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Florence Rosa Lobo As Canções De Amor De Mozart

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Florence Rosa Lobo As Canções De Amor De Mozart Universidade de Aveiro Departamento de Comunicação e Arte 2010 FLORENCE ROSA AS CANÇÕES DE AMOR DE MOZART CAMARGO LOBO GUARNIERI E DE CLÁUDIO SANTORO Uma Interpretação Informada pelos Contextos Estéticos Originais Universidade de Aveiro Departamento de Comunicação e Arte 2010 FLORENCE ROSA AS CANÇÕES DE AMOR DE MOZART CAMARGO LOBO GUARNIERI E DE CLÁUDIO SANTORO Uma Interpretação Informada pelos Contextos Estéticos Originais Dissertação apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Música - Canto, realizada sob a orientação científica do Doutor António Gabriel Castro Correia Salgado, Professor Auxiliar do Departamento de Comunicação e Arte da Universidade de Aveiro o júri presidente Prof. Doutora Nancy Louisa Lee Harper professora associada com agregação da Universidade de Aveiro Prof. Doutor Luís Filipe Barbosa Loureiro Pipa professor auxiliar do Instituto de Letras e Ciências Humanas da Universidade do Minho Prof. Doutor António Gabriel Castro Correia Salgado professor auxiliar da Universidade de Aveiro agradecimentos A investigação aqui apresentada não teria sido possível sem o apoio e colaboração do Professor Doutor António Salgado; da Pianista Christina Margotto, do Professor Jed Barahal e da Escola Superior de Música e das Artes do Espectáculo – Sala Teresa Macedo; do Dr. Jairo Grossi; dos familiares dos compositores, Vera Sílvia Guarnieri, Gisèle Corrêa Santoro e Alessandro Santoro; do Instituto de Estudos Brasileiros da Universidade de São Paulo e sua Directora, Professora Doutora Ana Lúcia Lanna; do Fundo Camargo Guarnieri e da sua Curadora, Professora Doutora Flávia Toni; da Academia de Música de S. Pio X e da sua Directora, Professora Teresa Rocha; da Direcção do Conservatório de Música de Aveiro de Calouste Gulbenkian; do Pastor Lisânias Moura e de sua esposa, Teca Moura; do Dr. Judson Rohr; do Dr. Gandhi Belo da Silva; do Professor Jaime Mota; das pianistas Alla Pushnenkova, Joana David e Teresa Bento; da minha filha Mara Lobo e de meu marido, Pedro Santos Bento. A estes e a todos os demais que contribuíram para a viabilidade deste projecto registo aqui o meu agradecimento. palavras-chave Camargo Guarnieri, Cláudio Santoro, Treze Canções de Amor, Canções de Amor, canto, canção erudita, Brasil, Interpretação, Música Viva, Mário de Andrade, Hans-Joachim Koellreutter. resumo Entre as obras brasileiras do século XX para canto e piano destacam-se dois ciclos com títulos semelhantes: as Treze Canções de Amor, da autoria de Mozart Camargo Guarnieri, e as Canções de Amor de Cláudio Santoro. O estudo dos ideais estéticos dos compositores, além de mostrar diferenças entre as preocupações de cada um, colocou em evidência um elo de ligação: a importância que ambos concedem à construção formal. A análise dos ciclos revelou a existência de padrões de simetria, em particular estruturas do tipo A—B—A. A presente investigação teve como objectivo a elaboração de uma proposta de recital, com base num modelo que o encara como um acto artístico, comparável no seu todo a uma obra musical. Esse recital foi organizado e estruturado de forma a realçar os padrões formais encontrados nos próprios ciclos. keywords Camargo Guarnieri, Cláudio Santoro, Treze Canções de Amor, Canções de Amor, Love Songs, singing, art song, Brasil, performance, Música Viva, Mário de Andrade, Hans-Joachim Koellreutter. abstract Two song cycles, both named «Love Songs», stand out among 20th century works written by Brazilian composers for voice and piano: Mozart Camargo Guarnieri’s Treze Canções de Amor and Cláudio Santoro’s Canções de Amor. Besides showing different concerns, research of both composers’ aesthetic concerns brought out a link between them: the attention given by both to the building of musical form. Analysis of the song cycles themselves revealed a number of symmetric of symmetric patterns, namely of the A—B—A type, at several levels. The purpose of this research was to elaborate a recital proposal, based on a model which the recital itself is seen as an artistic act, which on its whole may be compared to a musical piece. This recital was organizes and structured so that those formal patterns found within the cycles themselves are enhanced. ÍNDICE INTRODUÇÃO .......................................................... 3 1. BRASIL 1922 – 1954 ................................................... 5 1.1. A Semana de Arte Moderna ....................................... 5 1.2. A «Era Vargas» ................................................ 7 1.3. Da Participação na II Guerra Mundial à Morte de Vargas ............... 11 2. ASPECTOS BIOGRÁFICOS ............................................ 12 2.1. Camargo Guarnieri ............................................. 