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Universidade Federal Do Paraná Atli Ellendersen UNIVERSIDADE FEDERAL DO PARANÁ ATLI ELLENDERSEN PARÂMETROS INTERPRETATIVOS PARA A SONATA PARA VIOLINO SOLO EM LÁ MENOR, BWV 1003 DE J. S. BACH CURITIBA 2012 ATLI ELLENDERSEN PARÂMETROS INTERPRETATIVOS PARA A SONATA PARA VIOLINO SOLO EM LÁ MENOR, BWV 1003 DE J. S. BACH Dissertação apresentada ao Programa de Pós-Graduação em Música, Departamento de Artes, Setor de Ciências Humanas, Letras e Artes da Universidade Federal do Paraná, como parte das exigências para a obtenção do título de Mestre em Música. Orientadora: Prof.a Dra. Silvana Scarinci CURITIBA 2012 Catalogação na Publicação Aline Brugnari Juvenâncio – CRB 9ª/1504 Biblioteca de Ciências Humanas e Educação - UFPR Ellendersen, Atli Parâmetros interpretativos para a sonata para violino solo em Lá menor, BWV 1003 de J. S. Bach / Atli Ellendersen. – Curitiba, 2012. 191 f. Orientadora: Profª. Drª. Silvana Scarinci Dissertação (Mestrado em Música) – Setor de Ciências Humanas, Letras e Artes, Universidade Federal do Paraná. 1. Bach, Johann Sebastian, 1685-1750 – Interpretação. 2. Música barroca – Interpretação. 3. Música para violino. 4. Sonatas (Violino). 5. Notação musical. I. Título. CDD 787.2 A Luciana A Maite, Lucas, Andras e Anna Cecilia AGRADECIMENTOS A toda minha família pela paciência e compreensão na minha ausência. Especialmente a minha esposa Luciana pelas incontáveis ajudas e por ter cuidado de nossos filhos. À orientadora Prof. a Dra. Silvana Ruffier Scarinci pelos incentivos e pela amizade. Ao elenco de professores do PPGMUS-UFPR pelas oportunidades de novos conhecimentos. A CAPES pela ajuda financeira. RESUMO Este trabalho trata de questões de interpretação de música barroca, mais especificamente de parâmetros interpretativos para a Sonata para Violino solo em Lá menor, BWV 1003 de Johann Sebastian Bach. A sonata faz parte de um conjunto de obras que são referência absoluta no repertório para violino e imprescindíveis na formação violinística. O estudo traz um resumo do debate travado no final do século XX sobre o papel do intérprete e sua relação com o texto musical e com o compositor. É apresentada uma síntese da crítica e autocrítica feita da interpretação historicamente informada e chega-se à conclusão que o movimento de música antiga é legítimo, trazendo diversificação para o cenário interpretativo. Para contextualizar a sonata, traço um histórico da música escrita para violino desde o início do século XVII até a gênese dos Sei Solo por volta de 1720. Uma análise é feita de sete gravações diferentes da sonata, quatro modernas e três com violino barroco, e estas são confrontadas com ou comparadas à literatura sobre interpretação dos últimos 300 anos. Palavras-chave: Interpretação. HIP. Violino. J. S. Bach. ABSTRACT This study deals with issues of the interpretation of baroque music, more specifically with interpretive parameters for the Sonata for Violin Solo in A Minor, BWV 1003 by Johann Sebastian Bach. The sonata is part of a set of works that are an absolute reference in the violin repertoire as well as being indispensable in violin education. The study introduces a summary of a discussion that went on at the end of the Twentieth Century about the role of the performer and his relation to the musical text and to the composer. A synthesis of the critique and self-critique of the Historically Informed Performance is presented concluding that the Early Music Movement is legitimate while bringing diversification into the interpretive scenery. In order to contextualize the sonata I trace an overview of the music written for the violin from the beginning of the Seventeenth Century until the birth of the Sei Solo about 1720. I analyze seven different recordings of the sonata, four modern ones and three with baroque violin; these are confronted with, or compared to, writings on interpretation from the last 300 years. Key-words: Interpretation. HIP. Violin. J. S. Bach. LISTA DE FIGURAS FIGURA 1 – IDENTIFICAÇÃO DAS OITAVAS UTILIZADA NO TRABALHO .............. 10 FIGURA 2 – DIFERENTES MODELOS DE VIOLINOS E CAVALETES .......................... 55 FIGURA 3 – A: ARCOS DE VIOLINO C.1620-1790; B – ARCOS DE VIOLINO C.1700- 1820................................................................................................................... 58 FIGURA 4 – MEDIDAS DOS ARCOS MOSTRADOS NA FIG. 3 B ................................... 58 FIGURA 5 – LINHA DE BAIXO E ESTRUTAURA FORMAL ......................................... 163 LISTA DE QUADROS QUADRO 1 – MEDIDAS DE DIFERENTES TIPOS DE VIOLINO .................................... 55 QUADRO 2 – DESCRIÇÃO DE EXECUÇÃO DE ACORDES DO GRAVE DA SONATA EM LÁ MENOR. ......................................................................................... 