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DIVERSIDADE, UNIDADE E IDEIA Brasília 20 UNIVERSIDADE DE BRASÍLIA PROGRAMA DE PÓS-GRADUAÇÃO MÚSICA EM CONTEXTO FILIPE BERNARDO DE OLIVEIRA MAGNIFICAT: DIVERSIDADE, UNIDADE E IDEIA Brasília 2018 FILIPE BERNARDO DE OLIVEIRA MAGNIFICAT: DIVERSIDADE, UNIDADE E IDEIA Dissertação apresentada ao Programa de Pós- Graduação Música em Contexto do Departamento de Música, Instituto de Artes da Universidade de Brasília para obtenção do grau de Mestre em Música. Linha de Pesquisa: Teorias e contextos em Musicologia Orientadora: Beatriz Magalhães Castro BRASÍLIA 2018 Ficha catalográfica: Bernardo de Oliveira, Filipe BF483m Magnificat: Diversidade, Unidade e Ideia / Filipe Bernardo de Oliveira; orientador Beatriz Duarte Pereira de Magalhães Castro. -- Brasília, 2018. 204 p. Dissertação (Mestrado - Mestrado em Música) -- Universidade de Brasília, 2018. 1.Magnificat. 2. Diversidade. 3. Simbolismo. 4.Emanuele Coccia. I. Duarte Pereira de Magalhães Castro, Beatriz, orient. II. Título. Universidade de Brasília Departamento de Música Programa de Pós-Graduação Música em Contexto Dissertação intitulada Magnificat: Diversidade, Unidade e Ideia, de autoria de Filipe Bernardo de Oliveira, aprovada pela banca examinadora constituída pelos seguintes professores: __________________________________________________________________________ Prof. Dr. Beatriz Magalhães Castro Universidade de Brasília - UnB __________________________________________________________________________ Prof. Dr. Sergio Nogueira Mendes Universidade de Brasília - UnB __________________________________________________________________________ Prof. Dr. Diósnio Machado Neto Universidade de São Paulo - USP __________________________________________________________________________ Prof. Dr. Flávio Santos Pereira Universidade de Brasília - UnB Data de aprovação: Brasília, 29 de novembro de 2018 Campus Darcy Ribeiro – Brasília, DF – 70.910-000 - Brasil - Tel.: (61) 3107-1113 DEDICATÓRIA À minha esposa Irene e aos meus filhos Renato e Heloísa. AGRADECIMENTOS Agradeço à minha orientadora Dra. Beatriz Magalhães Castro pelo apoio na construção deste saber, permitindo-me a liberdade de propor questões, bem como modos de resolvê-las, dentro de um diálogo profícuo, que muito me enriqueceu. Ao professor Dr. Sergio Nogueira Mendes, que ao longo do curso contribuiu para a minha consciência em relação aos elementos propostos pela pesquisa. Ao professor Dr. Diósnio Machado Neto pelas considerações oportunas e edificantes, as quais apontaram para novos caminhos de pesquisa. Aos musicólogos que mediaram os levantamentos realizados em algumas regiões do Brasil: André Guerra Cotta (em acervos de Minas Gerais), Marshal Gaioso Pinto (em acervos de Goiás), João Berchmans de Carvalho (em acervos do Maranhão) e Pablo Sotuyo Blanco (em acervos da Bahia). Ao maestro Julio Moretzsohn, por tornar acessível a mim a obra de Henrique Oswald. À Valeria Peixoto, da Academia Brasileira de Música, que auxiliou no levantamento na base de dados da instituição. À professora Dra. Luciane Páscoa, da Universidade do Amazonas, pela generosidade em prover publicações de referência. Ao professor Dr. Antonio Bispo, cujo artigo sobre o Magnificat e posterior conversa a seu respeito contribuíram viçosamente para o início desta pesquisa. Aos compositores Amaral Vieira, Juliano Lima Lucas e Lúcio Zandonadi, por haverem, com generosidade, disponibilizado as partituras de suas obras. Agradeço ao meu amigo Petter Hübner, cujos comentários ao longo de todo o mestrado foram luz para momentos nebulosos e escuros. E um agradecimento especial à minha esposa Irene Nobrega pela companhia permanente nesse processo, bem como pela assistência inestimável que possibilitou ao trabalho ter este rosto. Toda a minha vida, pois, está aqui, neste instante, instante?, não há instante, instantes, o que assim denominais é a vossa própria vida, poliedro de inumeráveis faces transparentes, estas, as faces, são o que instantes nos parecem, um destes contemplai, uma destas faces, e vereis ser impossível ignorar as outras... Osman Lins, in Avalovara RESUMO Diante da extraordinária diversidade do Magnificat, impôs-se, como inevitável, uma investigação sobre o que lhe estaria conferindo unidade. Observaram-se estudos musicológicos e realizou-se um mapeamento sistemático inédito de fontes que transmitem o Magnificat em acervos internacionais e nacionais. A solidez dos dados obtidos possibilitou uma perspectiva qualitativa para que se estabelecesse a discussão que tem como grandes interlocutores o movimento simbolista e o filósofo Emanuele Coccia, em seu livro A vida sensível. Este trabalho propõe uma nova ótica ante as expressões de uma tradição que se tem imposto na história da música, geográfica e temporalmente. Palavras-chave: Magnificat; Diversidade; Simbolismo; Emanuele Coccia