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A Sonata Para Guitarra Na Viena De Beethoven E Schubert

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A Sonata Para Guitarra Na Viena De Beethoven E Schubert UNIVERSIDADE DO ESTADO DE SANTA CATARINA - UDESC CENTRO DE ARTES - CEART CURSO DE PÓS-GRADUAÇÃO EM MÚSICA - PPGMUS MARCOS PABLO DALMACIO A SONATA PARA GUITARRA NA VIENA DE BEETHOVEN E SCHUBERT FLORIANÓPOLIS, SC ANO 2013 MARCOS PABLO DALMACIO A SONATA PARA GUITARRA NA VIENA DE BEETHOVEN E SCHUBERT Dissertação apresentada ao Programa de Pós- graduação em Música/Mestrado da Universidade do Estado de Santa Catarina - UDESC, como requisito parcial para a obtenção do título de Mestre em Música, área de concentração Musicologia/Etnomusicologia. Orientador: Acácio Tadeu de Camargo Piedade FLORIANÓPOLIS, SC 2013 MARCOS PABLO DALMACIO A SONATA PARA GUITARRA NA VIENA DE BEETHOVEN E SCHUBERT Dissertação apresentada ao Programa de Pós-graduação em Música/Mestrado da Universidade do Estado de Santa Catarina - UDESC, como requisito parcial para a obtenção do título de Mestre em Música, área de concentração Musicologia/Etnomusicologia. Banca Examinadora Orientador: _____________________________________ Prof. Dr. Acácio Tadeu de Camargo Piedade UDESC Membro: _____________________________________ Prof. Dr. Marcos Tadeu Holler UDESC Membro: _____________________________________ Prof. Dr. Gilson Antunes UFPB Florianópolis, SC, 02/04/2013 AGRADECIMENTOS Ao Prof. Dr. Acácio Piedade pelo ensino atencioso e objetivo, e pelos preclaros conselhos que em todo momento impediram digressões tanto desnecessárias quanto prejudiciais. Ao Prof. Dr. Marcos Holler, sem cuja ajuda e conselho teria sido impossível sequer pensar em um mestrado, também pelos ensinamentos e pela dedicação de seu tempo na contribuição com precioso material de consulta para este trabalho. Ao Prof. Dr. Gilson Antunes, pelo interesse nesta pesquisa e sua generosa contribuição com valioso material de consulta. Agradeço especialmente ao Prof. Pedro Martelli, quem acreditou neste projeto ainda antes de ter algum elemento concreto, e cuja confiança e amizade estimularam meus melhores esforços. À Música e à Literatura, fonte inesgotável de prazeres, límpida alegria nas horas sublimes e terno consolo nas horas melancólicas. A meus pais, de quem aprendi a gostar das coisas belas, pelo incondicional apoio sempre. A Fernanda, cujo amor e carinho tornam qualquer trabalho, leve. À UDESC, que facilitou todos os caminhos, e pelo grande incentivo através do financiamento de uma bolsa de estudo e diversas viagens. À CAPES, pelo programa de bolsas, que possibilitou, através de seu subsídio financeiro, uma dedicação exclusiva à pesquisa. RESUMO DALMACIO, Marcos Pablo. A sonata para guitarra na Viena de Beethoven e Schubert. 2013. Dissertação (Mestrado em Música – Área: Musicologia/Etnomusicologia) – Universidade do Estado de Santa Catarina. Programa de Pós-graduação em Música, Florianópolis, 2013. Esta dissertação tem como objetivo investigar as sonatas para guitarra compostas e publicadas na cidade de Viena nas primeiras décadas do século XIX. Trata-se de um conjunto de vinte obras, escritas por quatro compositores: Simon Molitor, Wenzeslaus Matiegka, Anton Diabelli e Mauro Giuliani. O estudo envolve uma discussão sobre a sonata enquanto gênero e forma, questões históricas e sociais, análise formal e estilística de cada uma destas obras e aspectos comparativos em relação a obras de outros compositores do mesmo período, tais como Haydn, Mozart, Beethoven e Schubert. Uma sonata de cada compositor é analisada extensivamente e as restantes são comentadas nas suas características sobressalentes. Palavras-chave: Sonata. Guitarra. Viena. Período clássico. ABSTRACT DALMACIO, Marcos Pablo. The sonatas for guitar in Beethoven´s and Schubert´s Vienna. 2013. M.A. Thesis in Musicology-Ethnomusicology – Universidade do Estado de Santa Catarina. Programa de Pós-graduação em Música, Florianópolis, 2013. The aim of this dissertation is to investigate the sonatas for guitar that were composed and published in Vienna in the early XIXth. Century. There are twenty works, written by four composers: Simon Molitor, Wenzeslaus Matiegka, Anton Diabelli e Mauro Giuliani. This study includes discussions about the sonata as genre and as form, social and historical issues, stylistic and formal analysis’ of all these works, as well as comparative aspects in relation to other works of the same period written by composers such as Haydn, Mozart, Beethoven and Schubert. From each of the four composers of the sonatas for guitar, one sonata is fully analyzed and the others are commented in their most important characteristics. Key-words: Sonata. Guitar. Vienna. Classical Era. SUMÁRIO INTRODUÇÃO .........................................................................................................................8 PRIMEIRA PARTE 1 VIENA NA ÉPOCA