Thomas Moore, IRELANDS MINSTREL (1779-1852) 1)Moore o More? canonreception history 2)posizione controversa in canon/reception history della letteratura.

Presentazione sul tema: "Thomas Moore, IRELANDS MINSTREL (1779-1852) 1)Moore o More? canonreception history 2)posizione controversa in canon/reception history della letteratura."— Transcript della presentazione:

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3 Thomas Moore, IRELANDS MINSTREL (1779-1852) 1)Moore o More? canonreception history 2)posizione controversa in canon/reception history della letteratura (in) inglese 3)non esiste edizione (integrale e/o critica) dei Complete Works di TM 4.1) figlio dei Roman Catholics John Moore e Anastasia Codd Moore con studi universitari presso il Trinity College di Dublino e moglie protestante 4.2) ruolo della sua matrice confessionale nei suoi studi, nel suo impegno socio- politico e nella sua attività (musico-)letteraria e, più in generale, culturale 5) trasformò lIrlanda in una risorsa economica e, in seguito, andò egli stesso incontro alla medesima trasformazione Obiettivi in termini di cultural and textual politics: ad es. ricomposizione di materiali culturali autoctoni allo scopo di creare una cultura irlandese di lingua inglese – cultura, questa, in grado di includere sia nuove modalità esecutive in ambito musicale, sia uninnovativa produzione editoriale negli ambiti letterari della poesia e della prosa rimodellare la storia e la cultura dIrlanda in nuove forme letterarie, soprattutto quelle che prevedono la musica [music] in generale e il rapporto tra musica e parola [song] in particolare

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5 Irish Melodies (London, 1807/8-1834) collection of political songs to Irish Airs (lettera a Mr Powers, March 23 1813)collection of political songs to Irish Airs (lettera a Mr Powers, March 23 1813) a conventional understanding of music in relation to literature per Irlanda, Europa e oltre: auditory imagination Moores auditory imagination [-] the expressly musical dimension of [his] poetic technique (as against the musical symbolism of his verse) – […] has, until recently, been little explored 2) The language of sorrow […] is in general best suited to our Music, and with themes of the National Muse in Ireland her melancholy altarthe shrine of Pity at Athens this nature the poet may be amply supplied. […] While the National Muse of other countries adorns her temple proudly with trophies of the past, in Ireland her melancholy altar, like the shrine of Pity at Athens, is to be known only by the tears that are shed upon it (1827) Irish Melodies (unione di nuovi testi con melodie preesistenti) = 3) Irish Melodies (unione di nuovi testi con melodie preesistenti) = radici nel patrimonio popolare raccolto da Edward Bunting (1773-1843) + estetica borghese del pianoforte di TM e John Stevenson (1761-1833) + revisione profonda degli ideali politico-culturali degli United Irishmen vs 4) TM : scelta tecnica delle Irish Melodies vs nazionalismo militante : ballad poetry TM selected the airs, determined their pitch, and modified their rhythmic contours […]. Only then was Stevenson invited to arrange the airs and preface them with modest symphonies (introductions) and postludes for piano 5) TM received the equivalent of £500 a year for his bestselling Irish Melodies

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7 tis the last rose of summer (1805) - prima pubbl. nel V numero delle Selection of Irish Melodies (1813) - un milione di copie di LRoS vendute solo negli USA (rispetto a 1.500.000 di copie delle Irish Melodies) EVOLUZIONE DEL TESTO MUSICO-LETTERARIO? A)Castle Hyde (old [?] Irish air) B) The Groves of Blarney (R.A. Millikin, 1767-1815) C) Tis the Last Rose of Summer (T. Moore) ascolterete anche la versione di Charles Villiers Stanford (1852-1924), dalle The Irish Melodies of TM, op. 60 (1894), long-standing project del compositore anglicano di Dublino, a lungo residente in Inghilterra: closely acquainted with Moores Melodies since he was a child, Stanford had chafed against what he considered to be gross violations of the original native tunes (Jeremy Dibble, Charles Villiers Stanford: man and musician, 2002)

8 gli esiti due esecuzioni pop contemporanee in… Celtic Woman, 2005Clannad, 1980

9 Thomas Moore & Fryderick Chopin (1810-1849) Chopin wascompared with the Irish poet Thomas Moore Chopin was also called the Mickiewicz of pianists and compared with the Irish poet Thomas Moore in that through their songs they keep alive the traditions and the love of the country where they were born, and nurse it with a sweet and noble hope of liberation. (Jonathan Bellman, Chopin's Polish Ballade Op. 38 as Narrative of National Martyrdom, 2010) Variazioni in Re maggiore per pianoforte a 4 mani su unAria Nazionale di Moore Si aveva notizia da decenni che Chopin avesse composto delle Variazioni per pianoforte a 4 mani, ma fu solo nel 1959 […] che si poté provare che il giovane pianista aveva composto nel 1826 le Variazioni in Re maggiore per pianoforte a 4 mani su unAria Nazionale di Moore […]. [Di] queste ultime la Biblioteca Jagellonica di Cracovia comprò un manoscritto che Chopin stesso aveva donato al compatriota Kornel Kurzeczunowicz nel 1841 o nel 1842. (Gastone Belotti, Chopin, 1984)

10 Thomas Moore & Felix Mendelssohn (1809-1847) Berlioz songs I had written on verses by Thomas Moore, and which he liked In his Memoirs, Berlioz remarks with some annoyance: [Mendelssohn] liked to get me to apply my irritated voice to two or three of the songs I had written on verses by Thomas Moore, and which he liked. Mendelssohn has always felt a certain esteem for my [...] lighter songs. (Eugene Asti, Mendelssohn Rediscovered: Unknown Songs, 2009) He is in the German Song, what Thomas Moore is in poetry His song subjects seem to have been chosen in such a manner that the music should generally be more important than the words. He is in the German Song, what Thomas Moore is in poetry; always graceful, delicate, even delightful, but never grand or soulstirring. (Louis C. Elson, The History of German Song, 1888) the text by Thomas Moore The student should compare the Venetianisches Gondellied, Opus 57, No. 5, with the Gondola Pieces among the Songs Without Words. Mendelssohn catches the same Romantic atmosphere, but the text by Thomas Moore was apparently no aid to inspiration. (John Erskine, Song Without Worlds, 1941)

11 Seamus Heaney, 2009 + Thomas Moore was Bono and de Valera rolled into one = 1882-1975 1960-