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Milhauds Danssvit På Marimba CG1009 Examensarbete, kandidat, klassisk musik, 15 hp Kandidatprogram, musiker, klassisk musik 2021 Institutionen för klassisk musik (KK) Handledare: David Thyrén Examinator: Peter Berlind Carlson Andreas Nyström Milhauds danssvit på marimba Interpretation av Rainer Kuismas arrangemang av Saudades do Brasil Till dokumentationen hör följande inspelning: xxx Sammanfattning I detta konstnärliga examensarbete undersöks olika interpretationer av Darius Milhauds Saudades do Brasil i arrangemang för marimba och piano av den finländske slagverkaren Rainer Kuisma (f.1931). Som bakgrund presenteras tonsättaren Darius Milhaud (1892-1974) genom en kortare biografi över hans liv och komponerande. Särskilt intressant är Milhauds inspiration från resor till Brasilien men också hans säregna sätt att komponera polytonalt. Därefter följer en kortfattad historik om arrangören Rainer Kuisma och om slagverksinstrumentet marimba. Syftet med studien var att interpretera Darius Milhauds Saudades do Brasil, i arrangemang av Kuisma. Studiens resultat påvisar att genom tillämpning av olika instuderingsmetoder kan en musiker hitta det optimala sättet att interpretera musik skriven för marimba. Resultatet visar att en enskild interpret med hjälp av dessa metoder får ett starkare och mångsidigare system för att instudera och framföra musik på marimba. Att spela in sig själv ger en övertygelse av vad som fungerar vad gäller interpretation, klubbval och frasering. Det här skulle kunna vara en framkomliga väg för att också interpretera musik skriven för andra instrument och inte bara för marimba. Rainer Kuisma undervisade en tid på Kungl. Musikhögskolan i Stockholm men är kanske framförallt känd som slagverkssolist och kompositör med utgångspunkt i symfoniorkestern i Norrköping där han verkade som stämledare för timpani. Rainer Kuisma fyllde 90 år 2021 och slagverksklassen på KMH gav i samband med detta en hyllningskonsert med mycket av Kuismas musik. Bland annat danssviten Saudades do Brasil. Nyckelord: Kuisma, Interpretation, Marimba, Milhaud, Saudades do Brasil, Slagverk Innehållsförteckning 1. Inledning och bakgrund ..........................................................................................................1 1.1.Modernismen och Les Six ...............................................................................................1 1.2.Darius Milhaud ................................................................................................................2 1.3.Saudades do Brasil ...........................................................................................................2 1.4.Rainer Kuisma .................................................................................................................3 1.5.Marimba ...........................................................................................................................3 2. Syfte ........................................................................................................................................4 2.1.Syfte .................................................................................................................................4 2.2.Frågeställningar ................................................................................................................4 3. Metod ......................................................................................................................................4 3.1.Musikanalys .....................................................................................................................5 3.2.Analys av inspelningar .....................................................................................................5 3.3.Instudering med hjälp av inspelning ................................................................................5 3.4.Val av instrument och klubbor .........................................................................................6 4. Resultat ....................................................................................................................................7 4.1.Musikanalys .....................................................................................................................7 4.1.1. Ipanema ....................................................................................................................7 4.1.2. Sumaré .....................................................................................................................8 4.1.3. Corcovado ................................................................................................................9 4.1.4. Copacabana ............................................................................................................10 4.1.5. Larenjeiras ..............................................................................................................11 4.1.6. Tijuca ......................................................................................................................11 4.1.7. Gavéa .....................................................................................................................13 4.2.Jämförelse av inspelningar .............................................................................................14 4.2.1. Tempo ....................................................................................................................14 4.2.2. Rytm .......................................................................................................................14 4.2.3. Karaktär .................................................................................................................14 4.3.Mina egna inspelningar och val av klubbor ...................................................................14 5. Slutreflektion .........................................................................................................................15 Referenser .................................................................................................................................18 Partitur ..................................................................................................................................18 Litteratur ...............................................................................................................................18 Internetkällor ........................................................................................................................18 Fonogram och multimedia ....................................................................................................18 Bilaga 1 – Partitur Gavéa ..........................................................................................................20 Bilaga 2 – Bild av olika marimbaklubbor ................................................................................21 1. Inledning och bakgrund I detta konstnärliga examensarbete behandlas Rainer Kuismas arrangemang av Darius Milhauds Saudades do brasil för marimba och piano. I studien berörs även hur Kuisma har valt att intepretera och förhålla sig till musiken jämfört med Milhauds två olika versioner: en för solopiano och en för orkester. Inledningsvis illustreras modernismen genom gruppen Les Six. Därefter tecknas en bakgrundsbild av kompositören, dirigenten och pedagogen Darius Milhaud och hans svit Saudades do Brasil. Sedan beskrivs arrangören och solisten Rainer Kuisma. Den inledande bakgrundsdelen avslutas med beskrivning av slagverksinstrumentet marimba. 1.1.Modernismen och Les Six Les Six bestod av en yngre grupp tonsättare verksamma i Frankrike under 1900-talet. Gruppen tog avstamp i neoklassicismen men försökte undvika dess politiska tudelning. Namnet på gruppen Les Six (på svenska ”De sex”) myntades av den franska journalisten och kritikern Henri Collet i januari 1920. Namnet anspelar på den nyryska skolan även kallad De fem som komponerade nationalistisk och romantisk musik i rysk anda. (Hanning, 2010) Les Six hämtade inspiration från Satie och blev hyllade av författaren och kulturpersonligheten Jean Cocteau (1889-1963) som bejakade ny fransk musik utan romantiska inslag. Den modernistiska falangen bestod av Arthur Honegger (1892-1955), Darius Milhaud (1892-1974), Francis Poulenc (1899-1963), Germaine Tailleferre (1892-1983), George Auric (1899-1983) och Louis Durey (1888-1979). De olika tonsättarnas stilinriktningar skiljde sig ganska mycket ifrån varandra motsatt vad Cocteau hade hoppats på. Honegger, Milhaud och Poulenc var de tre kompositörer som individuellt utmärkte sig mest och som idag tillhör de mer kända utanför gruppen. Tillsammans satte Les Six upp konsertserier och möten men gruppens gemensamma verkande blev ganska kortlivat. (Hanning, 2010) 1 1.2.Darius Milhaud Darius Milhaud föddes i Frankrike den 4 september 1892. Milhaud var medlem av Les Six och en av 1900-talets mest profilerade kompositörer. Hans musik är framförallt förknippad med användande av polytonalitet och influenser från jazzmusik. (New World Encyclopedia, 2020) Milhaud växte upp i en judisk familj utanför Paris och studerade på konservatoriet i Paris. Där studerade han komposition för Charles Widor och harmonilära och kontrapunkt för André Gédalge. Utöver studierna på konservatoriet undervisades han privat av Vincent d’Indy. I sin ungdom arbetade Dairus Milhaud för Frankrikes ambassadör i Brasilien, poeten och dramatikern Paul Claudel. På en resa till Amerika 1922 kom Darius Milhaud för första gången i kontakt med autentisk jazzmusik på gatorna i Harlem. Detta kom
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