> fino alla fine, viene da Lui condotta in modo dignitoso, anche se aleggia quasi un senso di liberazione da stati d&#8217;animo solo parzialmente condivisi (R), mentre per la Walewska \u00e8 la conclusione luminosa di un cammino travagliatissimo, e come tale viene interpretata (W).<\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-25\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-25-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-25-0-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"37\" ><h3 class=\"widget-title\">Walewska: Battute 323 e seguenti<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-25\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W12.mp3?_=25\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W12.mp3?_=25\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W12.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W12.mp3<\/a><\/audio><\/div><\/div><div id=\"pgc-gb213-69dee5a300888-25-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-25-1-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"38\" ><h3 class=\"widget-title\">Rostropovi\u010d: battute 323 e seguenti<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-213-26\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/07\/R12.mp3?_=26\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/07\/R12.mp3?_=26\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/07\/R12.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/07\/R12.mp3<\/a><\/audio><\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-26\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-26-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-26-0-0\" class=\"widget_text so-panel widget widget_custom_html panel-first-child panel-last-child\" data-index=\"39\" ><div class=\"textwidget custom-html-widget\"><hr><\/div><\/div><\/div><\/div><div id=\"pg-gb213-69dee5a300888-27\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb213-69dee5a300888-27-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-27-0-0\" class=\"so-panel widget widget_sow-button panel-first-child panel-last-child\" data-index=\"40\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-button so-widget-sow-button-atom-857739567c6a-213\"\n\t\t\t\n\t\t><div class=\"ow-button-base ow-button-align-center\"\n>\n\t\t\t<a\n\t\t\t\t\thref=\"https:\/\/musicaeconoscenza.it\/newp\/index.php\/il-commiato-di-anton-dvorak\/testo\/\"\n\t\t\t\t\tclass=\"sowb-button ow-icon-placement-left ow-button-hover\" \t>\n\t\t<span>\n\t\t\t<span class=\"sow-icon-fontawesome sow-far\" data-sow-icon=\"&#xf359;\"\n\t\tstyle=\"\" \n\t\taria-hidden=\"true\"><\/span>\n\t\t\tIl Libro\t\t<\/span>\n\t\t\t<\/a>\n\t<\/div>\n<\/div><\/div><\/div><div id=\"pgc-gb213-69dee5a300888-27-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb213-69dee5a300888-27-1-0\" class=\"so-panel widget widget_sow-button panel-first-child panel-last-child\" data-index=\"41\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-button so-widget-sow-button-atom-857739567c6a-213\"\n\t\t\t\n\t\t><div class=\"ow-button-base ow-button-align-center\"\n>\n\t\t\t<a\n\t\t\t\t\thref=\"https:\/\/musicaeconoscenza.it\/newp\/index.php\/il-commiato-di-anton-dvorak\/analisi-del-secondo-tempo\/\"\n\t\t\t\t\tclass=\"sowb-button ow-icon-placement-right ow-button-hover\" \t>\n\t\t<span>\n\t\t\t<span class=\"sow-icon-fontawesome sow-far\" data-sow-icon=\"&#xf35a;\"\n\t\tstyle=\"\" \n\t\taria-hidden=\"true\"><\/span>\n\t\t\tAscolto comparato 2\u00b0 tempo\t\t<\/span>\n\t\t\t<\/a>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div>\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In questa pagina \u00e8 possibile comparare le due versioni, osservando allo stesso tempo lo spartito della parte del violoncello Analisi delle due interpretazioni<\/p>\n<div class=\"link-more\"><a href=\"https:\/\/musicaeconoscenza.it\/newp\/index.php\/il-commiato-di-anton-dvorak\/il-commiato-analisi-del-primo-tempo\/#more-213\" class=\"more-link\">Continue reading &#10142; <span class=\"screen-reader-text\">Ascolto comparato 1\u00b0 tempo<\/span><\/a><\/div>","protected":false},"author":1,"featured_media":0,"parent":228,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-213","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/musicaeconoscenza.it\/newp\/index.php\/wp-json\/wp\/v2\/pages\/213","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musicaeconoscenza.it\/newp\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/musicaeconoscenza.it\/newp\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/musicaeconoscenza.it\/newp\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/musicaeconoscenza.it\/newp\/index.php\/wp-json\/wp\/v2\/comments?post=213"}],"version-history":[{"count":42,"href":"https:\/\/musicaeconoscenza.it\/newp\/index.php\/wp-json\/wp\/v2\/pages\/213\/revisions"}],"predecessor-version":[{"id":927,"href":"https:\/\/musicaeconoscenza.it\/newp\/index.php\/wp-json\/wp\/v2\/pages\/213\/revisions\/927"}],"up":[{"embeddable":true,"href":"https:\/\/musicaeconoscenza.it\/newp\/index.php\/wp-json\/wp\/v2\/pages\/228"}],"wp:attachment":[{"href":"https:\/\/musicaeconoscenza.it\/newp\/index.php\/wp-json\/wp\/v2\/media?parent=213"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}