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O Percurso Da Intersecção Olivier Messiaen-Almeida Prado: Momentos, La Fauvette Des Jardins E Cartas Celestes

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O Percurso Da Intersecção Olivier Messiaen-Almeida Prado: Momentos, La Fauvette Des Jardins E Cartas Celestes TADEU MORAES TAFFARELLO O PERCURSO DA INTERSECÇÃO OLIVIER MESSIAEN-ALMEIDA PRADO: MOMENTOS, LA FAUVETTE DES JARDINS E CARTAS CELESTES. Tese apresentada ao Departamento de Música do Instituto de Artes da Universidade Estadual de Campinas para a obtenção do Título de Doutor em Música. Área de concentração: Fundamentos Teóricos. Orientador: Prof. Dr. Silvio Ferraz de Mello Filho CAMPINAS 2010 iii FICHA CATALOGRÁFICA ELABORADA PELA BIBLIOTECA DO INSTITUTO DE ARTES DA UNICAMP Taffarello, Tadeu Moraes. T123p O percurso da intersecção Olivier Messiaen-Almeida Prado: Momentos, La Fauvette des Jardins e Cartas Celestes. / Tadeu Moraes Taffarello. – Campinas, SP: [s.n.], 2010. Orientador: Prof. Dr. Silvio Ferraz Mello Filho. Tese(doutorado) - Universidade Estadual de Campinas, Instituto de Artes. 1. Messiaen, Olivier, 1908-1992. 2. Prado, Almeida, 1943- 3. Música. 4. Análise musical. I. Mello Filho, Silvio Ferraz. II. Universidade Estadual de Campinas. Instituto de Artes. III. Título. (em/ia) Título em inglês: " The route of the intersection Olivier Messiaen-Almeida Prado: Momentos, La Fauvette des Jardins and Cartas Celestes..” Palavras-chave em inglês (Keywords): Messiaen, Olivier, 1908-1992 ; Prado, Almeida, 1943- ; Music ; Musical analysis. Titulação: Doutor em Música. Banca examinadora: Prof. Dr. Silvio Ferraz Mello Filho. Prof. Dr. José Augusto Mannis. Profª. Drª. Denise Hortência Lopes Garcia. Prof. Dr. Paulo Roberto Ferraz von Zuben. Profª. Drª. Marisa Barcellos Rezende. Prof. Dr. José Antonio Rezende de Almeida Prado. Prof. Dr. Jônatas Manzolli. Prof. Dr. Didier Jean Georges Guigue. Data da Defesa: 07/05/2010 Programa de Pós-Graduação: Música. iv Folha de aprovação v Dedicatória Dedico este trabalho à minha querida esposa Lígia Formico Paoletti pelo amor e pela compreensão a mim doados. vii Agradecimentos A Deus. À Fapesp pelo apoio financeiro durante toda a pesquisa. Ao meu orientador Prof. Dr. Silvio Ferraz de Mello Filho pelas sugestões e direcionamentos dados durante a pesquisa. À Unicamp, em especial aos colegas, alunos, professores e funcionários do Instituto de Artes. Ao Cdmc/Unicamp por possibilitar um contato com o acervo de partituras escritas por Almeida Prado. Ao Olivier Messiaen in memorian e ao Almeida Prado pelas obras-primas musicais. Ao meu amigo Mikhail Malt que me acolheu de braços abertos durante a minha estada na França. A Claude Ledoux que me abriu as portas do Conservatório de Paris para a realização de algumas das etapas da pesquisa. Aos compositores Almeida Prado, Allain Gaussin e Michel Fano e ao físico Antônio Ribeiro de Toledo Piza pelas entrevistas concedidas. À Denise Garcia, ao José Augusto Mannis, ao Jônatas Manzolli, ao Claudiney Carrasco e ao Marcos Branda Lacerda pelas prestimosas dicas durante as bancas de monografia e de qualificação. Ao José Augusto Mannis, à Denise Garcia, ao Paulo Zuben e à Marisa Rezende pela participação na banca de defesa; À minha esposa Lígia que se uniu a mim em matrimônio durante o período de realização da pesquisa. ix Aos meus pais Valdir e Cristina; irmãos André e Paulo; cunhadas Luciana e Ingrid; e sobrinho(a)s Sofia, Pedro, Luara e Felipe pelo carinho e pelo suporte. Aos meus sogros Dante e Silvana, ao casal Felipe e Tatiana e à minha cunhada Camila que me acolheram em sua família como um membro querido. Aos meus queridos colegas que suportaram comigo o frio intenso do inverno francês de 2008/2009 na Maison du Brésil. À Camila e à Lígia pela grande ajuda com o abstract. A todas as pessoas que participaram, contribuindo para a realização deste trabalho, direta ou indiretamente, meu agradecimento. x Epígrafe “Uma personalidade forte, se reage inteligentemente e aproveita o que lhe é proposto, não se deixará jamais governar. Seu orgulho próprio o impedirá, de maneira justa, e seus reflexos não o deixarão jamais se levar por uma vontade outra. De toda maneira, manobras parecidas são vãs; nós sabemos o resto, a história é notoriamente ‘imprevisível’ apesar da continuidade do contexto histórico. Que me permitam de citar-me a mim mesmo: ‘a obra somente existe se ela é imprevisível diante de uma necessidade’. Assim mesmo, o aluno, no melhor deste termo, será imprevisível tanto a si mesmo como a seu mestre. Alguns choques podem se produzir, com consequências incalculáveis, a partir de encontros ou de formulações que não parecem ao primeiro passo de uma tal importância. O relacionamento da inteligência do mestre àquela do aluno me aparece como uma espécie de detonador: a massa implícita no aluno somente saberá se detonar sob o efeito da substância intelectual do mestre; mas a pungência desta detonação está em uma função