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Patrícia Carla Ferraria Lopes Bastos AS SONATAS E SONATINAS PARA

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Patrícia Carla Ferraria Lopes Bastos AS SONATAS E SONATINAS PARA Universidade de Aveiro Departamento de Comunicação e Arte 2007 Patrícia Carla AS SONATAS E SONATINAS PARA PIANO SOLO Ferraria Lopes Bastos DE FERNANDO LOPES-GRAÇA tese apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Música, realizada sob a orientação científica da Doutora Nancy Lee Harper, Professora Associada com Agregação do Departamento de Comunicação e Arte da Universidade de Aveiro Apoio financeiro da FCT e do FSE no âmbito do III Quadro Comunitário de Apoio. A meus pais. II o júri presidente Prof. Dr. José Abrunheiro da Silva Cavaleiro Professor Catedrático do Departamento de Química da Universidade de Aveiro Prof.ª Dr.ª Nancy Louisa Lee Harper Professora Associada com Agregação do Departamento de Comunicação e Arte da Universidade de Aveiro Prof.ª Dr.ª Salwa Aziz El-Shawan Castelo-Branco Professora Catedrática do Departamento de Ciências Musicais da Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa Prof. Dr. Luís Filipe Barbosa Loureiro Pipa Professor Auxiliar do Departamento de Expressões Artísticas e Educação Física do Instituto de Estudos da Criança da Universidade do Minho Prof. Dr. Malcolm Troup Honorary Professor, Founding Professor, Professor Emeritus da City University, Londres, Reino Unido Prof. Dr. Evgueni Zoudilkine Professor Auxiliar do Departamento de Comunicação e Arte da Universidade de Aveiro III agradecimentos Academia de Amadores de Música; Câmara Municipal de Cascais; Câmara Municipal de Vila Nova de Gaia; Conservatório Calouste Gulbenkian de Braga (Direcção); Conservatório Regional de Castelo Branco (Direcção); Conservatório Regional de Gaia; Escola de Música do Conservatório Nacional de Lisboa; Fundação para a Ciência e Tecnologia; Juventude Musical Portuguesa; Radiodifusão Portuguesa (RDP); Radiotelevisão Portuguesa (RTP). Carlos Miguel de Araújo; Manuel Assunção; João Azevedo; Grazi Barbosa; Serafim Barreira; Maria Elvira Barroso; José Borges; Noémia Sarmento de Brederode; Dulce Cabrita; Maria Manuela Cabrita; Luís Cajão; António Carvalho; João Furtado Coelho; Ana Constante; Madalena Sá e Costa; Alexandre Delgado; Manuel Filipe; Guedes; Edino Krieger; Neusa Lagarto; Leonor Lains; José Jorge Letria; Cristina Madeira; Nella Maissa; José Eduardo Martins; Mário Mateus; Manuela Mella; Virgílio Melo; Jorge Mendes; Jorge Ly Nicolau; Carlos Alberto Pereira; Roberto Perez; Leonor de Sousa Prado; Olga Prats; Maria de Lurdes Álvares Ribeiro; Clotilde Rosa; José Sacramento; Fernando Serafim; Flávio Silva; Romeu Pinto da Silva; Joel Soares; Filipe de Sousa; Ricardo Tacuchian; António Veiga; Paula Ventura; Paulo Videira; Fernando Vieira; Helena Vilela; e a todas as pessoas não nomeadas que se prontificaram a dar o seu testemunho sobre um passado por elas vivido ou que nos presentearam fragmentos de memórias relacionadas com o compositor. A todos quantos, pelas suas preciosas indicações e correcções, pelo apoio que altruística e simpaticamente nos ofereceram, o nosso mais vivo e expressivo agradecimento. In memoriam... Nuno Barreiros. Helena Sá e Costa. Maria da Graça Amado da Cunha. Maria Helena de Freitas. Isaura Pavia de Magalhães Lisboa. António Oliveira e Silva. Este trabalho não teria sido possível sem o incentivo extraordinário da nossa orientadora, Professora Doutora Nancy Lee Harper. IV palavras-chave música, piano, interpretação, Fernando Lopes-Graça, ciências musicais, análise musical, análise interpretativa, sonata, sonatina, obras musicais, composições, pianistas, instrumento musical, arte, cultura portuguesa resumo Neste projecto abordamos o estudo das sonatas e das sonatinas para piano solo de Fernando Lopes-Graça na teoria e na prática. É o próprio compositor quem nos indica o caminho para uma melhor compreensão da sua arte: a linguagem dos sons. Tenta-se fundir o conhecimento adquirido por meio da investigação com a interpretação pianística, numa prédica semelhante à Interpretação Histórica (‘ Performance Practice ’). Na Primeira Parte ( theoria ) expõem-se dados factuais com uma introdução à vida e obra deste artista português, a sua relação com o piano e o conceito de forma no processo criativo. Na Segunda Parte ( poiesis ), a análise das sonatas e das sonatinas é feita aplicando diferentes perspectivas para uma melhor dilucidação de cada obra. A Terceira Parte ( praxis ) inclui as diversas actividades exercidas ao longo deste trabalho, nomeadamente conferências e concertos, a edição revista das seis sonatas e duas sonatinas (com base no estudo analítico das obras), publicada pela Universidade de Aveiro, e um CD-ROM, com os quadros descritivos, gráficos, imagens dos originais manuscritos e gravações áudio interpretadas por Patrícia Lopes