Another
worthy to be mentioned aspect concerns the Commander's instinct for discovery
and taste, his musical sensitivity that allowed him to understand the expression
of the genius. Piero Buscaroli underscored this aspect in the final part
of his work we mentioned earlier: “What we should analyse is the rhabdomantic
instinct of this listener who was mainly inspired by a kind of music that
brought to life the knowledge of a large part of the symphonic literature
through piano transcriptions, and highlight his taste skills that allowed
him to deeply understand Johannes Brahms's greatness in a period when maybe
only Martucci had realised it in Italy and the devilish and Luciferian
strength that can be triggered by Mozart, that that epoch saw in the dainty
version of powders, minuets and wigs. Or that deep perception of the real
centres of gravity where art leant on and that made him see Beethoven's
last and most distant truth in the “variations on a Diabelli's theme in
a period when even the title of this work was unknown by most of the pianists
and critics and by the public as a whole. However, ten and hundreds of
notes will remain where they are now, waiting for another essay”.
 Let's
now examine what D'Annunzio wrote about the musician's work and the impressions
that his music arose in him. In “Forse che sì, forse che no” there
are two references to Beethoven's music: he mentions “Vom Tode” and one
of the 33 variations on a Diabelli's waltz. D'Annunzio wrote: “Do you remember
Beethoven's twentieth variation on a Diabelli's theme dedicated to Antonio
Brentano?...”. Many other examples are reported in the poet's works. In
“Il Piacere” the poet mentions the two “Sonate-Fantasie” (op. 27) that
include the famous “Chiaro di Luna”. The poet could understand the relatively
serene atmosphere that triggered the hidden anguish of Beethoven's, and
maybe even D'Annunzio's, life. The poet showed how perfectly he knew the
composer's production and the inspiration he continually found in his lyrical
works.
Another example of this
can be found in “Marcia funebre sulla morte di un eroe” (adagio from the
twelfth sonata in A flat op. 26) that inspired D'Annunzio to write his
sonnet “L'Apoteosi” where the poet describes the death of a young man by
using the voice of the chorus and the soloist.
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Italian
Mensile di scienza medica e attualita`
