{"id":299,"date":"2020-04-25T09:32:37","date_gmt":"2020-04-25T09:32:37","guid":{"rendered":"https:\/\/musicaeconoscenza.it\/newp\/?page_id=299"},"modified":"2020-06-24T09:20:39","modified_gmt":"2020-06-24T09:20:39","slug":"analisi-del-terzo-tempo","status":"publish","type":"page","link":"https:\/\/musicaeconoscenza.it\/newp\/index.php\/il-commiato-di-anton-dvorak\/analisi-del-terzo-tempo\/","title":{"rendered":"Ascolto comparato 3\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_3.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_3.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\"><strong>Analisi<\/strong> <strong>delle due interpretazioni<\/strong><\/p>\n\n\n<div id=\"pl-gb299-69d6742069b3c\"  class=\"panel-layout\" ><div id=\"pg-gb299-69d6742069b3c-0\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb299-69d6742069b3c-0-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-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>Inizia solenne Rostropovi\u010d, con tono misurato e netto, tra le <em>battute 33 e 48,<\/em> riconfermato quasi gioiosamente<em> (battute 49 &#8211; 56)<\/em> e sottolineato marcatamente e senza fretta <em>(battute 57 &#8211; 80); <\/em><\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><div id=\"pg-gb299-69d6742069b3c-1\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb299-69d6742069b3c-1-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-1-0-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"1\" ><h3 class=\"widget-title\">Rostropovi\u010d: Battute 49 &#8211; 56<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-299-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R24.mp3?_=1\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R24.mp3?_=1\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R24.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R24.mp3<\/a><\/audio><\/div><\/div><div id=\"pgc-gb299-69d6742069b3c-1-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-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: Battute 57 &#8211; 80<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-299-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R25.mp3?_=2\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R25.mp3?_=2\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R25.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R25.mp3<\/a><\/audio><\/div><\/div><\/div><div id=\"pg-gb299-69d6742069b3c-2\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb299-69d6742069b3c-2-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-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>quanto diversa la Walewska, che sente l&#8217;impegno del commiato! Nessuna solennit\u00e0, piuttosto la determinazione di chi ha preso una decisione fondamentale e definitiva, e si appresta a vivere questo momento con la fronte imperlata di sudore, con l&#8217;anima ancora attonita per l&#8217;ardire, e in fondo, ancora dubbiosa sulla riuscita; quindi, niente gioia nelle <em>battute 49 &#8211; 56,<\/em> ma come un intimo giuramento, emotivamente spiegato e confermato dalla precipitazione ansiosa delle <em>battute 52 &#8211; 69,<\/em> che viene infine rinsaldato nelle <em>battute 70-80.<\/em><\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><div id=\"pg-gb299-69d6742069b3c-3\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb299-69d6742069b3c-3-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-3-0-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"4\" ><h3 class=\"widget-title\">Walewska: Battute 49 &#8211; 56<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-299-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W24.mp3?_=3\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W24.mp3?_=3\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W24.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W24.mp3<\/a><\/audio><\/div><\/div><div id=\"pgc-gb299-69d6742069b3c-3-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-3-1-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"5\" ><h3 class=\"widget-title\">Walewska: Battute 57 &#8211; 80<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-299-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W25.mp3?_=4\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W25.mp3?_=4\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W25.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W25.mp3<\/a><\/audio><\/div><\/div><\/div><div id=\"pg-gb299-69d6742069b3c-4\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb299-69d6742069b3c-4-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-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>E alla ripresa <em>(battuta 111),<\/em> dopo la breve ma forte preparazione dell&#8217;orchestra, il momento delle rievocazioni<em> (battute 120 &#8211; 176),<\/em> che per Rostropovi\u010d \u00e8 nostalgia &#8220;tout court&#8221;, per la Walewska \u00e8 invece un richiamo del passato; e mentre Rostropovi\u010d ci comunica il suo pianto per qualcosa che ha perduto e che non sa se ritrover\u00e0 (forse la sua Patria), invece Walewska \u00e8 tutta presa dal rivivere teneramente struggenti momenti che sa di dover poi abbandonare per sempre: da qui l&#8217;accoratezza &#8220;terminale&#8221;.