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Preparação E Execução Da Abertura Concertante De Camargo Guarnieri Sob a Ótica Do Regente De Orquestra

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Preparação E Execução Da Abertura Concertante De Camargo Guarnieri Sob a Ótica Do Regente De Orquestra UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES ABDENALDO AURELIO ALVES DE LIMA MUNIZ SANTIAGO PREPARAÇÃO E EXECUÇÃO DA ABERTURA CONCERTANTE DE CAMARGO GUARNIERI SOB A ÓTICA DO REGENTE DE ORQUESTRA CAMPINAS 2016 ABDENALDO AURELIO ALVES DE LIMA MUNIZ SANTIAGO PREPARAÇÃO E EXECUÇÃO DA ABERTURA CONCERTANTE DE CAMARGO GUARNIERI SOB A ÓTICA DO REGENTE DE ORQUESTRA Dissertação apresentada ao Instituto de Artes da Universidade Estadual de Campinas como parte dos requisitos exigidos para a obtenção do título de Mestre em Música, na área de concentração Música: Teoria, Criação e Prática. ORIENTADOR: Prof. Dr. Eduardo Augusto Ostergren ESTE EXEMPLAR CORRESPONDE À VERSÃO FINAL DA DISSERTAÇÃO DEFENDIDA PELO ALUNO ABDENALDO AURELIO ALVES DE LIMA MUNIZ SANTIAGO E ORIENTADO PELO PROF. DR. EDUARDO AUGUSTO OSTERGREN. CAMPINAS 2016 Ficha catalográfica Universidade Estadual de Campinas Biblioteca do Instituto de Artes Silvia Regina Shiroma - CRB 8/8180 Santiago, Abdenaldo Aurelio Alves de Lima Muniz, 1977- Sa59p Preparação e execução da Abertura Concertante de Camargo Guarnieri sob a ótica do regente de orquestra / Abdenaldo Aurelio Alves de Lima Muniz Santiago. – Campinas, SP : [s.n.], 2016. Orientador: Eduardo Augusto Ostergren. Dissertação (mestrado) – Universidade Estadual de Campinas, Instituto de Artes. 1. Guarnieri, Camargo, 1907-1993. 2. Música brasileira. 3. Regência (Música). 4. Música - Análise, apreciação. I. Ostergren, Eduardo Augusto,1943-. II. Universidade Estadual de Campinas. Instituto de Artes. III. Título. Informações para Biblioteca Digital Título em outro idioma: Preparation and execution of the Camargo Guarnieri's Abertura Concertante from de viewpoint of the orchestral conduct Palavras-chave em inglês: Guarnieri, Camargo, 1907-1993 Brazilian music Conducting Music appreciation Área de concentração: Música: Teoria, Criação e Prática Titulação: Mestre em Música Banca examinadora: Eduardo Augusto Ostergren [Orientador] José Eduardo Fornari Novo Junior Leila Yuri Sugahara Data de defesa: 21-10-2016 Programa de Pós-Graduação: Música BANCA EXAMINADORA DA DEFESA DE MESTRADO ABDENALDO AURELIO ALVES DE LIMA MUNIZ SANTIAGO ORIENTADOR(A): PROF. DR. EDUARDO AUGUSTO OSTERGREN MEMBROS: 1. PROF. DR. EDUARDO AUGUSTO OSTERGREN 2. PROF(A). DR(A). JOSÉ EDUARDO FORNARI NOVO JUNIOR 3. PROF(A). DR(A). LEILA YURI SUGAHARA Programa de Pós-Graduação em Música na área de concentração Música: Teoria, Criação e Prática do Instituto de Artes da Universidade Estadual de Campinas. A ata de defesa com as respectivas assinaturas dos membros da banca examinadora encontra-se no processo de vida acadêmica do aluno. DATA: 21.10.2016 Agência(s) de fomento e nº(s) de processo(s): Não se aplica. Ao meu filho Alex Felix Cavalcante Santiago, fonte inesgotável de amor! AGRADECIMENTOS À minha esposa Taís Felix Cavalcante; A meus pais, Edna Alves de Lima e Epaminondas Muniz Santiago; Aos meus sogros Therezinha Cavalcante e Gabriel Cavalcante Neto, (responsável pela revisão deste trabalho); À minha querida irmã Fernanda Muniz Santiago Spagnol, amiga e protetora; Ao meu querido irmão Algo Mangili; À Maristela Muniz Santiago (in memoriam) minha madrasta, exatamente minha segunda mãe; Ao meu orientador, Prof. Dr. Eduardo Augusto Ostergren, pelos incentivos, ensinamentos, por partilhar sua vida com seus orientandos; Aos professores do Instituto de Artes da Unicamp José Fornari, Carlos Fiorini, Denise Garcia, Helena Jank, Jônatas Manzoli, Ricardo Goldemberg, Fernando Hashimoto, Paulo Ronqui, que, cada um a seu modo, contribuiu para a realização deste trabalho; Aos funcionários da UNICAMP, agentes de padrão de excelência Neusa Trindade, Vivien Ruiz, Letícia Machado e Lucia Aguilari; Aos professores Alvaro Carlini (UFPR), Maestro Aylton Escobar, Rita Domingues (UFMT), Alexandre Magno (UFPB), Branco Bernardes (Faculdade Lusófona), Ernani Teixeira, Paulo Baptista, Celso Marques, Julio Calliman, Peter Dietrich (UniSant’Anna) e Leila Sugahara (Faculdade Cantareira) pela amizade incondicional; Aos meus amigos que tantas vezes me socorreram durante esta jornada, Daniel Brasil, John Emerson, Erik Faez, Rafael Brás e Éricco Vinícius; Aos alunos da UniSant’Anna que trabalharam na editoração da partitura, Fabrício Gaia, William Sanches, Robinson Moreira, Bruno Januário, João Ângelo Bonfim, Tamires Montrazol, Filipe Morais, Luiz Cássio Cesário, José Paulo Fernandes; À Elaine Gardinale e Silvia Gardinale pelo apoio. À Adriano de Castro Meyer pelo auxílio com as partituras e em especial à Vera Sílvia Guarnieri e Tânia Guarnieri! RESUMO Camargo Guarnieri (1907-1993), foi um dos mais importantes compositores brasileiros do século XX. E é