Edição crítica do Concerto para piano e orquestra, op.10, de Henrique Oswald
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Data
2020-03-27
Autores
Amadio, Ligia [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
O objetivo nuclear de nosso trabalho foi realizar a edição crítica do Concerto para piano e orquestra, op.10, de autoria de Henrique Oswald. A tese consistiu na pesquisa e coleta (recencio), no exame e na classificação rigorosa dos manuscritos que contêm a obra em foco; cotejo (colatio) dos manuscritos, a fim de identificar os seus lugares-críticos e proceder à organização genealógica (estemática) dos testemunhos; finalmente, com base em todo o trabalho anteriormente realizado, estabelecer o texto crítico da obra em questão (emendatio). O trabalho resultou na edição crítica do Concerto para piano e orquestra, op.10, de Henrique Oswald, nunca antes, aliás, editado criticamente. O capítulo 1 versa, compendiosamente, sobre os princípios fundamentais que articulam e orientam o trabalho ecdótico, isto é, o trabalho cujo objetivo é o estabelecimento crítico do texto de uma obra (literária, musical, etc); o capítulo 2 tece considerações históricas sobre o compositor e, mais especificamente, a respeito da obra da qual realizamos a edição crítica; o capítulo 3 descreve as fontes existentes ou conhecidas, sua classificação e como foram utilizadas; o capítulo 4 apresenta a introdução crítica e o método editorial usado; o capítulo 5 apresenta o aparato crítico resultante e o capítulo 6 expõe as notas textuais. A edição crítica foi anexada ao final da tese.
The main objective of our work was to carry out the critical edition of the Concerto for piano and orchestra, op.10, by Henrique Oswald. The thesis consisted of the research and collection (recensio) of the manuscripts that contain the work in focus; rigorous examination and classification; collation (collacio) of the manuscripts, in order to identify their critical places and proceed to the genealogical (stemmatics) organization of the testimonies; eventually, based on all the work previously done, establish the critical text of the work in question (emendatio). The work resulted in the critical edition of the Concerto for piano and orchestra, op.10, by Henrique Oswald, never before critically edited. Chapter 1 deals with the fundamental principles that articulate and guide ecdotic work, that is, work whose objective is the critical establishment of the text of a work (literary, musical, etc.); chapter 2 weaves historical considerations about the composer and, more specifically, about the work for which we made the critical edition; chapter 3 describes existing or known sources, their classification and how they were used; chapter 4 presents the critical introduction and the editorial method used; chapter 5 presents the resulting critical apparatus, and chapter 6 presents the textual notes. The printed critical edition was annexed to the end of this work.
The main objective of our work was to carry out the critical edition of the Concerto for piano and orchestra, op.10, by Henrique Oswald. The thesis consisted of the research and collection (recensio) of the manuscripts that contain the work in focus; rigorous examination and classification; collation (collacio) of the manuscripts, in order to identify their critical places and proceed to the genealogical (stemmatics) organization of the testimonies; eventually, based on all the work previously done, establish the critical text of the work in question (emendatio). The work resulted in the critical edition of the Concerto for piano and orchestra, op.10, by Henrique Oswald, never before critically edited. Chapter 1 deals with the fundamental principles that articulate and guide ecdotic work, that is, work whose objective is the critical establishment of the text of a work (literary, musical, etc.); chapter 2 weaves historical considerations about the composer and, more specifically, about the work for which we made the critical edition; chapter 3 describes existing or known sources, their classification and how they were used; chapter 4 presents the critical introduction and the editorial method used; chapter 5 presents the resulting critical apparatus, and chapter 6 presents the textual notes. The printed critical edition was annexed to the end of this work.
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Palavras-chave
Concerto para piano e orquestra, Op.10, Edição crítica, Henrique Oswald, Música brasileira, Concert for piano and orchestra, Critical edition, Brazilian music, Concierto para piano y orquesta, Edición crítica