106 QUADRO 3 – DESCRIÇÃO DE EXECUÇÃO DE ACORDES DA FUGA DA SONATA EM LÁ MENOR. ......................................................................................... 110 QUADRO 4 – DESCRIÇÃO DE EXECUÇÃO DE ACORDES DO ANDANTE DA SONATA EM LÁ MENOR. ........................................................................ 113 QUADRO 5 – AVALIAÇÃO DO ÊXITO EM REVELAR A POLIFONIA IMPLÍCITA NO ALLEGRO ................................................................................................... 116 QUADRO 6 – ANÁLISE DAS ARTICULAÇÕES NO GRAVE ......................................... 121 QUADRO 7 – ANÁLISE DAS ARTICULAÇÕES NA FUGA ............................................ 125 QUADRO 8 – ANÁLISE DAS ARTICULAÇÕES NO ANDANTE ................................... 128 QUADRO 9 – ANÁLISE DAS ARTICULAÇÕES NO ALLEGRO .................................... 130 QUADRO 10 – AVALIAÇÃO DA ABORDAGEM DOS FLOREIOS DO GRAVE .......... 133 QUADRO 11 – DESCRIÇÃO DE EXECUÇÃO DE TRILOS DO GRAVE ....................... 135 QUADRO 12 – DESCRIÇÃO DE EXECUÇÃO DE TRILOS DA FUGA E DO ANDANTE ...................................................................................................................... 137 QUADRO 13 – DESCRIÇÃO DO USO DE VIBRATO NA SONATA TODA .................. 138 QUADRO 14 – DURAÇÃO E PULSAÇÃO MÉDIA DE CADA MOVIMENTO .............. 141 QUADRO 15 – DESCRIÇÃO DO USO DE AGÓGICA NA FUGA ................................... 144 QUADRO 16 – DESCRIÇÃO DO USO DE DINÂMICA NO GRAVE .............................. 148 QUADRO 17 – SÍNTESE DA ESTRUTURA FORMAL E TONAL DO GRAVE ............. 166 LISTA DE EXEMPLOS MUSICAIS EXEMPLO 1 – NOTAÇÃO NÃO EXEQUÍVEL ‘AO PÉ DA LETRA’ ................................ 91 EXEMPLO 2 – DA SARABANDE DA PARTITA EM SI MENOR, BWV 1002 E DA FUGA DA SONATA EM SOL MENOR, BWV 1001 ........................................... 91 EXEMPLO 3 – DO LARGO DA SONATA SOLO EM DÓ MAIOR, BWV 1005 ................ 91 EXEMPLO 4 – EXECUÇÃO DE ACORDE DE QUATRO SONS SEGUNDO PRIMEIRAS FONTES ....................................................................................................... 94 EXEMPLO 5 – ARPEJAMENTO DESCENDENTE EM PEÇA DE LECLAIR ................... 95 EXEMPLO 6 – SUGESTÃO DE EXECUÇÃO DE HABENECK ......................................... 98 EXEMPLO 7 – SUGESTÃO DE BÉRIOT DE EXECUÇÃO DE ACORDES DE TRÊS E QUATRO SONS. ......................................................................................... 99 EXEMPLO 8 – EXECUÇÃO DE FLESCH DE ACORDES DE TRÊS SONS .................... 100 EXEMPLO 9 – EXECUÇÃO DE FLESCH DE ACORDES DE QUATRO SONS ............. 100 EXEMPLO 10 - EXECUÇÃO DE GALAMIAN DE ACORDES DE TRÊS E QUATRO SONS .......................................................................................................... 101 EXEMPLO 11 – EXECUÇÃO DE ACORDES DE QUATRO SONS COM A MELODIA NA CORDA RÉ ................................................................................................ 101 EXEMPLO 12 – EXECUÇÃO DE ROSTAL DOS COMP. 9-16 DA CIACCONA ............. 102 EXEMPLO 13 – EXECUÇÃO DE GALAMIAN DO COMP. 10 DA CIACCONA ............. 102 EXEMPLO 14 – TRÊS OPÇÕES DE EXECUÇÃO DOS COMP. 92-93 DA FUGA EM LÁ .................................................................................................................... 102 EXEMPLO 15 – OPÇÃO PREFERIDA DE GALAMIAN EXECUÇÃO DOS COMP. 92-93 DA FUGA EM LÁ ..................................................................................... 103 EXEMPLO 16 - EXECUÇÃO DE SZERYNG DE ACORDES DE TRÊS E QUATRO SONS .................................................................................................................... 103 EXEMPLO 17 – ADAGIO DA SONATA I, DESTAQUE DA MELODIA NA EDIÇÃO DE JOACHIM-MOSER (1908) ....................................................................... 104 EXEMPLO 18 – OS ACORDES ANALIZADOS DO PRIMEIRO MOVIMENTO: GRAVE .................................................................................................................... 106 EXEMPLO 19 – OS ACORDES ANALIZADOS DO SEGUNDO MOVIMENTO: FUGA .................................................................................................................... 109 EXEMPLO 20 – OS ACORDES ANALIZADOS DO TERÇEIRO MOVIMENTO: ANDANTE ................................................................................................ 112 EXEMPLO 21 – ACORDES ARPEJADOS DO ALLEGRO (cp. 5-8) ................................. 114 EXEMPLO 22 – TRECHO VARIADO DO ALLEGRO (cp. 9-10) ...................................... 115 EXEMPLO 23 – DUAE IN UNAM, DUAS VOZES EM UMA DE NEIDHARDT.............. 115 EXEMPLO 24 – MEIAS CADÊNCIAS COM TIERCES COULÉES DO GRAVE ............. 120 EXEMPLO 25 – LIGADURAS DIVERSAS DO GRAVE ................................................... 121 EXEMPLO 26 – TEXTURAS DIVERSAS DA FUGA .......................................................
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