<\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><div id=\"pg-gb299-69d6742069b3c-5\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb299-69d6742069b3c-5-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-5-0-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"7\" ><h3 class=\"widget-title\">Walewska: Ripresa<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-299-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W26.mp3?_=5\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W26.mp3?_=5\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W26.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W26.mp3<\/a><\/audio><\/div><\/div><div id=\"pgc-gb299-69d6742069b3c-5-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-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: Ripresa<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-299-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R26.mp3?_=6\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R26.mp3?_=6\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R26.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R26.mp3<\/a><\/audio><\/div><\/div><\/div><div id=\"pg-gb299-69d6742069b3c-6\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb299-69d6742069b3c-6-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-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>Ambedue grandi interpretazioni, comunque, anche se Walewska\u00a0mostra una aderenza ed una identificazione straordinarie. Un cenno sulla accentazione delle quartine delle <em>battute 143, 144, 147, 148, 151, 152, 155, 156:<\/em> Walewska la pone spesso sulla seconda nota <em>(cfr. battute 144, 148, 151, 152, 156)<\/em> quasi a voler reprimere la violenta emozione, mentre Rostropovi\u010d, meno emozionato e pi\u00f9 nostalgico, la pone sulla seconda nota solo nelle <em>battute 148 e 152<\/em>. Assai identica \u00e8 la reazione, il riaversi dal malinconico momento, e l&#8217;affidarsi alle certezze dell&#8217;orchestra <em>(battute 177 &#8211; 204),<\/em> con un Rostropovitch pi\u00f9 scandito pi\u00f9 tecnico pi\u00f9 ostentato, con una Walewska pi\u00f9 velata e come pi\u00f9 desiderosa di giungere rapidamente in fondo.<\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><div id=\"pg-gb299-69d6742069b3c-7\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb299-69d6742069b3c-7-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-7-0-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"10\" ><h3 class=\"widget-title\">Walewska: Battute 143 e seguenti<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-299-7\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R27.mp3?_=7\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R27.mp3?_=7\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R27.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R27.mp3<\/a><\/audio><\/div><\/div><div id=\"pgc-gb299-69d6742069b3c-7-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-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: Battute 143 e seguenti<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-299-8\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R27.mp3?_=8\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R27.mp3?_=8\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R27.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R27.mp3<\/a><\/audio><\/div><\/div><\/div><div id=\"pg-gb299-69d6742069b3c-8\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb299-69d6742069b3c-8-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-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>Dopo la preparazione orchestrale <em>(battute 204 &#8211; 225),<\/em> la breve ripresa del violoncello <em>(battute 226 &#8211; 245),<\/em> esposta da Rostropovi\u010d quasi con fierezza distaccata, mentre la Walewska \u00e8 appassionata ed emozionata perch\u00e9 sta per riprendere il faticoso cammino del commiato <em>(battute 246 &#8211; 253)<\/em> che esegue con rassegnata consapevolezza; qui, invece, Rostropovi\u010d rallenta molto, esprimendo serenit\u00e0, costringendo la ripetizione orchestrale del tema <em>(battute 253 &#8211; 268)<\/em> a un tempo decisamente pi\u00f9 lento di quello iniziale.<\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><div id=\"pg-gb299-69d6742069b3c-9\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb299-69d6742069b3c-9-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-9-0-0\" class=\"so-panel widget widget_media_audio panel-first-child\" data-index=\"13\" ><h3 class=\"widget-title\">Walewska: Battute 204 e seguenti<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-299-9\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W28.mp3?_=9\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W28.mp3?