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Daniel Moraes Cavalcante Obras Para Trombeta E Música De Câmara De Universidade de Departamento de Comunicação e Arte Aveiro 2016 Daniel Moraes Obras para trombeta e música de câmara de Osvaldo Cavalcante Lacerda: implementação de abordagem analítico- interpretativa dos gêneros e formas musicais Universidade de Departamento de Comunicação e Arte Aveiro 2016 Daniel Moraes Obras para trombeta e música de câmara de Osvaldo Cavalcante Lacerda: implementação de abordagem analítico- interpretativa dos gêneros e formas musicais Documento de Apoio à Performance apresentado à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Música, realizado sob a orientação científica da Prof(ª). Doutora Helena Maria da Silva Santana, Professora Auxiliar do Departamento de Comunicação e Arte da Universidade de Aveiro. Dedico este trabalho à minha esposa Polyana e às minhas filhas Leynad e Sofia. o júri Presidente Professor Doutor Evgueni Zoudilkine, Professor Auxiliar, Universidade de Aveiro Vogais Doutor Rui Pedro de Oliveira Alves, Investigador, Royal Conservatoire of Scotland. Escola de Música em Glasgow, Escócia (Arguente Principal) Professora Doutora Helena Maria da Silva Santana, Professora Auxiliar, Universidade de Aveiro (Orientadora) agradecimentos Aos meus pais Genildes e Raimundo, que sempre buscaram dar-me uma boa educação, mesmo em condições desfavoráveis. E aos meus irmãos David, Dayana, Júnior e Jackceline. À Professora Dra. Helena Santana pelo carinho, profissionalismo, paciência e pela valiosa orientação acadêmica. Ao meu professor de trompete na Universidade de Aveiro, Luís Granjo, pelo incentivo e acolhimento, principalmente nos momentos mais difíceis. À professora Dra. Rosário Pestana pelo profissionalismo e suporte em momentos de grande necessidade. À pianista Eudóxia de Barros, esposa do compositor Osvaldo Lacerda, pela gentileza e agilidade nas respostas dos questionamentos. Aos meus professores de trompete Dr. Antônio Padilha (EMEM, UFMA), Dr. Ayrton Benck Filho (UFPB) pela amizade e pelas valiosas orientações. À Jairo Moraes, Hugo Carafunim, Daniel Miranda, George Campos e Marcel Pereira, membros do Quinteto de Metais e Percussão do Maranhão, MARABRASS, pela convivência e amizade durante esses treze anos de existência do grupo. Ao professor de trompete da Escola de Música do Maranhão (EMEM) Thales do Vale pelo incentivo, suporte e amizade. Ao trompetista e amigo Fábio Martins pelo suporte incondicional durante a minha estadia em Portugal. Também aos colegas Leandro Rocha e Daniel Martins, por compartilharem de momentos decisivos da nossa carreira profissional. Às Bandas Filarmónicas da Mamarrosa e Troviscal pelo intercâmbio cultural e pelo carinho com o qual me receberam. Também pela oportunidade que me deram de conhecer um pouco mais de Portugal e sua cultura surpreendente. Aos amigos de mestrado Natanael Fonseca e Yuri Marchese pelo suporte, amizade e pelos momentos inesquecíveis de descontração. À Gilcene, Dhara, Amanda, Linda, Taíssa, Cristiane, Rosângela pela amizade e carinho durante o tempo em que convivemos juntos. palavras-chave Osvaldo Lacerda; nacionalismo; trompete; performance. resumo Este trabalho de pesquisa se enquadra na área da Performance Musical com foco nas obras para trombeta (trompete) e música de câmara para metais escritas pelo compositor brasileiro nacionalista Osvaldo Lacerda. Um estudo introdutório acerca do nacionalismo europeu e brasileiro serão abordados, assim como a trajetória musical do compositor. Buscaremos também desvelar a problemática de nomenclatura no que diz respeito à utilização do termo “trombeta” em todas as obras de Osvaldo Lacerda. É nosso intuito ainda analisar, em ordem cronológica, a forma como ele insere os elementos da música folclórica brasileira e as formas tradicionais europeias em suas obras, além de investigar e contextualizar os gêneros musicais utlizados pelo compositor em suas composições que aparecem de forma explícita e implícita. Além disso, busca-se através desta investigação sugerir uma proposta técnico-interpretativa bem como dar a conhecer aspetos históricos referentes ao gênero e às formas musicais utilizadas nas suas obras. Em dado conexto, este trabalho de pesquisa tem como principal objetivo a realização de um recital com as obras do referido compositor. keywords Osvaldo Lacerda; nationalism; trumpet; performance. abstract This research is framed in the field of Musical Performance, with focus on works for trumpet (trombeta) and chamber music for brass written by the nationalist Brazilian composer Osvaldo Lacerda. An introductory study about European and Brazilian nationalism will be approached, as well as the composer’s musical career. We will also consider the nomenclature problematic with regards to the use of the term “trombeta” in all works of Osvaldo Lacerda. It is still our intention to analyse chronologically, the way he integrates Brazilian folkloric music and the European traditional forms in his works, in addition to investigating and contextualizing the musicals genres used by the composer in his compositions that appear both explicitly and implicitly. Furthermore, we will propose through this investigation some technical interpretation, as well as reveal historical aspects with reference to the genres and musicals forms used in his works. In this context, this research has as main goal a recital with works of the mentioned composer. Sumário LISTA DE FIGURAS .......................................................................................................... 14 LISTA DE TABELAS ......................................................................................................... 15 1. INTRODUÇÃO ................................................................................................................. 1 1.1 Apresentação ......................................................................................................................... 1 1.2 Problemática .......................................................................................................................... 3 1.3 Objetivos ................................................................................................................................ 4 1.3.1 Objetivo Geral ................................................................................................................... 4 1.3.2 Objetivos Específicos ....................................................................................................... 4 1.4 Metodologia ........................................................................................................................... 4 1.5 Resultados Esperados .......................................................................................................... 5 2. NACIONALISMO ............................................................................................................. 7 2.1 Nacionalismo Musical Europeu ........................................................................................... 7 2.2 Nacionalismo Musical Brasileiro: dos precursores à Osvaldo Lacerda .......................... 8 3. OSVALDO COSTA DE LACERDA ................................................................................ 13 3.1 Formação Musical ............................................................................................................... 13 3.2 Carreira profissional ........................................................................................................... 13 3.3 Prêmios ................................................................................................................................ 14 4. CONSTRUÇÃO DA PERFORMANCE .......................................................................... 17 4.1 Sobre o uso do termo “trombeta” ..................................................................................... 17 4.2 Obras compostas para trombeta entre 1954 e 1996 ........................................................ 19 4.3 Escolha das obras para a realização do recital ................................................................ 19 4.4 Escolha dos instrumentos .................................................................................................. 21 5. ANÁLISE DAS OBRAS ................................................................................................. 23 5.1 As Invenções de Osvaldo Lacerda (1954) ......................................................................... 23 5.1.1 Primeira Invenção para trombeta e trombone ................................................................ 23 5.1.2 Segunda Invenção para trombeta e trombone ............................................................... 26 5.1.3 Invenção para trombeta, trompa e trombone ................................................................. 30 5.1.4 Relação entre as três Invenções .................................................................................... 32 5.2 Invocação e ponto (1968) .................................................................................................... 33 5.3 Rondino (1974) ..................................................................................................................... 40 5.4 Fantasia e Rondó (1977) ..................................................................................................... 44 5.5 Pequena Suíte (1983) .......................................................................................................... 49 5.5.1 Dobrado .........................................................................................................................
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