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Uso E Repertorio Del Violoncello Piccolo a 4 E 5 Corde Nel XVII E XVIII Secolo

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Uso E Repertorio Del Violoncello Piccolo a 4 E 5 Corde Nel XVII E XVIII Secolo Uso e repertorio del violoncello piccolo a 4 e 5 corde nel XVII e XVIII secolo Edoardo Sbaffi Tese apresentada à Universidade de Évora para obtenção do Grau de Doutor em Música e Musicologia Especialidade: Interpretação ORIENTADORES: Prof.DoutorBenoît Gibson Prof.Doutor Marc Vanscheeuwijck ÉVORA, Abril 2013 INSTITUTO DE INVESTIGAÇÃO E FORMAÇÃO AVANÇADA Ringraziamenti Il mio primo, sentito ringraziamento va al prof. Marc Vanscheeuwijck, la cui generosità nel condividere il suo sapere ha reso possibile questa Tesi. Sono grato a tutti i ricercatori che hanno voluto contribuire in prima mano alle molte questioni che la ricerca sollevava nel corso di questi tre anni: Carlo Chiesa autore, tra l’altro, del mio bellissimo strumento a 5 corde, Bettina Hoffmann, John Dilworth e Georg Stoppani. Grazie anche al prof. Benoît Gibson per la sua disponibilità e l’incoraggiamento dato. Un grazie sentito ai musicisti che hanno contribuito alla realizzazione dei tre recitals che completano questa ricerca: António Carrilho, Duncan Fox, Flávia Castro, Javier Aguirre, Liliana Bizineche, Mª João Sousa, Mário Trilha, Pedro e Saul Falcão. A mio figlio Luís, che ho privato della mia compagnia molto più di quanto avrei voluto, dedico questo mio lavoro. Riassunto Dopo una analisi dell’evoluzione dei bassi di viola da braccio in generale e del violoncello in particolare nel XVI, XVII e XVIII secolo si fondamenta l’esistenza, l’uso e il repertorio del violoncello a 5 corde e del violoncello piccolo a 4 e 5 corde. Vengono analizzate le differenti tecniche di esecuzione del violoncello: da Spalla, da Collo e da Gamba così come la tecnica d’arco prona e supina e la loro utilizzazione nell’ottica di una esecuzione storicamente informata. Resumo Após uma análise da evolução dos baixos de viola da braccio em geral e do violoncelo em particular nos séculos XVI, XVII e XVIII fundamenta-se a existência, o uso e o repertório do violoncelo a 5 cordas e do violoncelo piccolo a 4 e 5 cordas. São analisadas as diferentes técnicas de execução do violoncelo: da Spalla, da Collo e da Gamba assim como a técnica de arco prona e supina e a sua utilização do ponto de vista de uma execução historicamente informada. Abstract Following an analysis of the evolution of the bassi di viola da braccio in general, and of the violoncello, particularly in the 16th-18th centuries, my work demonstrates the existence, the use, and the repertoire of the five-string cello, and of the four- and five- string violoncello piccolo. It also describes different performance techniques on the cello such as da Spalla, da Collo, and da Gambaas well as the over- and underhand bow techniques, and it provides a better understanding of their use in a historically informed performance practice. Parole-chiave Violoncello a 5 corde, Violoncello piccolo, Violone piccolo, Violoncino, Violoncello da Spalla, Violoncello barocco, Viola da Braccio. Palavras-chave Violoncelo a 5 cordas, Violoncelo piccolo, Violone pequeno, Violoncino, Violoncelo da Spalla, Violoncelo barroco, Viola da Braccio. Keywords Five String Cello, Violoncello piccolo, Cello piccolo, small Violone, Violoncino, Violoncello da Spalla, Baroque Cello, Viola da Braccio. Legenda: Il sistema di notazione che sarà utilizzato è quello inglese. Le differenti ottave saranno identificate com lettere maiuscule e minuscule associate a numeri per identificare la loro posizione: Per una maggior chiarezza verrà utilizzato sempre il carattere Bold. Secondo questo sistema di notazione l’accordatura del violoncello moderno sarà C-G-d-a; quella della viola c-g- d1-a1; e quella del violino g-d1-a1-e2. Le chiavi musicali saranno rappresentate dalla nota que identificano (F, C, G) e dalla linea del pentagramma in cui si scrivono. Le due chiavi del pentagramma reppresentato sopra sono quindi: F4 e G2. Gli strumenti possono essere classificati per il suono più grave emesso comparandolo con la lunghezza, in piedi, del tubo dell’organo che produce la nota correspondente: 2 Piedi = c1 3 Piedi = f 4 Piedi = c 6 Piedi = F 8 Piedi = C 12 Piedi = F1 16 Piedi = C1 Secondo questa classificazione il violoncello moderno è un basso di 8 piedi. Indice Ringraziamenti ................................................................................................................ iii Riassunto .......................................................................................................................... v Parole-chiave .................................................................................................................. vii Legenda: .......................................................................................................................... ix Indice ............................................................................................................................... xi Indice delle Figure ......................................................................................................... xiii Introduzione e stato dell’arte ........................................................................................ xvii Capitolo 1: Viole da Gamba e Viole da Braccio: il percorso di due famiglie molto prossime ............................................................................................................................ 1 Vihuelas de mano e de arco .......................................................................................... 2 Relazione e differenze tra le due famiglie .................................................................... 4 Diffusione delle viole in Italia ...................................................................................... 8 Il Concerto delle viole .................................................................................................. 9 L’aspetto sociale ......................................................................................................... 11 Conclusioni ................................................................................................................. 16 Capitolo 2: L’evoluzione del violoncello ....................................................................... 17 Il violoncello moderno ............................................................................................... 17 Il violoncello dell’epoca classica ................................................................................ 19 Molteplicità del violoncello barocco .......................................................................... 21 Violone, Violoncino e Violoncello: una questione di corde? ..................................... 25 Antonio Stradivari l’inventore del violoncello: un mito da sfatare ............................ 32 L’arco prono e supino. ................................................................................................ 33 I cosiddetti strumenti “ibridi” ..................................................................................... 35 Conclusioni ................................................................................................................. 38 Capitolo 3: Il violoncello a 5 corde e il violoncello piccolo a 4 e 5 corde ..................... 39 Fonti letterarie primarie: ............................................................................................. 39 Fonti iconografiche ..................................................................................................... 41 Il repertorio specifico.................................................................................................. 50 Gli strumenti originali ................................................................................................ 54 Violoncello da Spalla (o da Collo) ............................................................................. 63 Violoncello da Spalla: conclusioni ............................................................................. 72 Conclusione ................................................................................................................ 74 Capitolo 4: Aspetti interpretativi .................................................................................... 75 Conclusioni ..................................................................................................................... 89 Bibliografia ..................................................................................................................... 95 Fonti Primarie: ............................................................................................................ 95 Fonti Secondarie: ........................................................................................................ 96 Breve dizionario degli strumenti gravi ad arco nell’epoca barocca ............................... 99 Bassett/Basset/Bassetto (Viola di): (tedesco/francese/italiano) ............................... 100 Basso di Viola/Bassa Viola: ..................................................................................... 101 Basso di Viola da Braccio: ....................................................................................... 102 Bas(se) de violon, Bass violin, Kleine Bass Geigen (francese/inglese/tedesco): ..... 102 Lira e Lirone da Gamba: ........................................................................................... 102 Viola: ........................................................................................................................ 104 Viola bastarda: .........................................................................................................
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