ABSTRACT In view of the extraordinary diversity of the Magnificat, an investigation of what was giving it unity was inevitable. Musicological studies were carried out and an unprecedented systematic mapping of sources transmitting the Magnificat into international and national collections was carried out. The solidity of the data obtained allowed a qualitative perspective to establish the discussion that has as great interlocutors the symbolist movement and the philosopher Emanuele Coccia in his book The sensible life. This work proposes a new perspective before the expressions of a tradition that has been imposed in the history of music, geographically and temporally. Keywords: Magnificat; Diversity; Symbolism; Emanuele Coccia LISTA DE FIGURAS Figura 1: Gráfico histórico do Magnificat feito a partir do Grove Music Online .................................. 30 Figura 2: Linhas do Magnificat .............................................................................................................. 32 Figura 3: Exemplo de resultado de pesquisa no RISM. Fonte: RISM ................................................... 45 Figura 4: Exemplo de resultado de pesquisa no IMSLP. Fonte: IMSLP ............................................... 47 Figura 5: Mapa da localização de fontes de Magnificat documentadas no exterior (RISM). Fonte: RISM. ................................................................................................................ 48 Figura 6: Gráfico da difusão do Magnificat no exterior (RISM). Fonte: Dados obtidos no RISM. ........................................................................................................................... 49 Figura 7: Mapa da localização de fontes de Magnificat documentadas no Brasil. Fonte: Acervos nacionais. ....................................................................................................... 50 Figura 8: Gráfico dos tipos de fontes do Magnificat no exterior (RISM) e no Brasil. Fonte: RISM e acervos nacionais ............................................................................................ 52 Figura 9: Gráfico da distribuição de tipos de fonte do Magnificat em acervos no Brasil. Fonte: Acervos nacionais ............................................................................................. 52 Figura 10: Gráfico de fontes do Magnificat por período no exterior (RISM). Fonte: RISM ................ 53 Figura 11: Gráfico de fontes do Magnificat por período no exterior (IMSLP). Fonte: IMSLP ............ 54 Figura 12: Gráfico de fontes do Magnificat por período no Brasil. Fonte: Acervos nacionais ............. 54 Figura 13: Gráfico de instrumentação do Magnificat no exterior (RISM). Fonte: RISM ..................... 56 Figura 14: Gráfico de instrumentação do Magnificat no exterior (IMSLP). Fonte: IMSLP ................. 56 Figura 15: Gráfico de instrumentação do Magnificat no Brasil. Fonte: Acervos nacionais .................. 57 Figura 16: Gráfico de idiomas do Magnificat no exterior (RISM e IMSLP) e no Brasil. Fonte: RISM, IMSLP e acervos nacionais ................................................................... 58 Figura 17: Gráfico de destinações do Magnificat no exterior (RISM e IMSLP) e no Brasil. Fontes: RISM, IMSLP e acervos nacionais ................................................................. 59 Figura 18: Gráfico de confissões do Magnificat no exterior (RISM e IMSLP) e no Brasil. Fontes: RISM, IMSLP e acervos nacionais ................................................................. 60 LISTA DE TABELAS Tabela 1: Difusão do Magnificat no Brasil ............................................................................................ 51 LISTA DE QUADROS Quadro 1: Texto do Cântico de Maria ................................................................................................... 23 Quadro 2: Acervos no Brasil .................................................................................................................. 44 Quadro 3: Tipologia da instrumentação do Magnificat a partir de fontes documentadas no RISM, no IMSLP e em acervos do Brasil .................................................................... 55 Quadro 4: Distinção entre o Cântico de Maria e o Magnificat ............................................................. 71 Quadro 5: Domínio, Discurso e Instância .............................................................................................. 74 LISTA DE ABREVIATURAS IECLB – Igreja Evangélica de Confissão Luterana do Brasil ADoHM – Acervo de Documentação Histórica Musical IMSLP – International Music Score Library Project RISM – Répertoire International des Sources Musicales Sumário INTRODUÇÃO ............................................................................................................
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