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Transformação E Formação Da Técnica Do Trompete: De Monteverdi a Stockhausen

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Transformação E Formação Da Técnica Do Trompete: De Monteverdi a Stockhausen UNIVERSIDADE ESTADUAL PAULISTA “JÚLIO DE MESQUITA FILHO” INSTITUTO DE ARTES DEPARTAMENTO DE MÚSICA TRANSFORMAÇÃO E FORMAÇÃO DA TÉCNICA DO TROMPETE: DE MONTEVERDI A STOCKHAUSEN CARLOS AFONSO SULPÍCIO São Paulo 2012 CARLOS AFONSO SULPÍCIO TRANSFORMAÇÃO E FORMAÇÃO DA TÉCNICA DO TROMPETE: DE MONTEVERDI A STOCKHAUSEN Tese apresentada ao Departamento de Pós- Graduação em Música do Instituto de Artes “Júlio de Mesquita Filho” da Universidade Estadual Paulista (UNESP), como exigência parcial para a obtenção do Título de Doutor em Música. Área de concentração: Interpretação/Teoria e Composição. Orientador: Prof. Dr. Florivaldo Menezes Filho São Paulo 2012 2 Sulpício, C. A. TRANSFORMAÇÃO E FORMAÇÃO DA TÉCNICA DO TROMPETE: DE MONTEVERDI A STOCKHAUSEN. 193p. Tese apresentada ao Instituto de Artes Júlio de Mesquita Filho da Universidade Estadual de São Paulo, 2012. Aprovado em: Banca examinadora Prof. Dr. _____________________________________________________ Assinatura ___________________________________________________ Prof. Dr. _____________________________________________________ Assinatura ___________________________________________________ Prof. Dr. _____________________________________________________ Assinatura ___________________________________________________ Prof. Dr. _____________________________________________________ Assinatura ___________________________________________________ Prof. Dr. _____________________________________________________ Assinatura ___________________________________________________ 3 DEDICATÓRIA: À Eliana, minha querida companheira de vida e de música há muitos anos. 4 AGRADECIMENTOS Ao meu orientador, Flo Menezes, pelo apoio e consideração durante o desenvolvimento de minha tese e pela paciência durante este processo. Ao Vitor Francisco dos Santos, pela ajuda nos programas de música e correções. Aos meus pais e familiares. 5 Símbolo de Miguel em: A Jornada de Miguel em Volta de Terra de Karlheinz Stockhausen 6 RESUMO Esta tese tem como objetivo traçar um panorama histórico sobre a evolução da técnica do trompete percorrendo uma linha cronológica que parte de Monteverdi e chega a Stockhausen com enfoque na relação compositor/instrumento/instrumentista. Inicialmente, apresentamos uma breve abordagem dos primórdios do trompete e apontamos a importância da obra Orfeo de Monteverdi, pois é a partir desta obra que o instrumento adentra a orquestra e começa a fazer parte do que poderíamos chamar de música “séria”. O ápice deste processo culmina com a obra A Jornada de Miguel em Volta da Terra de Karlheinz Stockhausen, uma obra de porte e caráter monumental que coloca o instrumento em total evidência e explora a técnica expandida do instrumento, podendo ser considerada uma das obras mais representativas para o trompete no século XX. Palavras-chave: Trompete, técnica expandida, Monteverdi, Stockhausen. 7 ABSTRACT The objective of this thesis is to trace a historic overview about the evolution of the trumpet technique throughout a chronological line which starts at Monteverdi and reaches Stockhausen with a focus on composer/instrument/interpreter. Primarily, we present a short context of the initial period and appoint the importance of the work Orfeo by Monteverdi, because this is the first time that the instrument integrates the orchestra in what we can call by art music. The summit of this process is the work Michael`s Journey Round The Earth, by Karlheinz Stockhausen, a monumental work which explores the expanded technique and can be considered one of the most relevant work for trumpet solo in XX century. Key-words: Trumpet, expanded technique, Monteverdi, Stockhausen. 8 SUMÁRIO Introdução...................................................................................................................11 1. Capítulo 1: A evolução da técnica do trompete 1.1 Surgimento e funções................................................................................................17 1.2 Barroco, “A Era de Ouro do Trompete”: Monteverdi e Bach...................................30 1.3 Haydn e Hummel.......................................................................................................59 1.4 A invenção dos pistões e rotores...............................................................................75 1.5 Métodos técnicos.......................................................................................................78 1.6 O trompete e a orquestra romântica...........................................................................81 2. Capítulo 2: O trompete e sua inserção na música do século XX 2.1 Novos rumos, novas abordagens.............................................................................83 2.2 Flo Menezes e a obra Contexturas IV – Monteverdi Altrimenti............................109 2.3 Considerações finais..............................................................................................117 3. Capitulo 3: Stockhausen, um visionário 3.1 Introdução..............................................................................................................118 3.2 Flashes da infância e adolescência.......................................................................120 3.3 Imagens recorrentes..............................................................................................125 3.4 Três fases fundamentais…...................................................................................130 3.5 Influências e estudos............................................................................................132 4. Capítulo 4: A Jornada de Miguel em Volta da Terra 4.1 Introdução................................................................................................................137 4.2 O ciclo operístico Luz.............................................................................................139 4.3 Quinta-feira de Luz.................................................................................................143 4.4 Segundo ato: A Jornada de Miguel em Volta da Terra..........................................144 4.5 Os símbolos e suas relações com o personagem de Miguel....................................150 4.6 Orquestração...........................................................................................................158 4.7 Descrições dos efeitos da técnica expandida utilizados pelo trompete solista e demais solistas.........................................................................................................161 9 4.8 Partes do segundo ato 4.8.1 Entrada............................................................................................165 4.8.2 Fórmula...........................................................................................167 4.8.3 Partida.............................................................................................169 4.8.4 Jornada 4.8.4.1 Primeira estação..................................................................170 4.8.4.2 Primeira ponte......................................................................171 4.8.4.3 Segunda estação...................................................................172 4.8.4.4 Segunda ponte......................................................................173 4.8.4.5 Terceira estação...................................................................173 4.8.4.6 Quarta estação.....................................................................175 4.8.4.7 Quinta estação......................................................................178 4.8.4.8 Sexta estação........................................................................179 4.8.4.9 Retornando...........................................................................181 4.8.4.10 Sétima estação....................................................................181 4.8.5 Dúvida..............................................................................................181 4.8.6 Missão..............................................................................................182 4.8.7 Imitação...........................................................................................184 4.8.8 Crucificação.....................................................................................185 4.8.9 Ascensão..........................................................................................185 5. Conclusão.............................................................................................................187 6. Referências bibliográficas..............................................................................189 7. Anexo.....................................................................................................................193 10 Introdução Esta pesquisa tem como objetivo traçar cronologicamente o desenvolvimento da técnica do trompete ao longo da história da música ocidental, evidenciando os principais compositores que contribuíram para elevar a técnica do instrumento, trazendo novas propostas e novas abordagens. O termo técnica no seu primordial grego 0*$ deu origem à palavra técnica ou ainda à tecnologia, mas também é traduzido corretamente por arte desde as primeiras traduções latinas. Por 0*$ deveríamos entender, portanto, um amplo conjunto de conhecimentos, uma habilidade geral para exercer um determinado ofício. Assim, fecundas – mesmo que esquecidas em nossos tempos – são as relações entre 4&)$ (conhecimento ou ciência) e 0*$ (arte). A técnica, em sua origem enquanto 0*$ grega, deveria ser definida não como um meio para um fim (como
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