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Francisco De Lacerda and Claude Debussy: the Crossing of Two Musical Paths

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Francisco De Lacerda and Claude Debussy: the Crossing of Two Musical Paths Universidade de Aveiro Departamento de Comunicação e Arte Ano 2017 JOÃO MANUEL A MÚSICA PARA PIANO DE FRANCISCO DE PEREIRA LACERDA E A INFLUÊNCIA DE CLAUDE DEBUSSY BETTENCOURT DA CÂMARA THE PIANO MUSIC OF FRANCISCO DE LACERDA AND THE INFLUENCE OF CLAUDE DEBUSSY Universidade de Aveiro Departamento de Comunicação e Arte Ano 2017 JOÃO MANUEL A MÚSICA PARA PIANO DE FRANCISCO DE PEREIRA LACERDA E A INFLUÊNCIA DE CLAUDE DEBUSSY BETTENCOURT DA CÂMARA THE PIANO MUSIC OF FRANCISCO DE LACERDA AND THE INFLUENCE OF CLAUDE DEBUSSY Tese apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Música, realizada sob a orientação científica do Doutor António José Vassalo Neves Lourenço, Professor Auxiliar do Departamento de Comunicação e Arte da Universidade de Aveiro A meus pais, a quem tudo devo! júri presidente Doutor Vasile Staicu Professor Catedrático, Universidade de Aveiro Doutor António José Vassalo Neves Lourenço Professor Auxiliar, Universidade de Aveiro Doutora Sofia Inês Ribeiro Lourenço da Fonseca Professora Adjunta, Escola Superior de Música e Artes do Espetáculo Doutor Michel Marie Joseph Gabriel Renaud Professor Catedrático Aposentado, Universidade Nova de Lisboa Doutor Fausto Manuel da Silva Neves Professor Auxiliar Convidado, Universidade de Aveiro Doutor Francisco José Dias Santos Barbosa Monteiro Professor Coordenador, Escola Superior de Educação do Porto Música, impressionismo/simbolismo musical, piano performance, palavras-chave Francisco de Lacerda, Claude Debussy. resumo Francisco de Lacerda (1869-1934) foi um compositores mais relevantes da história da música em Portugal, dado o seu papel importante no contexto da escola impressionista deste país. No entanto, as primeiras obras de Lacerda denotam uma linguagem distinta daquela que revela nos seus últimos anos como compositor, ainda ligada a uma abordagem algo conservadora da música, que teve as suas raízes na estética de César Franck e de outros músicos românticos. O trabalho de investigação aqui apresentado procura refletir sobre os principais aspectos biográficos e artísticos que determinaram as transformações da sua linguagem musical, sobretudo no que toca à influência da obra de Claude Debussy e à sua relação pessoal com Lacerda, assim como estabelecer as características estéticas da obra de um importante compositor português. Para além de analisar aspectos da interpretação das obras para piano de Francisco de Lacerda e Claude Debussy, e com base na carreira do autor como pianista e intérprete de Debussy, esta tese termina com uma reflexão sobre a performance das obras para piano de Lacerda, no contexto histórico e estético a que pertencem, e de acordo com as características próprias da sua linguagem musical. Music, musical impressionism/symbolism, piano performance, Francisco keywords de Lacerda, Claude Debussy. abstract Francisco de Lacerda (1869-1934) was arguably one of the most relevant composers in the history of music in Portugal, having established himself as the leading figure within the impressionistic school in the country. However, Lacerda’s early works denote a distinctively different language to that of his later years, still relatively tied to a somewhat conservative approach to music, which had its roots in the aesthetics of César Franck and other romantic musicians. The research hereby presented attempts to reflect on what were the key biographical and artistic aspects that determined the transformations of his language, especially taking into account the influence of Claude Debussy’s work and his personal relationship with Lacerda, as well as establishing the aesthetical framework of an important Portuguese composer. Together with evidence on the interpretation of both Francisco de Lacerda’s and Claude Debussy’s works, and based on the author’s diversified career as a concert pianist and Debussy performer, this thesis ends with a reflexion on the performance of Lacerda’s piano works, in the historical and aesthetical context to which they belong, and according to the characteristics that are exclusive to his work. Table of contents Index of documents ................................................................................................. ii Index of musical examples .................................................................................... iii Introduction ............................................................................................................. 1 Chapter I – Francisco de Lacerda and Claude Debussy: the crossing of two musical paths .......................................................................................................... 