_=9\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W28.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W28.mp3<\/a><\/audio><\/div><div id=\"panel-gb299-69d6742069b3c-9-0-1\" class=\"so-panel widget widget_media_audio panel-last-child\" data-index=\"14\" ><h3 class=\"widget-title\">Walewska: Il commiato<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-299-10\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W29.mp3?_=10\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W29.mp3?_=10\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W29.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W29.mp3<\/a><\/audio><\/div><\/div><div id=\"pgc-gb299-69d6742069b3c-9-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-9-1-0\" class=\"so-panel widget widget_media_audio panel-first-child\" data-index=\"15\" ><h3 class=\"widget-title\">Rostropovi\u010d: Battute 204 e seguenti<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-299-11\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R28.mp3?_=11\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R28.mp3?_=11\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R28.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R28.mp3<\/a><\/audio><\/div><div id=\"panel-gb299-69d6742069b3c-9-1-1\" class=\"so-panel widget widget_media_audio panel-last-child\" data-index=\"16\" ><h3 class=\"widget-title\">Rostropovi\u010d: Il commiato<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-299-12\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R29.mp3?_=12\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R29.mp3?_=12\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R29.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R29.mp3<\/a><\/audio><\/div><\/div><\/div><div id=\"pg-gb299-69d6742069b3c-10\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb299-69d6742069b3c-10-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-10-0-0\" class=\"so-panel widget widget_text panel-first-child panel-last-child\" data-index=\"17\" >\t\t\t<div class=\"textwidget\"><p>Il seguente tema &#8220;della purificazione&#8221; <em>(battute 281 &#8211; 314)<\/em> viene eseguito da Rostropovi\u010d con grandissima pulizia e diremmo letizia, mentre Walewska lo affronta quasi con ritrosia (quasi recitasse un &#8220;mea culpa&#8221;), per poi rinfrancarsi un p\u00f2 dopo la <em>battuta 297<\/em> e riprendersi definitivamente dalla <em>battuta 311<\/em> e sopratutto dall&#8217;inizio dello &#8220;spiccato&#8221; alla fine del &#8220;meno mosso&#8221; <em>(battute 315 &#8211; 346);<\/em> e quando lo stesso tema viene ripreso dall&#8217;orchestra <em>(battute 347 &#8211; 380),<\/em> Walewska lo sottolinea imperiosamente e in modo struggente al tempo stesso &#8211; quasi lavasse per l&#8217;ultima volta i piedi dell&#8217;anima nel sangue del cuore &#8211; e la sua conclusione (la famosa <em>battuta 380)<\/em> ci colpisce come una stilettata; ma Walewska continua nella corsa appassionata, &#8220;per porre definitivamente un abisso tra s\u00e9 e il passato&#8221;<em> (battuta 385-421).<\/em><\/p>\n<p>Ben diverso Rostropovi\u010d, che affronta con eleganza lo &#8220;spiccato&#8221; <em>(battute 315 &#8211; 331),<\/em> per poi proseguire serenamente il dialogo con l&#8217;orchestra <em>(battute 331 &#8211; 346);<\/em> la ripresa del tema<em> (battute 346 &#8211; 380)<\/em> viene sottolineata con espressivit\u00e0 e pathos &#8220;professionali&#8221;, e cos\u00ec successivamente (battute 385 &#8211; 421) anche se un p\u00f2 affrettatamente, quasi a comunicare sopratutto soddisfazione per una meta sentita ormai vicina.<\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><div id=\"pg-gb299-69d6742069b3c-11\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb299-69d6742069b3c-11-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-11-0-0\" class=\"so-panel widget widget_media_audio panel-first-child\" data-index=\"18\" ><h3 class=\"widget-title\">Walewska: Tema &#8220;purificazione&#8221;<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-299-13\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W30.mp3?_=13\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W30.mp3?_=13\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W30.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W30.mp3<\/a><\/audio><\/div><div id=\"panel-gb299-69d6742069b3c-11-0-1\" class=\"so-panel widget widget_media_audio panel-last-child\" data-index=\"19\" ><h3 class=\"widget-title\">Walewska: Battuta 380 e seguenti<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-299-14\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W31.mp3?_=14\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W31.mp3?_=14\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W31.