Bastos. V keywords music, piano, performance, Fernando Lopes-Graça, musical analysis, performance analysis, sonata, sonatina, musical works, compositions, pianists, musical instrument, musical sciences, art, portuguese culture abstract In this project, we undertake the study of the sonatas and sonatinas for piano solo by Fernando Lopes-Graça in theory and practice. It is the composer himself who indicates the way to better understand his art: the language of sound. We try to blend the knowledge obtained through investigation with performance practice. In Part-I ( theoria ) we expose factual data with an introduction to the life and work of this Portuguese artist, his relation to the piano and the concept of form in the creative process. In Part-II ( poiesis ), the analysis of the sonatas and sonatinas is made applying different perspectives for a better dilucidation of each piece. Part-III (praxis ) includes the different activities developed along this work, namely conferences and concerts, the reviewed edition of the six sonatas and two sonatinas (based on the analytical study of these pieces), published by the Universidade de Aveiro, and a CD- ROM, with the descriptive charts, graphics, images of the original manuscripts, and audio recordings performed by Patrícia Lopes Bastos. VI AASS SSOONNAATTAASS EE SSOONNAATTIIINNAASS PPAARRAA PPIIIAANNOO SSOOLLOO DDEE FFEERRNNAANNDDOO LLOOPPEESS---GGRRAAÇÇAA ÍNDICE TÍTULO ............................................................................... I II DEDICATÓRIA ............................................................................... II II JÚRI ............................................................................... III II AGRADECIMENTOS ............................................................................... IV RESUMO ............................................................................... V ABSTRACT ............................................................................... VI PRIMEIRA PARTE: THEORIA ENQUADRAMENTO APRESENTAÇÃO ............................................................................... 3 CAPÍTULO I – FERNANDO LOPES-GRAÇA: O SEU TEMPO E O SEU ESPAÇO (introdução à vida e obra de Fernando Lopes-Graça) ............................. 11 CAPÍTULO II – GRAÇA(S) AO PIANO (o piano na vida e obra de Fernando Lopes-Graça) ............................. 53 CAPÍTULO III – FORMA E FORMATOS (a forma em formato) ............................. 77 BIBLIOGRAFIA ............................. 95 REGISTOS SONOROS E ÁUDIO-VISUAIS ............................. 115 ANEXOS ............................. 123 VII AASS SSOONNAATTAASS EE SSOONNAATTIIINNAASS PPAARRAA PPIIIAANNOO SSOOLLOO DDEE FFEERRNNAANNDDOO LLOOPPEESS---GGRRAAÇÇAA SEGUNDA PARTE: POIESIS ANÁLISE INTERPRETATIVA DAS SEIS SONATAS E DUAS SONATINAS PARA PIANO SOLO DE FERNANDO LOPES-GRAÇA CAPÍTULO I – SONATAS E SONATINAS EM GRAÇA (1934-1981) (prelúdio às sonatas e sonatinas de Fernando Lopes-Graça) .......................... 215 CAPÍTULO II –AS SEIS SONATAS PARA PIANO SOLO DE FERNANDO LOPES-GRAÇA A SONATA N.º 1 .................................................. 231 A SONATA N.º 2 .................................................. 299 A SONATA N.º 3 .................................................. 379 A SONATA N.º 4 .................................................. 405 A SONATA N.º 5 .................................................. 437 A SONATA N.º 6 .................................................. 463 CAPÍTULO III – AS DUAS SONATINAS PARA PIANO SOLO DE FERNANDO LOPES-GRAÇA A SONATINA RECUPERADA N.º 1 .................................................. 497 A SONATINA RECUPERADA N.º 2 .................................................. 545 POSTLÚDIO (considerações finais) .................................................. 593 TERCEIRA PARTE: PRAXIS I – CONCERTOS/PALESTRA – Curriculum Vitae II – EDIÇÃO REVISTA DAS SEIS SONATAS E DUAS SONATINAS PARA PIANO SOLO DE FERNANDO LOPES-GRAÇA (quatro volumes publicados pela Universidade de Aveiro) III – CD-ROM: AS SONATAS E SONATINAS PARA PIANO SOLO DE FERNANDO LOPES-GRAÇA (inclui ilustrações dos manuscritos (digitalizados) com a caligrafia do compositor, quadros analíticos e exemplos sonoros executados por Patrícia Lopes Bastos) VIII P R I M E I R AS SONATAS E SONATINAS PARA PIANO SOLO A DE FERNANDO LOPES-GRAÇA P A R T E T H E ENQUADRAMENTO O R I A APRESENTAÇÃO LLLLLLAAAAAABBBBBBOOOOOORRRRRR OOOOOOMMMMMMNNNNNNIIIIIIIIIAAAAAA VVVVVVIIIIIIIIINNNNNNCCCCCCIIIIIIIIITTTTTT IIIIIIIIIMMMMMMPPPPPPRRRRRROOOOOOBBBBBBUUUUUUSSSSSS APRESENTAÇÃO Fernando Lopes-Graça (Tomar, 17/XII/1906; Parede, 27/XI/1994), Doutor Honoris Causa pela Universidade de Aveiro (1986), é uma figura cimeira na música portuguesa. Foi pianista, compositor, professor, conferencista, regente (grupos corais e instrumentais), investigador,
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