necessário que seu trabalho seja conhecido pela nova geração de músicos, bem como sua contribuição para a Educação Musical no Brasil e o estabelecimento de uma escola de composição. Guarnieri também publicou em 1950 a “Carta Aberta aos Músicos e Críticos do Brasil”, documento controverso, onde ele critica a difusão da Música Dodecafônica no Brasil. Como resultado, Guarnieri passou todo o restante de sua vida explicando sua publicação. A “Abertura Concertante”, analisada nesta dissertação, trata-se de um trabalho com características nacionalistas e sólidas técnicas composicionais, e representa um importante desafio ao jovem regente de orquestra. Este trabalho também contém observações quanto ao estudo e preparo da composição como resultado dos estudos realizados com os professores Eduardo Ostergren, Carlos Fiorini e Denise Garcia da Universidade Estadual de Campinas, que serviram de valiosa ajuda sobretudo no estudo analítico deste trabalho. Palavras-chave: Música Brasileira; Regência; Análise Musical ABSTRACT Camargo Guarnieri (1907-1993) was one of the most important Brazilian composers of the 20th Century. It is necessary that his works be widely known by the younger generation, as well as his contribution to music education in Brazil and the establishing of a school of composition. Guarnieri also published in 1950 an “Open Letter to Musicians and Music Critics of Brazil”, a controversial letter in which he criticized the diffusion of Music Dodecaphonic in Brazil. As result Guarnieri spent the rest of his life explaining this publication. The “Abertura Concertante,” analyzed in this dissertation, a work of a nationalist character exhibits solid compositional techniques and presents an important challenge to the young conductor as well. This work also contains observations for the study and performance of this composition as result of studies with professors Eduardo Ostergren, Carlos Fiorini and Denise Garcia of the Campinas University who were of great help in the analytical study of thework. Key words: Brazilian Music; Conducts studies; Analysis Índice de Figuras Figura 1 – Da esquerda para a direita: sua irmã Arísia, seus pais Géssia e Miguel, e Camargo Guarnieri ............................................................................................................... 21 Figura 2 – Casa onde nasceu Guarnieri na cidade de Tietê – SP ......................................... 22 Figura 3 – Guarnieri aos 18 anos em audição no Colégio Sagrado Coração em São Paulo ................................................................................................................................... 22 Figura 4 – O compositor Heitor Villa-Lobos, principal ícone da Música durante a Semana de Arte Moderna e que viria a ser amigo de Camargo Guarnieri ............................ 23 Figura 5 – Sarau realizado na Casa Di Franco ..................................................................... 24 Figura 6 – Da esquerda para a direita: Mário de Andrade, Lamberto Baldi e Camargo Guarnieri .............................................................................................................................. 26 Figura 7 – O maestro italiano Lamberto Baldi ....................................................................... 27 Figura 8 – Mário de Andrade ................................................................................................ 28 Figura 9 – Conservatório Dramático e Musical de São Paulo, localizado à Avenida São João s/n, onde hoje funciona a Escola Municipal de Música de São Paulo .......................... 28 Figura 10 – Integrantes da Missão de Pesquisas Folclóricas no Teatro Santa Isabel em Recife-PE em 1938. Da esquerda para a direita: Maestro Martin Braunwieser, Luis Saia, Benedito Pacheco e Antônio Ladeira .......................................................................... 29 Figura 11 – O maestro austríaco radicado no Brasil Martin Braunwieser (1901-1991) .......... 29 Figura 12 – Missão de Pesquisas Folclóricas no Nordeste ................................................... 30 Figura 13 – Caminhão cedido pelo governo de Pernambuco para que a Missão de Pesquisas Folclóricas se movimentasse pelo Nordeste ....................................................... 30 Figura 14 – Teatro Municipal de São Paulo. Local de trabalho de Camargo Guarnieri durante 40 anos ................................................................................................................... 31 Figura 15 – Olívia Guedes Penteado (1872 – 1934) ............................................................. 32 Figura 16 – Registro do primeiro concerto de Guarnieri na condição de compositor. Na foto, o compositor e os intérpretes de suas obras (1935) ..................................................... 33 Figura 17 – O professor francês Alfred Cortot (1877-1962) .................................................. 34 Figura 18 – O
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