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W31.mp3<\/a><\/audio><\/div><\/div><div id=\"pgc-gb299-69d6742069b3c-11-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-11-1-0\" class=\"so-panel widget widget_media_audio panel-first-child\" data-index=\"20\" ><h3 class=\"widget-title\">Rostropovi\u010d: Tema &#8220;purificazione&#8221;<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-299-15\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R30.mp3?_=15\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R30.mp3?_=15\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R30.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R30.mp3<\/a><\/audio><\/div><div id=\"panel-gb299-69d6742069b3c-11-1-1\" class=\"so-panel widget widget_media_audio panel-last-child\" data-index=\"21\" ><h3 class=\"widget-title\">Rostropovi\u010d: Battuta 380 e seguenti<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-299-16\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R31.mp3?_=16\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R31.mp3?_=16\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R31.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R31.mp3<\/a><\/audio><\/div><\/div><\/div><div id=\"pg-gb299-69d6742069b3c-12\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb299-69d6742069b3c-12-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-12-0-0\" class=\"so-panel widget widget_text panel-first-child panel-last-child\" data-index=\"22\" >\t\t\t<div class=\"textwidget\"><p>Continua Rostropovi\u010d allo stesso modo, eseguendo la meditazione singola delle battute 425 &#8211; 437 in modo distaccato e limpido, per poi iniziare le &#8220;sessanta battute&#8221; in maniera tranquilla <em>(battute 437 &#8211; 457)<\/em> e successivamente (siamo all&#8217;&#8221;ermo colle&#8221;!) assai serena (notare quell&#8217;indugio quasi languido nel secondo movimento della <em>battuta 459),<\/em> e dopo i famosi trilli delle <em>battute 475 &#8211; 480<\/em> eseguiti senza particolari notazioni, un lento avviarsi dolce e malinconico <em>(battute 481 &#8211; 484)<\/em> che diviene ancor pi\u00f9 lento <em>(battute 485 &#8211; 488)<\/em> e finisce in un ritenuto estremo iniziato prima della notazione (gi\u00e0 in <em>battuta 489!)<\/em> e continuato fino al termine.<\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><div id=\"pg-gb299-69d6742069b3c-13\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb299-69d6742069b3c-13-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-13-0-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"23\" ><h3 class=\"widget-title\">Rostropovi\u010d: Battute 425 e seguenti<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-299-17\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R32.mp3?_=17\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R32.mp3?_=17\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R32.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/R32.mp3<\/a><\/audio><\/div><\/div><div id=\"pgc-gb299-69d6742069b3c-13-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-13-1-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"24\" ><h3 class=\"widget-title\">Rostropovi\u010d: Finale<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-299-18\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/04\/R33.mp3?_=18\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/04\/R33.mp3?_=18\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/04\/R33.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/04\/R33.mp3<\/a><\/audio><\/div><\/div><\/div><div id=\"pg-gb299-69d6742069b3c-14\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb299-69d6742069b3c-14-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-14-0-0\" class=\"so-panel widget widget_text panel-first-child panel-last-child\" data-index=\"25\" >\t\t\t<div class=\"textwidget\"><p>Al contrario, la Walewska esegue con grande introspezione anche se senza indugio (tranne che sulla solare prima nota del secondo movimento della <em>battuta 433)<\/em>\u00a0l&#8217;intera &#8220;meditazione&#8221; delle <em>battute 425-437,<\/em> affrontando con disillusa accoratezza &#8220;l&#8217;avvicinamento&#8221; <em>(battute 441 &#8211; 456)<\/em> e poi con fervida ansia i &#8220;tratti in salita&#8221;; pi\u00f9 esitante il primo &#8211; <em>battute 457 &#8211; 460;<\/em> pi\u00f9 franco il secondo &#8211; <em>battute 465 &#8211; 467;<\/em> pi\u00f9 soddisfatto il terzo &#8211; <em>battute 473 &#8211; 474),<\/em> anche se con lieve rallentamento quasi a trattenere il fiato; denso, puntuto, drammatico il trillo, vissuto come una stasi &#8211; un &#8220;ricongiungimento&#8221; &#8211; e, a sorpresa, Walewska inizia la <em>battuta 481<\/em> con una lunga acciaccatura (di La diesis, prima del Si) non esistente nella partitura, ma che ha il magico effetto di staccare il momento di stasi dalla ripresa dell&#8217;ultima frase, di straordinaria intensit\u00e0 emotiva (notare nel secondo movimento della <em>battuta 483<\/em> il sol , legato all&#8217;analogo della battuta seguente che viene per\u00f2 eseguito cambiando diteggiatura, e accentuandone cos\u00ec l&#8217;emozione) per partecipare all&#8217;addio finale; infine la discesa, e l&#8217;ultimo grido lacerante.