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Sinfonia Da Alvorada D'antonio Carlos Jobim

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Sinfonia Da Alvorada D'antonio Carlos Jobim Université de Montréal Brasília – Sinfonia da Alvorada d’Antonio Carlos Jobim Enjeux esthétique et idéologique d’une commande de l’état brésilien par Paulo Vitor de Oliveira Bottas M.A. Musicologie Faculté de Musique de l’Université de Montréal Mémoire présenté en vue de l’obtention du grade de maître en Musique option Musicologie Mai, 2017 © Paulo Vitor de Olveira Bottas, 2017 Ce mémoire est dédié à ma famille. À Lidia et Louis, pour tout l'amour que vous m’avez offert et qui a soutenu ce travail. TABLE DES MATIÈRES REMERCIEMENTS PAR ORDRE AFFECTIF I RÉSUMÉ II ABSTRACT IV RESUMO VI INTRODUCTION 1 CHAPITRE I 12 1 ÉLÉMENTS BIOGRAPHIQUES 12 1.1 L’ENFANCE ET LA MUSIQUE EN MILIEU FAMILIAL 13 1.2 L’ADOLESCENCE ET L’ÉDUCATION MUSICALE 17 1.3 L’ÂGE ADULTE ET LA CARRIÈRE PROFESSIONNELLE 22 1.4 ORFEU DA CONCEIÇÃO, UNE ŒUVRE DÉCISIVE DANS LA CARRIÈRE D’ANTONIO CARLOS JOBIM 29 CHAPITRE II 34 2 À LA QUÊTE DE L’IDENTITÉ MUSICALE BRÉSILIENNE 34 2.1 LA QUESTION NATIONALISTE DERRIÈRE LA CRITIQUE À ANTONIO CARLOS JOBIM 35 2.2 MÁRIO DE ANDRADE, LES PRINCIPES ESTHÉTIQUES DU MODERNISME BRÉSILIEN ET SON INFLUENCE SUR JOBIM 39 2.3 VILLA-LOBOS ET JOBIM, LA PERSONNIFICATION DU COMPOSITEUR MODERNISTE BRÉSILIEN 42 CHAPITRE III 50 3 MUSIQUE ET POLITIQUE 50 3.1 POURQUOI JOBIM ET NON VILLA-LOBOS? 51 3.2 VILLA-LOBOS, UN BRÉSILIEN À PARIS 56 3.3 CONVERGENCE ENTRE LA MUSIQUE DE VILLA-LOBOS ET LA POLITIQUE DE GETÚLIO VARGAS 59 3.4 JUSCELINO KUBITSCHEK : LE PRÉSIDENT BOSSA NOVA ET L’ÉVEIL D’UNE NATION 64 CHAPITRE IV 69 4 LA NOUVELLE CAPITALE ET LA COMPOSITION DE LA SYMPHONIE 69 i 4.1 BRASILIA, LA CONSTRUCTION DE LA NOUVELLE CAPITALE ET LA COMMANDE DE LA SYMPHONIE 70 4.2 BRASILIA – SINFONIA DA ALVORADA, LA COMMANDE DE L’ŒUVRE 74 4.3 L’UTOPIE DE L’ERE JK DANS LE RECIT DU VOYAGE A BRASILIA 80 4.4 LA PREMIERE QUI N’EUT JAMAIS LIEU ET LA FIN DE L’ERE JK 85 CHAPITRE V 92 5 L’ANALYSE DE BRASÍLIA – SINFONIA DA ALVORADA 92 5.1 LES PRINCIPES DE L’ANALYSE DE LA SYMPHONIE 93 5.2 LE PREMIER MOUVEMENT, « O PLANALTO DESERTO » 95 5.3 LE DEUXIÈME MOUVEMENT, « O HOMEM » 102 5.4 LE TROISIÈME MOUVEMENT, « A CHEGADA DOS CANDANGOS » 117 5.5 LE QUATRIÈME MOUVEMENT, « O TRABALHO E A CONSTRUÇÃO » 128 5.6 LE CINQUIÈME MOUVEMENT, « CORAL » 164 CONCLUSION 176 BIBLIOGRAPHIE 182 ii LISTE DES EXEMPLES MUSICAUX EXEMPLE 1 : JOBIM, SINFONIA DA ALVORADA, I, « O PLANALTO DESERTO », MES. 1-8. ........................................ 95 EXEMPLE 2 : JOBIM, SINFONIA DA ALVORADA, I, « O PLANALTO DESERTO », MES. 9-19. ...................................... 96 EXEMPLE 3 : JOBIM, SINFONIA DA ALVORADA, I, « O PLANALTO DESERTO », MES. 19-43. .................................... 97 EXEMPLE 4 : JOBIM, SINFONIA DA ALVORADA, I, « O PLANALTO DESERTO », MES. 44-48. .................................... 98 EXEMPLE 5 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MES. 1-3. .................................................... 103 EXEMPLE 6 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MES. 6-11. ................................................. 103 EXEMPLE 7 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », PREMIER MOTIF : MES. 1-2, DEUXIÈME MOTIF : MES. 7-9. ................................................................. 104 EXEMPLE 8 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MES. 5-6. .................................................... 104 EXEMPLE 9 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MES. 10-13. ................................................ 105 EXEMPLE 10 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MES. 10-19. .............................................. 106 EXEMPLE 11 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MES. 13-18. .............................................. 107 EXEMPLE 12 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM » , REPETITION EN OSTINATO DE LA CELLULE RYTHMIQUE. ......................................................................... 107 EXEMPLE 13 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MOTIFS MÉLODIQUES « LA NATURE, CALME ET LIBRE DE DÉSIRS ». ............................................................................................................................. 108 EXEMPLE 14 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MES. 20-33. .............................................. 109 EXEMPLE 15 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MES. 34-42. .............................................. 110 EXEMPLE 16 : VILLA-LOBOS, BACHIANAS BRASILEIRAS N° 1, « INTRODUCTION (EMBOLADA) », MES. 1-14. ............ 111 EXEMPLE 17 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MES. 55-62. 