José Ivo Da Silva Fantasia Em Três Movimentos

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José Ivo Da Silva Fantasia Em Três Movimentos UNIVERSIDADE ESTADUAL PAULISTA “JÚLIO DE MESQUITA FILHO” INSTITUTO DE ARTES – SÃO PAULO JOSÉ IVO DA SILVA FANTASIA EM TRÊS MOVIMENTOS EM FORMA DE CHÔROS DE HEITOR VILLA-LOBOS: ANÁLISE E CONTEXTUALIZAÇÃO DE SEU ÚLTIMO PERÍODO SÃO PAULO 2008 Livros Grátis http://www.livrosgratis.com.br Milhares de livros grátis para download. 2 JOSÉ IVO DA SILVA FANTASIA EM TRÊS MOVIMENTOS EM FORMA DE CHÔROS DE HEITOR VILLA-LOBOS: ANÁLISE E CONTEXTUALIZAÇÃO DE SEU ÚLTIMO PERÌODO Dissertação de mestrado apresentado no Instituto de Artes da Universidade Estadual Paulista – UNESP, como exigência para o título de mestre em música. Orientador: Prof. Dr. Marcos Fernandes Pupo Nogueira SÃO PAULO 2008 3 Banca Examinadora Prof. Dr. Marcos Pupo Nogueira __________________________________ Profª. Dra. Valerie Ann Albright __________________________________ Prof. Dr. Paulo de Tarso Salles __________________________________ 4 Dedicatória Em memória de Ricardo Rizek, professor e amigo, silenciosamente presente neste trabalho. À Lucia Faria, uma ouvinte paciente e grande incentivadora. 5 Agradecimentos A realização deste trabalho só foi possível graças à colaboração direta ou indireta de muitas pessoas e instituições. Manifesto minha gratidão a todas elas e de modo particular: Ao meu orientador Prof. Dr. Marcos Pupo Nogueira, pela confiança e pelas pacientes correções de curso durante todo o processo de confecção deste trabalho, o que certamente o dotou de qualidade e relevância. À Profª. Dra. Valerie Albright e ao Prof. Dr. Vitor Gabriel, pelas valiosas sugestões em meu exame de qualificação. Aos meus amigos que incentivaram e foram “bons ouvidos” durante o período de confecção deste trabalho: Paulo de Tarso Salles, Gilberto Assis Rosa, Sérgio Molina, Orlando Marcos Mancini, Itamar Vidal, César Henrique Franco e Alexandre Franciscini. Ao maestro Abel Rocha, Sérgio Wontroba e ao staff da Banda Sinfônica do Estado de São Paulo. À Cláudia Leopoldino e Pedro Belchior, do Museu Villa-Lobos, que gentilmente atenderam minhas solicitações. À Lucia Faria e Luciana Soldi pelas preciosas revisões e correções da língua portuguesa. Ao Julio César Lancia pelas revisões das citações traduzidas da língua inglesa. Aos funcionários da Secretaria e da Biblioteca da UNESP. 6 Resumo Esta pesquisa aborda, analiticamente, a Fantasia em três movimentos em forma de chôros, de Heitor Villa-Lobos, uma das obras de sua produção sinfônica para orquestra de sopros. Inserida em seu último período de produção musical, esta obra foi comissionada pela American Wind Symphony Orchestra e composta em 1958. A contextualização deste período é o assunto do início deste trabalho. Em seguida, procede-se à análise em duas etapas: a primeira tem o foco direcionado para os termos “fantasia” e “forma de chôros”, sugeridos no título; e a segunda etapa é a análise dos procedimentos e técnicas composicionais utilizados pelo compositor brasileiro nesta obra, principalmente, material escalar, textura e tendências pandiatônicas. O principal objetivo desse trabalho é evidenciar procedimentos musicais presentes nesta fase do compositor. Palavras-chave : Villa-Lobos, fantasia, análise musical, orquestra de sopros. 7 Abstract This research analytically approaches Heitor Villa-Lobos’s Fantasia em três movimentos em forma de chôros, one of his symphonic pieces for wind orchestra. From the latter period of his production, this piece was commissioned by the American Wind Symphony Orchestra and composed in 1958. The first section of this study contextualizes the period. A two-stage analysis follows: the first part focuses the words “ fantasia ” and “ forma de chôros ” as suggested in the title; the second part analyzes the compositional procedures and techniques used by the Brazilian composer in the piece, mainly scale material, texture and pandiatonic tendencies. The main purpose of this work is to make evident the musical procedures used by the composer at that time of his life. Keywords: Villa-Lobos, fantasia, musical analysis, wind orchestra. 8 SUMÁRIO Dedicatória Agradecimentos Resumo Abstract Sumário Introdução .................................................................................................... 10 1. Primeiro Capítulo - Villa-Lobos: Último período de sua produção musical 1.1 Fases produtivas de Villa-Lobos ........................................................ 17 1.2 Panamericanismo e “Política de Boa Vizinhança”...............................22 1.3 Primeiras obras de Villa-Lobos ouvidas nos Estados Unidos ....... 24 1.4 Negociações para a primeira viagem aos Estados Unidos ........... 26 1.5 Produção musical do último período .................................................. 29 1.6 American Wind Symphony Orchestra ................................................ 