DE BEETHOVEN E SCHUBERT ............................................12 1.1 HISTÓRIAS PARALELAS, MUNDOS QUE CONVERGEM.......................................12 1.2 MÚSICA PÚBLICA E PRIVADA, DIVERSAS MANIFESTAÇÕES EM VIENA.......27 2 A SONATA, GÊNERO E FORMA NO COMEÇO DO SÉCULO XIX ....................39 2.1 A SONATA NO ÂMBITO PRIVADO E A SONATA DE CONCERTO.......................39 2.2 A SONATA PARA INSTRUMENTO SOLISTA............................................................41 2.3 A SINFONIA E A ABERTURA......................................................................................43 2.4 ALGUMAS CONSIDERAÇÕES DO PASSADO E DO PRESENTE SOBRE AS FORMAS DE SONATA...........................................................................................................49 3 AS FORMAS DE SONATA NA MÚSICA DE CÂMARA COM GUITARRA ........56 3.1 FORMAÇÕES INSTRUMENTAIS.................................................................................56 3.2 A MÚSICA DE CÂMARA COM GUITARRA EM VIENA..........................................63 3.3 OUTROS INTERESSES DOS COMPOSITORES GUITARRISTAS............................71 4 ATIVIDADE GUITARRÍSTICA NA VIENA DE BEETHOVEN E SCHUBERT ..75 4.1 A GUITARRA DE 6 CORDAS........................................................................................76 4.2 O MERCADO EDITORIAL: PUBLICAÇÃO DE PARTITURAS E MÉTODOS.........82 4.3 MÚSICA PARA O AFICIONADO E O PROFISSIONAL.............................................89 4.4 SONATAS PARA GUITARRA NA FRANÇA, ITÁLIA E ALEMANHA....................91 SEGUNDA PARTE 5 SONATAS PARA GUITARRA EM VIENA ..............................................................98 5.1 MOLITOR (1766-1848)................................................................................................100 5.1.1 Simon Molitor, um nome quase desconhecido.............................................................100 5.1.2 A primeira sonata para guitarra publicada em Viena: Sonata n° 1, Opus 7..................102 5.1.3 Sonata n° 2, em Dó maior, Opus 11..............................................................................136 5.1.4 Sonata n° 3, em Dó maior, Opus 12..............................................................................140 5.1.5 Sonata n° 4, em Sol maior, Opus 15.............................................................................146 5.2 MATIEGKA (1773-1830)............................................................................................149 5.2.1 Matiegka olvidado, redescoberto através de Schubert.................................................149 5.2.2 Grande Sonate n° 1, em Ré maior (1808).....................................................................152 5.2.3 Grande Sonate n° 2 em Lá maior..................................................................................191 5.2.4 Grande Sonate n° 3 em Mi maior..................................................................................197 5.2.5 Sonate Facile , em Dó maior, opus 16...........................................................................198 5.2.6 Sonate Progressive , em Sol maior, opus 17..................................................................199 5.2.7 Sonate em Si menor, opus 23........................................................................................201 5.2.8 Six Sonates progressives, opus 31................................................................................206 5.3 DIABELLI (1781-1854)...............................................................................................222 5.3.1 Sonata em Dó maior, Opus 29 n° 1...............................................................................224 5.3.2 Sonata em Lá maior, Opus 29 n° 2.............................................................................. 245 5.3.3 Sonata em Fá maior, Opus 29 n° 3................................................................................251 5.4 GIULIANI (1781-1829)................................................................................................258 5.4.1 Sonata em Dó maior, Opus 15 (1808)...........................................................................262 CONCLUSÃO .......................................................................................................................291 REFERÊNCIAS ....................................................................................................................293 GLOSSÁRIO .........................................................................................................................299 8 INTRODUÇÃO Quando se fala sobre um período da história da música, qualquer um que for, é comum associar rapidamente a ele alguns nomes representativos de tal época, que certamente se encontram entre os mais conhecidos e são aqueles sobre cuja vida e obra se escreve e se lê com frequência, e cuja música forma
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