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0 Izabela da Cunha Pavan Alvim ENTRE ESTUDOS E POLCAS A PROPÓSITO DO IDIOMATISMO PIANÍSTICO DE BOHUSLAV MARTINŮ (1890-1959) Belo Horizonte Escola de Música da UFMG 2012 1 Izabela da Cunha Pavan Alvim ENTRE ESTUDOS E POLCAS A PROPÓSITO DO IDIOMATISMO PIANÍSTICO DE BOHUSLAV MARTINŮ (1890-1959) Dissertação submetida ao Programa de Pós- Graduação em Música da Universidade Federal de Minas Gerais, como requisito parcial à obtenção do título de Mestre em Música. Linha de pesquisa: Performance Musical Orientadora: Prof.ª Dra. Ana Cláudia de Assis Belo Horizonte Escola de Música da UFMG 2012 2 A475e Alvim, Izabela da Cunha Pavan. Entre estudos e polcas [manuscrito]: a propósito do idiomatismo pianístico de Bohuslav Martinu (1890-1959) / Izabela da Cunha Pavan Alvim. – 2012. 135 f.: il., enc. Orientadora: Ana Cláudia de Assis. Linha de pesquisa: Performance musical. Dissertação (mestrado em Música) – Universidade Federal de Minas Gerais, Escola de Música. 1. Piano solo – análise musical. 2. Linguagem musical. 3. Martinu, Bohuslav, 1890- 1959. I. Assis, Ana Cláudia. II. Universidade Federal de Minas Gerais. Escola de Música. III. Título. CDD: 780.2 3 4 Dedico este trabalho à minha mãe, Marilda Martins da Cunha, pelo apoio nos momentos decisivos... 5 AGRADECIMENTOS . À minha orientadora, Prof. Dra. Ana Cláudia Assis, por ter abraçado meu projeto e me ajudado tanto; . À Prof.ª Dra Patrícia Furst Santiago, à Prof.ª Dra. Maria Bernardete Castelan Póvoas e ao Prof. Dr. Paulo Sérgio Malheiros por aceitarem o convite de fazerem parte da banca; . Aos membros do Instituto Bohuslav Martinů, especialmente a Zoja Seyckova, pelo fornecimento de material indispensável a essa pesquisa; . Ao Prof. Miguel Rosselini e à Prof.ª Celina Szrvinsk que possibilitaram que meu amor pela música de Martinů nascesse, especialmente durante a preparação da Sonata para Flauta e piano, e do Trio para flauta, violoncelo e piano. À Luciane Cardassi pela contribuição à performance das obras; . À Patrícia Bretas pela receptividade, confiança e por ter compartilhado comigo sua vivência com a música e cultura tcheca. Agradeço-a também pela contribuição à performance das obras; . À CAPES e a FAPEMIG; . Aos pianistas e compositores que participaram do questionário; . Ao Adonay Neves, pelo amor e imensa ajuda na fase final deste trabalho; . Ao flautista Rafael Ribeiro por ter me apresentado a música de Martinů e compartilhado comigo sua expressividade musical e amizade nesse e em outros momentos; . Aos demais amigos que me acompanharam nesta caminhada; . Aos funcionários, professores e colegas da UFMG; . À minha família pelo apoio incondicional; . A todos aqueles que contribuíram para a realização deste trabalho. 6 Atlas of Wander- Vladimir Kush “Um livro pode ser um objeto inanimado, mas nele está contida a vida humana em todas suas variações; um livro nos conecta com aquilo que há muito deixou de existir e que continua vivo em nós, um ideal humano, um anseio por algo belo e bom, o anseio por ser verdadeiramente humano.” Bohuslav Martinů 7 RESUMO Os Estudos e Polcas [H.308], álbum de dezesseis peças para piano solo, foram compostos em 1945 pelo compositor tcheco Bohuslav Martinů (1890-1959). Concluída nos Estados Unidos, logo após o final da Segunda Guerra Mundial, esta obra faz parte da fase de grande maturidade do compositor e sintetiza, em sua escrita, as principais técnicas composicionais desenvolvidas por Martinů. Esta dissertação investiga o idiomatismo pianístico nos Estudos e Polcas bem como sua relação com a performance. Para isso, no primeiro capítulo, partimos da biografia do compositor visando compreender sua relação com o piano e os principais elementos de sua linguagem musical. No segundo capítulo, após uma discussão a respeito do termo idiomatismo musical, apresentamos alguns princípios norteadores para a interpretação de sete peças selecionadas do álbum. Palavras-chave: Bohuslav Martinů; Estudos e Polcas; Idiomatismo Pianístico. 8 ABSTRACT The collection of sixteen pieces for piano titled Etudes and Polkas [H.308], by Czech composer Bohuslav Martinů (1890-1959) were composed in 1945, in the United States, shortly after the end of World War II. This work belongs to the mature phase of Martinů, and its writing summarizes his language and compositional techniques. This dissertation researches the idiomatic piano writing in these pieces and its relationship to performance practice. In the first chapter we depart from the biography of the composer in order to understand his relationship with the piano and the main elements of his musical language. In the second chapter, after a discussion about the terms “idiomatic musical writing” and “étude”, we research the relationship between the composer and the interpreters of his work. This dissertation ends with the analysis of seven selected pieces from this collection. Keywords: Bohušlav Martinů; Etudes and Polkas; idiomatic writing for the piano 9 SUMÁRIO INTRODUÇÃO............................................................................................................................ 