36 2. Segundo Capítulo - Fantasia em três movimentos em forma de chôros 2.1 O termo “fantasia”: conceito e transformações da Renascença ao Barroco ................................................................................................. 41 2.1.1 Alguns traços da assimilação dos procedimentos da “fantasia” presentes nas Bachianas Brasileira s de Villa-Lobos ............... 51 2.1.2 A “fantasia” nos períodos clássico e romântico ....................... 55 2.1.3 Alguns traços românticos nas primeiras “fantasias” de Villa-Lobos ......................................................................... 60 2.1.4 D’Indy e Villa-Lobos ............................................................... 61 2.1.5 Outras “fantasia” de Villa-Lobos ............................................. 64 2.2 O termo “forma de chôros” .................................................................. 70 9 3. Terceiro Capítulo – Análise da Fantasia em três movimentos em forma de Chôros ........................................................................................ 74 3.1 Forma: uma conformidade externa da organização temática ............... 75 3.2 Primeiro Movimento – Andante quase Adagio ................................ 78 3.2.1 Aspectos temáticos ................................................................... 80 3.2.2 O uso de modos menores ......................................................... 82 3.2.3 O uso de modos derivados da menor harmônica e melódica ... 86 3.2.4 Variações no acompanhamento ................................................. 95 3.2.5 Material contrastante e derivações temáticas .......................... 102 3.3 Segundo Movimento - Allegretto (scherzando) e o conceito de textura .............................................................................................................. 107 3.3.1 Aspectos formais ..................................................................... 114 3.3.2 Motivo textural e seus desdobramentos na primeira seção ..... 115 3.3.3 Afinidades temáticas entre primeiro e segundo movimentos .. 121 3.3.4 O emprego de paralelismo ....................................................... 122 3.3.5 Paralelismo aplicado ao tema da seção B ................................ 125 3.3.6 Última seção do segundo movimento ...................................... 129 3.4 Terceiro movimento - Molto Allegro .............................................. 135 3.4.1 Tendência pandiatônica ........................................................... 136 3.4.2 O uso de escalas pentatônicas .................................................. 146 3.4.3 Variações melódicas ................................................................ 148 3.4.4 Polirritmia e tendências pandiatônicas .................................... 151 4. Conclusões ................................................................................................ 156 5. Referências bibliográficas ....................................................................... 160 5.1 – Partituras e CD .............................................................................. 167 6. Anexo 1 – Partitura da Fantasia em três movimentos em forma de chôros Anexo 2 – CD Fantasia Amazônica 10 Introdução “Toda ocasião em que um coral (de louvores) patriótico cantava maravilhas do autor do ‘Descobrimento do Brasil ’, glorificando-o como o músico maior das Américas, eu – por meu turno – sempre exigi que as loas correspondessem à verdade, e o fato é que desde a base das argumentações dos Novos Compositores Seriais, duvidei. Uma ou outra coisa do Villa chegava-me, mas a responsabilidade da consciência da História me impedia de dizer amém a mais esta glória nacional, de cujo cimo esplendia Rui Barbosa, a Águia de Haia, Marechais diversos da terra mar e ar, e quase uma vintena do Forte, e vocês sabem quanto mais. Assim foi que desde início dos anos sessenta tive que matar Villa-Lobos. Parricídio ou Regicídio. Para que a verdade que se fizera em mim: triunfasse.”(Willy Corrêa de Oliveira, 2008) 1. Em 13 de outubro de 1992, a Banda Sinfônica do Estado de São Paulo promovia a estréia brasileira da Fantasia em três movimentos em forma de chôros 2 de Heitor Villa-Lobos. Ao se considerar que esta obra foi escrita em 1958 e obteve sua estréia mundial em 29 de junho desse mesmo ano, nos Estados Unidos, o que causaria esse hiato de 34 anos antes de ser ouvida em seu país? A Fantasia em três movimentos , juntamente com o Concerto Grosso para flauta, oboé, clarineta, fagote e orquestra de sopros (1959) são obras para orquestra de sopros que integram uma lista de composições comissionadas por entidades norte-americanas no último período da produção musical do compositor brasileiro. Elas foram encomendadas por Mrs. S. J. Anathan, para a American Wind Symphony Orchestra,
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