nula com a pungência do próprio detonador e seu mecanismo pode se ativar sem que o detonador tome disso consciência. Pude fazer eu mesmo essa experiência enquanto estudava com Olivier Messiaen: algumas frases, alguns pontos de vista que ele expunha incidentemente podiam estar entre aqueles que mais me tocaram e dos quais eu guardo ainda uma recordação verdadeiramente presente.” – Pierre Boulez xi Resumo Uma intersecção é uma conexão irreproduzível de uma multiplicidade de linhas de força constituídas pelas mais variadas imanências do Mundo. Acreditando-se que ela se manifesta também no campo musical, o presente trabalho traz uma amostra concreta de uma intersecção em música ao centrar-se na relação entre Almeida Prado e Olivier Messiaen, tendo por objetivo principal revelar algumas das potências sonoras absorvidas na formação do compositor paulista no período em que ele foi aluno de Messiaen, entre 1969 e 1973, e postas a campo na escrita da sua peça para piano solo Cartas Celestes I, de 1974. Para tanto, foi feito um estudo analítico comparativo entre essa peça e as peças para piano solo VI Momentos , 2º caderno de 1969, também de Almeida Prado, e La Fauvette des Jardins, 1971, de Olivier Messiaen. Dentre os resultados obtidos, percebeu-se que na escrita da peça de 1969, além de Almeida Prado apresentar uma exploração textural com a qual se pôde fazer um paralelo com o ciclo de peças para piano de Villa-Lobos Prole do Bebê nº 2, o compositor paulista demonstrava um conhecimento prévio de alguns conceitos da música do seu futuro professor francês, em especial com a técnica aplicada por Messiaen em Vingt Regards sur L’Énfant-Jésus , peça para piano solo de 1944. Em Cartas Celestes I, peça posterior ao período de estudos de Almeida Prado na França, encontraram-se diferenças com o 2º caderno de Momentos de 1969 e semelhanças com a peça de Messiaen analisada, La Fauvette des Jardins , comprovando a hipótese de que houve mudanças significativas na escrita musical do compositor paulista no período. Além disso, foi possível traçar intersecções na peça de Almeida Prado de 1974 com a produção de Ligeti, de Murail e de Gaussin. Como conclusão, percebeu-se que a intersecção Olivier Messiaen- Almeida Prado se apresenta de maneira rizomática, caracterizada pelas múltiplas conexões, pela decalcomania e pela irreprodutibilidade do rizoma presentes nas Cartas Celestes I que fazem com que esta peça se torne única, insubstituível e original em seu contexto histórico e dentro do processo de formação do compositor paulista. Palavras-chave : Música; Análise musical; Olivier Messiaen; Almeida Prado. xiii Abstract An intersection is a nonreproducible connection of a multiplicity of lines consisting by the most varied immanences in the World. Giving credit that it also manifests in the musical field, the present study shows a concrete sample of the intersection in music by centering itself into the relationship between Almeida Prado and Olivier Messiaen, aiming to disclose some of the sonorous potencies absorbed by the Brazilian composer during the period in which he was Messiaen’s pupil, from 1969 to 1973, and put into practice while composing his piano solo piece Cartas Celestes I, from 1974. Therefore, a comparative analytical study has been done between the above mentioned piece, the piano solo pieces VI Momentos , 2nd book - 1969, also by Almeida Prado and La Fauvette des Jardins , 1971, by Olivier Messiaen. Amongst the obtained results, it has been noticed that in the compositional writing of the 1969 piece, Almeida Prado presented a textural exploration with which a parallel with Villa-Lobos cycle of pieces for piano Prole do Bebê nº 2 can be done. Furthermore, the Brazilian composer demonstrated a previous knowledge of some concepts of his future French teacher’s musical production, especially from the technique applied by Messiaen in Vingt Regards sur L'Enfant-Jesus , piano solo piece from 1944. In Cartas Celestes I, piece that is subsequent to Almeida Prado’s studies in France, there were found differences from the 2 nd book of Momentos from 1969 and resemblances with the analyzed Messiaen’s piece, La Fauvette des Jardins , proving the hypothesis that there were significant changes in the musical writing of the Brazilian composer in the period. Moreover, it was possible to trace the intersections in the piece of Almeida Prado from 1974 with the production of Ligeti, of Gaussin and of Murail. Hence, it has been identified that the intersection Olivier Messiaen-Almeida Prado presents itself in a rhizomatic way, characterized by the multiple connections, by the decalcomania and by the rhizome’s non reproductability, all presented in Cartas Celestes I making it unique, irreplaceable and original in its historical context and within the Brazilian composer’s developing process. Key words: Music; Musical analysis; Olivier Messiaen; Almeida Prado. xv Lista de figuras
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