A Suite De Clavecin De Alex. Voormolen: Contextualização, Análise E Adaptação Para Cravo De Cópia Histórica

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A Suite De Clavecin De Alex. Voormolen: Contextualização, Análise E Adaptação Para Cravo De Cópia Histórica Universidade de Brasília Programa de Pós-Graduação em Música – Música em Contexto A Suite de Clavecin de Alex. Voormolen: contextualização, análise e adaptação para cravo de cópia histórica. Pedro Ribeiro Cardoso Orientador: Prof. Dr. Flávio Santos Pereira Coorientador: Prof. Dr. Carlo Vinícius Rosa Arruda Brasília 2019 i PEDRO RIBEIRO CARDOSO A SUITE DE CLAVECIN DE ALEX. VOORMOLEN: CONTEXTUALIZAÇÃO, ANÁLISE E ADAPTAÇÃO PARA CRAVO DE CÓPIA HISTÓRICA. Dissertação apresentada como requisito parcial para a obtenção do título de Mestre em Música. Programa de Pós-graduação Música em Contexto, Universidade de Brasília. Área de concentração: Performance e Criação Musical Linha de pesquisa: Processos e Produtos na Criação e Interpretação Musical: linha A Orientador: Prof. Dr. Flávio Santos Pereira Coorientador: Prof. Dr. Carlo Vinícius Rosa Arruda BRASÍLIA 2019 ii Ficha catalográfica elaborada automaticamente, com os dados fornecidos pelo(a) autor(a) Ribeiro Cardoso, Pedro RC268s A Suite de Clavecin de Alex. Voormolen: contextualização, análise e adaptação para cravo de cópia histórica. / Pedro Ribeiro Cardoso; orientador Flávio Santos Pereira. -- Brasília, 2019. 314 p. Dissertação (Mestrado - Mestrado em Música) -- Universidade de Brasília, 2019. 1. Cravo. 2. Suite. 3. Voormolen. 4. Interpretação Musical. I. Santos Pereira, Flávio, orient. II. Título. PEDRO RIBEIRO CARDOSO A SUITE DE CLAVECIN DE ALEX. VOORMOLEN: CONTEXTUALIZAÇÃO, ANÁLISE E ADAPTAÇÃO PARA CRAVO DE CÓPIA HISTÓRICA. Dissertação apresentada como requisito parcial para a obtenção do título de Mestre em Música. Programa de Pós-graduação Música em Contexto, Universidade de Brasília. Área de concentração: Performance e Criação Musical. Linha de pesquisa: Processos e Produtos na Criação e Interpretação Musical: linha A Orientador: Prof. Dr. Flávio Santos Pereira Coorientador: Prof. Dr. Carlo Vinícius Arruda Banca Examinadora _____________________________________________ Prof. Dr. Flávio Santos Pereira Universidade de Brasília (UnB) _____________________________________________ Prof. Dr. Carlo Vinícius Arruda Conservatório Estadual de Música Renato Frateschi (CEMRF) _____________________________________________ Profa. Dra. Beatriz Carneiro Pavan Instituto Federal de Goiás (IFG) _____________________________________________ Profa. Dra. Helena Jank Universidade Estadual de Campinas (Unicamp) Aprovada em:__ de __________ de 2019 iv Aos cravistas dos séculos XX e XXI. v AGRADECIMENTOS Ao meu pai Leo, a minha mãe Ana, a minha avó Eugênia e ao meu avô Darcy por todo apoio, incentivo, amor e carinho desde sempre. Ao meu orientador, Flávio Santos Pereira, por acreditar no meu potencial e me incentivar a fazer o mestrado. Obrigado pela orientação, atenção e dedicação durante esta jornada. Ao meu coorientador, Carlo Arruda, pela amizade, generosidade, atenção e paciência sem as quais este trabalho dificilmente ganharia a dimensão e a profundidade que tomou. Ao meu irmão, Tomás Cardoso, e ao meu amigo Pedro Gomes pela imprescindível ajuda na revisão e formatação desta dissertação. Aos meus amigos e mestrandos Edgard Felipe, Ely Janoville, Rafael Bacellar e Thiago Gomes, pelas tardes e noites de discussão de ideias e produção acadêmica intensa. Aos professores Cecilia Aprigliano, Fernando Lopes e Karla Dias que tanto me ensinaram, ajudaram e incentivaram ao longo de todos esses anos. Ao professor Marcelo Fagerlande, por seu papel central, juntamente aos cravistas Clara Albuquerque e Eduardo Antonello, na minha formação cravística, ao organizarem e promoverem a “Semana do Cravo da UFRJ”. Aos músicos e amigos Átila de Paula, Diogo Queiroz, Fernando Almeida, Gilberto Gauche, Jaime Ninice, Kino Lopes, Ladson de Matos, Raquel Chiarelli, Rodrigo Hoffman e Vinícius Passos, pela amizade e inspiração. Ao Lucio Hossaka, pelo incentivo, companheirismo, carinho e paciência durante a elaboração desta dissertação. Agradeço especialmente a minha professora, Ana Cecília Tavares, a quem devo grande parte da minha formação no cravo, por todo ensinamento, inspiração e carinho ao longo de todos esses anos. vi “All the good music has already been written by people with wigs and stuff.” Frank Zappa vii RESUMO/ABSTRACT: Alexander Voormolen (1895-1980), compositor holandês relativamente desconhecido, escreveu em 1921 a sua Suite de Clavecin, para piano. Nesta dissertação, busca-se investigar a tradição na qual se insere a obra, bem como o pioneirismo de Voormolen em um cenário de “renascimento” do cravo e de redescoberta do seu repertório. Propõe-se possibilidades na adaptação da Suite de Clavecin, de escrita tipicamente pianística, para execução em cravo de cópia histórica. Para tanto, faz-se