2 1.BOHUSLAV MARTINŮ: O HOMEM E SUA MÚSICA ................................................................... 9 1.1 No despertar das fontes: de Polička a Praga (1890-1923) ................................................. 9 1.2 A chave para os sonhos: França (1923-1940) ................................................................. 15 1.3 Um novo começo: Estados Unidos (1941-1953) ............................................................ 22 1.4 Os anos finais (1953-1959/1979) ................................................................................... 28 1.5 Martinů hoje .................................................................................................................. 32 1.6 Elementos da linguagem musical de Martinů ................................................................. 33 1.6.1 Elementos nacionalistas .......................................................................................... 34 1.6.2 Pastoral .................................................................................................................. 39 1.6.3 Justaposição rítmica ................................................................................................ 40 1.6.4 Caráter irônico ........................................................................................................ 41 1.6.5 Primitivismo stravinskiano...................................................................................... 42 1.6.6 Influências do universo barroco .............................................................................. 42 1.6.7 Jogos articulatórios ................................................................................................. 44 1.6.8 Tema Julieta ........................................................................................................... 45 1.6.9 O uso de “células” .................................................................................................. 46 1.7 Entre cordas e teclas ...................................................................................................... 49 2. O IDIOMATISMO DOS ESTUDOS E POLCAS ....................................................................... 56 2.1. Idiomatismo e linguagem musical ................................................................................. 56 2.3. Estudo como um gênero musical: conceitos e usos ........................................................ 63 2.4. Os Estudos e Polcas ..................................................................................................... 68 2.4.1 A alternância entre Estudo e Polca .......................................................................... 70 2.4.2 Intérpretes da obra de Martinů ................................................................................ 71 2.5. Análise das peças do álbum .......................................................................................... 75 2.5.1 Estudo em Ré (1º livro) ........................................................................................... 76 2.5.2 Estudo em Lá (1º livro) ........................................................................................... 78 2.5.3 Polca em Lá (1º livro) ............................................................................................. 83 2.5.4 Dança-Estudo (2º livro) .......................................................................................... 84 2.5.5 Polca em Lá (2ª peça do 3º livro) ............................................................................ 86 2.5.6 Polca em Lá (4ª peça do 3º livro) ............................................................................ 88 10 2.5.7 Estudo em Fá (3º livro) ........................................................................................... 92 CONCLUSÃO ........................................................................................................................... 99 BIBLIOGRAFIA ....................................................................................................................... 102 ANEXOS ................................................................................................................................ 106 Anexo 1 ............................................................................................................................ 106 Anexo 2 ............................................................................................................................ 107 Anexo 3 ...........................................................................................................................
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