113 EXEMPLE 18 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MES. 62-73. .............................................. 114 EXEMPLE 19 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MES. 74-82. .............................................. 115 EXEMPLE 20 : CELLULE RYTHMIQUE DU BAIÃO. .......................................................................................... 117 EXEMPLE 21 : LUIZ GONZAGA & HUMBERTO TEIXEIRA, ASA BRANCA. ............................................................ 119 EXEMPLE 22 : JOBIM, SINFONIA DA ALVORADA, III, « A CHEGADA DOS CANDANGOS », MES. 1-12. ....................... 120 EXEMPLE 23 : JOBIM, SINFONIA DA ALVORADA, III, « A CHEGADA DOS CANDANGOS », MES. 13-24. ..................... 121 EXEMPLE 24 : JOBIM, SINFONIA DA ALVORADA, III, « A CHEGADA DOS CANDANGOS », MES. 25-34. ..................... 122 EXEMPLE 25 : JOBIM, SINFONIA DA ALVORADA, III, « A CHEGADA DOS CANDANGOS », MES. 35-40. ..................... 122 EXEMPLE 26 : GAMME ACOUSTIQUE EN RÉ. .............................................................................................. 123 EXEMPLE 27 : JOBIM, SINFONIA DA ALVORADA, III, « A CHEGADA DOS CANDANGOS », MES. 41-54. ..................... 124 EXEMPLE 28 : TROIS MOTIFS MIXOLIDIENS DU MOVEMENT A CHEGADA DOS CANDANGOS. ................................... 124 EXEMPLE 29 : JOBIM, SINFONIA DA ALVORADA, III, « A CHEGADA DOS CANDANGOS », MES. 71-78. ..................... 125 EXEMPLE 30 : JOBIM, SINFONIA DA ALVORADA, III, « A CHEGADA DOS CANDANGOS », MES. 79-86. ..................... 126 EXEMPLE 31 : JOBIM, SINFONIA DA ALVORADA, III, « A CHEGADA DOS CANDANGOS », MES. 87-94. ..................... 126 EXEMPLE 32 : JOBIM, SINFONIA DA ALVORADA, III, « A CHEGADA DOS CANDANGOS », MES. 95-102. ................... 127 EXEMPLE 33 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 1-30. ..................... 131 EXEMPLE 34 : GAMME PHYGIENNE EN DO. ............................................................................................... 132 EXEMPLE 35 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 1-30. ..................... 133 EXEMPLE 36 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 1-30. ..................... 135 EXEMPLE 37 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 31-38. ................... 137 iii EXEMPLE 38 : COMPARAISON ENTRE LE DÉBUT DE LA MÉLODIE DU CHANT GRÉGORIEN DIES IRÆ, DIES ILLA ET LE THÈME DU PALÁCIO DA ALVORADA. .............................................................................................................. 137 EXEMPLE 39 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 31-42. ................... 138 EXEMPLE 40 : MOTIF DE O PLANALTO DESERTO PRÉSENT DANS LE QUATRIÈME MOUVEMENT, O TRABALHO E A CONSTRUÇÃO. ........................................................................................................................... 138 EXEMPLE 41 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 39-42. .................... 140 EXEMPLE 42 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 43-49. ................... 141 EXEMPLE 43 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 50-62. .................... 142 EXEMPLE 44 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 57-62. ................... 143 EXEMPLE 45 : STRAVINSKI, LE SACRE DU PRINTEMPS, II, « DANSE DES ADOLESCENTES », MES. 1-7. ....................... 144 EXEMPLE 46 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 63-74. ................... 145 EXEMPLE 47 : DIFFÉRENTES TONALITÉS DU THEME DU PALÁCIO DA ALVORADA.................................................. 145 EXEMPLE 48 : DIFFÉRENTES TONALITÉS DU THEME DU PALÁCIO DA ALVORADA.................................................. 146 EXEMPLE 49 : SUPERPOSITION DU THEME DU PALÁCIO DA ALVORADA AU THÈME DE O PLANALTO DESERTO. ............ 147 EXEMPLE 50 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 57-62. ................... 148 EXEMPLE 51 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 87-90. ................... 148 EXEMPLE 52 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 91-99. ................... 149 EXEMPLE 53 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 100-122. ................ 150 EXEMPLE 54 : VILLA-LOBOS, CHORO N° 10, I, « RASGA O CORAÇÃO », NUMÉRO DE RÉPÉTITION 6. ....................... 151 EXEMPLE 55 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 123-131. ................ 153 EXEMPLE 56 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 132-155. ................ 154 EXEMPLE 57 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 156-165. ................ 155 EXEMPLE 58 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 167-177. ................ 156 EXEMPLE 60 : JOBIM, SINFONIA DA
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