uma análise formal e harmônica, balizando aspectos históricos do gênero suite e dos movimentos da Suite de Clavecin. Situa-se, assim, a obra na tradição francesa do início do século XX, ao mesmo tempo em que se contextualiza a sua inspiração no repertório para teclas dos séculos XVII e XVIII. Expõe-se a busca de Voormolen – paralela à de seu mentor Maurice Ravel (1875-1937) na peça Le tombeau de Couperin (1918) – por sintetizar linguagens musicais antigas e modernas, indo em direção a um estilo composicional de orientação francesa. Palavras-chave: Cravo; Suite; Voormolen; Interpretação musical; Adaptação. viii ABSTRACT In 1921, Alexander Voormolen (1895-1980), a relatively unknown Dutch composer, wrote his Suite de Clavecin for piano. This dissertation seeks to investigate the tradition in which the work inserts itself, as well as the pioneering spirit of Voormolen in the context of the harpsichord’s revival and rediscovery of its repertoire, proposing possibilities in the adaptation of the piece, of typically pianistic writing, to be played on a ‘historic replica’ harpsichord. For this purpose, a formal and harmonic analysis is made, highlighting historical aspects of the suite genre and the movements of the Suite de Clavecin. This work situates the Suite de Clavecin within the French tradition of the early twentieth century while contextualizing its inspiration in the keyboard repertoire of the seventeenth and eighteenth centuries. This exposes Voormolen's quest – parallel to his mentor’s, Maurice Ravel (1875-1937), in Le tombeau de Couperin (1918) – to synthesize ancient and modern musical languages, moving towards a French-oriented compositional style. Keywords: Harpsichord; Suite; Voormolen; Musical Interpretation; Adaptation. ix LISTA DE FIGURAS Figura 01. Cravo Pleyel Grand Modèle de Concert. 1927. ................................. 17 Figura 02. Réplica de uma espineta de 1637, de Girolamo Zenti. ....................... 23 Figura 03. Representação mais antiga do cravo. Alemanha, 1425. ..................... 26 Figura 04. Réplica do modelo de Pascal Taskin de 1769. ................................... 30 Figura 05. Frontispício da primeira edição do Concerto Italiano, BWV 971. ..... 44 Figura 06. Melodia principal (forte) e acompanhamento (piano). ...................... 45 Figura 07. Efeito de solo (piano) e tutti (forte). .................................................. 45 Figura 08. Efeito de eco. ..................................................................................... 46 Figura 09. Fotografia de Alex. Voormolen, por Godfried de Groot, 19–. .................. 72 Figura 10. Dance for Harpsichord, dedicado para a cravista Woodhouse. ........ 83 Figura 11. Exemplo da orientação francesa na Suite de Clavecin. ..................... 87 Figura 12. Edição de Giuseppe Buonamici da sonata K. 446.............................. 96 Figura 13. : Transcrição livre de Ignaz Friedman da sonata K. 446 ................... 96 Figura 14. Edição Urtext feita por Kenneth Gilbert da sonata K. 446. ............... 96 Figura 15. Edição Urtext feita por Pierre Gouin da sonata K. 446. ..................... 97 Figura 16. Siciliéne, do Sixième Concert. Les goût-réunis. ................................ 98 Figura 17. Sicilienne de Voormolen. Suite de Clavecin. .................................... 98 Figura 18. Retrato de Lucie, por Jan Toorop, 1905. .......................................... 107 Figura 19. Overture I, do Six Overtures, TWV 32: 5-10, c.1-7 ......................... 111 Figura 20. Overture I, de Telemann, c.16-18 .................................................... 112 Figura 21. Overture I, de Telemann, c.19-29. ................................................... 112 Figura 22. Overture I, de Telemann, c.75-84. ................................................... 113 Figura 23. Seção menor ‘a’, da seção A. Ouverture, c.1-4. ............................... 116 Figura 24. Sinal gráfico do ornamento cadence. .............................................. 116 Figura 25. Ocorrência do grupeto na peça Sonatina pro Clavicembalo. .......... 117 Figura 26. Figuração anacrústica de três notas na allemande. ......................... 118 Figura 27. Figuração de três notas incorporada na estrutura rítmica. ............... 119 Figura 28. Seção menor ‘b’, da seção A. Ouverture, c.5-8. ............................... 120 Figura 29. Seção menor ‘b1’, da seção A. Ouverture, c.13-16. ......................... 120 Figura 30. Seção menor ‘c’, da seção B. Ouverture, c.17-20. ........................... 121 Figura 31. Seções menores ‘d’ e ‘d1’. Ouverture, c.21-24 e c.29-32. ................ 122 Figura 32. Seção A1. Ouverture, c.33-40. .......................................................... 123 x Figura 33. Exemplo de ritmos característicos da gigue francesa. ...................... 127 Figura 34. Exemplo de anacruses características
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