11 From the Azores to Lisbon ................................................................... 12 Studying in Paris .................................................................................. 15 Meeting Claude Debussy ..................................................................... 20 Danse du voile, Danse sacrée and Danse profane ............................... 25 Chapter II – A perspective of Francisco de Lacerda’s piano works ................ 37 Early Romanticism and Nationalism .................................................. 38 Turning towards impressionistic modernity ........................................ 45 Later pianistic production: Trente-six histoires pour amuser les enfants d’un artiste ........................................................................................... 51 Chapter III – The influence of Debussy and the identity of Francisco de Lacerda’s piano works ......................................................................................... 59 Stretching and changing the use of tonality ......................................... 61 Expanding score marking capabilities ................................................. 40 Score features as descriptive tools ....................................................... 75 The third phase: signs of Dadaism, miniaturism and an aesthetics of simplicity.............................................................................................. 84 Chapter IV – The performance of Francisco de Lacerda’s piano works ........ 93 Music layers and spatial conception .................................................... 95 Legato playing as an impressionistic brush-stroke ............................ 103 Diverse accentuation markings and keyboard attack types ............... 107 Tempo, rests and general agogic in their depictive dimension ........... 111 Conclusion ........................................................................................................... 115 Bibliography ......................................................................................................... 119 Appendices ........................................................................................................... 128 i Index of documents Image 1: Francisco de Lacerda at his home in Paris ......................................................... 16 Image 2: A letter by Claude Debussy to Francisco de Lacerda of January 22 1907 ........ 21 Image 3: A signed photograph of Claude Debussy dedicated to Francisco de Lacerda ... 22 Image 6: A Claude Debussy postcard to Francisco de Lacerda’s daughter Maria (1907) 30 Image 7: Another Claude Debussy postcard to Francisco de Lacerda’s daughter Maria (1907) ................................................................................................................................ 31 Image 8: The programme of a concert in which Francisco de Lacerda conducted Claude Debussy’s first nocturne of his orchestral work Nuages .................................................. 32 Image 9: A photograph of Alfred Cortot dedicated to Francisco de Lacerda ................... 34 Image 10: Front cover of Alfred Cortot’s recital programme in Teatro de São Carlos, in Lisbon, on April 11 1931, which included the performance of Claude Debussy’s Preludes’ first book ......................................................................................................... 34 Image 11: The autographed manuscript of Henri Duparc’s orchestral nocturne Aux Étoiles dedicated to Francisco de Lacerda ........................................................................ 35 Image 12: Francisco de Lacerda’s manuscript of what would have been his work Pour Le tombeau de Debussy ......................................................................................................... 36 Image 18: The manuscript of Francisco de Lacerda’s Les oiseaux qui s’ent vont pour toujours (Trente-six histoires pour amuser les enfants d’un artiste)................................ 46 Image 29: A publishing cover of some of Francisco de Lacerda’s Trente-six histoires pour amuser les enfants d’un artiste, with an illustration drawn by the composer himself (from a 1922 number of the Contemporânea magazine). ................................................. 55 ii Index of musical examples Image 4: The main theme of Francisco de Lacerda’s Danse du voile .............................. 26 Image 5: The opening bars of Claude Debussy’s Danse sacrée ....................................... 28 Image 13: Francisco de Lacerda’s dedicatory remark “Aos Meus” (“To My People”) in Lusitanas – Valsas de fantasia.......................................................................................... 40 Image 14: The opening bars of Francisco de Lacerda’s Sonatina .................................... 43 Image 15: The opening bars of Johannes Brahms’ Piano Sonata
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