12 2.2. Cláudio Santoro ............................................... 21 3. CONTEXTO ARTÍSTICO E MUSICAL ................................... 30 3.1. Mário de Andrade .............................................. 30 3.2. Hans-Joachim Koellreutter ....................................... 33 3.3. Música Viva .................................................. 36 3.4. O II Congresso Internacional de Compositores e Críticos Musicais ...... 41 4. IDEAIS ESTÉTICOS .................................................. 46 4.1. Guarnieri ..................................................... 46 4.2. Santoro ...................................................... 48 5. OS CICLOS CANÇÕES DE AMOR ....................................... 54 5.1. Guarnieri ..................................................... 55 5.2. Santoro ...................................................... 69 5.3. Guarnieri vs. Santoro ........................................... 87 6. OPÇÕES INTERPRETATIVAS .......................................... 94 6.1. Concepção Geral do Recital ...................................... 94 6.2. Selecção das Canções a Incluir no Recital ........................... 95 6.3. Organização Sequencial do Recital ................................ 95 6.4. Transposições ................................................. 97 6.5. Canções de Amor – 1ª Série ...................................... 98 6.6. Treze Canções de Amor ........................................ 100 6.6.1. 1º Grupo ............................................ 101 6.6.2. 2º Grupo ............................................ 102 6.6.3. 3º Grupo ............................................ 103 6.7. Canções de Amor – 2ª Série ..................................... 104 7. CONCLUSÃO ....................................................... 106 As Canções de Amor de Mozart Camargo Guarnieri e de Cláudio Santoro – p.1 BIBLIOGRAFIA ....................................................... 108 ANEXO 1 – Obras de Santoro com data e local (1957-60) .......................115 ANEXO 2 – Exemplos Musicais ...........................................118 TABELAS Tabela 2.1 – Cidades em que Santoro provavelmente terá permanecido durante a época de composição das Canções de Amor. Baseada em dados apresentados no anexo 1. ................................................................ 28 Tabela 5.1 – As Treze Canções de Amor de Guarnieri: título, poeta, data, extensão e duração. ......................................................... 56 Tabela 5.2 – As Treze Canções de Amor de Guarnieri: âmbitos. ...................57 Tabela 5.3 – As Treze Canções de Amor de Guarnieri: andamentos, menções verbais e compassos. ....................................................... 61 Tabela 5.4 – As Treze Canções de Amor de Guarnieri: quantidade de sinais de dinâmica por canção e níveis dinâmicos iniciais. .................................65 Tabela 5.5 – As Canções de Amor de Santoro: quatro ordenações. Os números indicam a série e a posição da canção na Edition Savart («2.3» significa «3ª canção da 2ª série»). As 3 Canções Populares aparecem referenciadas com a sigla «CP». ...72 Tabela 5.6 – As Canções de Amor de Santoro: datas e locais das canções de acordo com diversas fontes. ....................................................73 Tabela 5.7 – As Canções de Amor de Santoro: tentativa de ordenação cronológica. ....74 Tabela 5.8 – As Canções de Amor de Santoro: âmbitos. ..........................76 Tabela 5.9 – As Canções de Amor de Santoro: andamentos e compassos. ............79 Tabela 5.10 – As Canções de Amor de Santoro: quantidade de sinais de dinâmica por canção e níveis dinâmicos iniciais. ....................................86 Tabela 5.11 – As Treze Canções de Amor de Guarnieri e as Canções de Amor de Santoro: número médio de indicações de dinâmica por canção, nos dois ciclos. Nas colunas da direita é indicada a percentagem de canções em que existe uma indicação de nível dinâmico no início. ............................................92 GRÁFICOS Gráfico 5.1 – As Treze Canções de Amor de Guarnieri: âmbitos da voz e do piano. ....58 Gráfico 5.2 – As Treze Canções de Amor de Guarnieri: níveis de dinâmica. ..........63 Gráfico 5.3 – As Canções de Amor de Santoro: âmbitos da voz e do piano. ..........77 Gráfico 5.4 – As Canções de Amor de Santoro: indicações de andamento constantes da partitura. Parte superior: Edition Savart; parte inferior: manuscrito autógrafo reproduzido em Hue (2002: II, 53-77) . .................................81 Gráfico 5.5 – As Canções de Amor de Santoro: níveis de dinâmica. ................84 Gráfico 6.1 – Esquema da estrutura do recital. .................................96 p.2 – As Canções de Amor de Mozart Camargo Guarnieri e de Cláudio Santoro INTRODUÇÃO Durante o século XX, a canção para voz e
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