<\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><div id=\"pg-gb299-69d6742069b3c-15\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb299-69d6742069b3c-15-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-15-0-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"26\" ><h3 class=\"widget-title\">Walewska: Battute 425 e seguenti<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-299-19\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W32.mp3?_=19\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W32.mp3?_=19\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W32.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W32.mp3<\/a><\/audio><\/div><\/div><div id=\"pgc-gb299-69d6742069b3c-15-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-15-1-0\" class=\"so-panel widget widget_media_audio panel-first-child panel-last-child\" data-index=\"27\" ><h3 class=\"widget-title\">Walewska: Finale<\/h3><audio class=\"wp-audio-shortcode\" id=\"audio-299-20\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W33.mp3?_=20\" \/><source type=\"audio\/mpeg\" src=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W33.mp3?_=20\" \/><a href=\"https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W33.mp3\">https:\/\/musicaeconoscenza.it\/newp\/wp-content\/uploads\/2020\/03\/W33.mp3<\/a><\/audio><\/div><\/div><\/div><div id=\"pg-gb299-69d6742069b3c-16\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb299-69d6742069b3c-16-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-16-0-0\" class=\"widget_text so-panel widget widget_custom_html panel-first-child panel-last-child\" data-index=\"28\" ><div class=\"textwidget custom-html-widget\"><hr\/><\/div><\/div><\/div><\/div><div id=\"pg-gb299-69d6742069b3c-17\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb299-69d6742069b3c-17-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-17-0-0\" class=\"so-panel widget widget_text panel-first-child panel-last-child\" data-index=\"29\" ><h3 class=\"widget-title\">Gli interpreti<\/h3>\t\t\t<div class=\"textwidget\"><p><em><strong>Mstislav Leopol&#8217;dovi\u010d Rostropovi\u010d<\/strong><\/em> e <em><strong>Christine Walewska<\/strong>,<\/em> due grandissime interpretazioni; ma solo quest&#8217;ultima riesce a spersonalizzarsi completamente e a &#8220;far vivere di vita propria&#8221; il Concerto di Dvor\u00e0k. I futuri Interpreti dovranno meditare a lungo sul dilemma di sempre: esprimere se stessi o la musica eseguita?<\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><div id=\"pg-gb299-69d6742069b3c-18\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb299-69d6742069b3c-18-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-18-0-0\" class=\"widget_text so-panel widget widget_custom_html panel-first-child panel-last-child\" data-index=\"30\" ><div class=\"textwidget custom-html-widget\"><hr\/><\/div><\/div><\/div><\/div><div id=\"pg-gb299-69d6742069b3c-19\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-gb299-69d6742069b3c-19-0\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-19-0-0\" class=\"so-panel widget widget_sow-button panel-first-child panel-last-child\" data-index=\"31\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-button so-widget-sow-button-atom-857739567c6a-299\"\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\/il-commiato-analisi-del-primo-tempo\/\"\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\tAscolto comparato 2\u00b0 tempo\t\t<\/span>\n\t\t\t<\/a>\n\t<\/div>\n<\/div><\/div><\/div><div id=\"pgc-gb299-69d6742069b3c-19-1\"  class=\"panel-grid-cell\" ><div id=\"panel-gb299-69d6742069b3c-19-1-0\" class=\"so-panel widget widget_sow-button panel-first-child panel-last-child\" data-index=\"32\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-button so-widget-sow-button-atom-857739567c6a-299\"\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\/appendice\/\"\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\tAppendice: gli archetipi musicali\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\/analisi-del-terzo-tempo\/#more-299\" class=\"more-link\">Continue reading &#10142; <span class=\"screen-reader-text\">Ascolto comparato 3\u00b0 tempo<\/span><\/a><\/div>","protected":false},"author":1,"featured_media":0,"parent":228,"menu_order":5,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-299","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/musicaeconoscenza.it\/newp\/index.php\/wp-json\/wp\/v2\/pages\/299","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=299"}],"version-history":[{"count":20,"href":"https:\/\/musicaeconoscenza.it\/newp\/index.php\/wp-json\/wp\/v2\/pages\/299\/revisions"}],"predecessor-version":[{"id":450,"href":"https:\/\/musicaeconoscenza.it\/newp\/index.php\/wp-json\/wp\/v2\/pages\/299\/revisions\/450"}],"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=299"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}