Situando a performance: considerações sobre o sujeito intérprete no decorrer de três séculos
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2022-01-24
Autores
Santos, Fernando Santiago Serrano dos
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Universidade Estadual Paulista (Unesp)
Resumo
A partir de uma contextualização preliminar do conceito de virtuosidade e sua consequente aplicação em música, tomando por base diferentes léxicos e enciclopédias próprios a essa arte, a presente pesquisa tem como proposta oferecer um conciso panorama da recepção pública destinada a intérpretes e performers no decorrer de aproximadamente três séculos, seja ela leiga ou especializada, centrada numa única disciplina ou contando então com enfoques interdisciplinares. Ao adentrar os anos 1800, o continente europeu serve de palco para uma série de acontecimentos com expressivo impacto sobre a produção musical de concerto, fossem eles políticos, sociais, econômicos ou intelectuais. Diante de um cenário marcado por um forte militarismo e pela exaltação de grandes heróis de guerra, dentre eles o próprio imperador dos franceses, Napoleão Bonaparte, violinistas veem frequentemente suas imagens serem associadas a valores bélicos e viris, enquanto representação de ostentosos generais à frente de seus exércitos. Em contrapartida, quando da consolidação de novas correntes filosóficas, sobretudo na Alemanha, com seu idealismo germânico, performers têm cada vez mais sua atuação sujeitada à figura do compositor e mesmo à entidade extramundana imposta sobre a obra musical, imbuída de um sentimento de expressividade absoluta e de autenticidade inalienável. Já no século vinte, o debate adquire novas conotações em face de uma sociedade altamente industrializada também em termos de cultura e conhecimento, colocados como possíveis ferramentas de sujeição. Ao lado de escritos da chamada Escola de Frankfurt, a respeito de uma faceta dominadora da racionalidade científica e um potencial de autorrealização subjetiva definitivamente alheio aos indivíduos, os ensaios do regente polaco René Leibowitz sobre interpretação musical oferecem olhares direcionados a diferentes áreas da prática, como os ideais de uma execução autêntica, a construção do performer por meio de seu repertório e as implicações de uma técnica desatualizada na continuidade de determinados instrumentos. Nos dias atuais, reitera-se a possibilidade de que a música seja acompanhada pela antropologia, emprestando métodos e saberes, pelos quais se questiona ainda um viés demasiado unidimensional; compartilhando sujeitos e objetos, em abordagens para além de disciplinas convencionalmente estruturadas; e, sobretudo, resgatando o caráter transformador da performance.
Based on a preliminary contextualization of the concept of virtuosity and its consequent application in music, proceeding from different lexicons and encyclopedias proper to this art, the following research proposes to offer a concise panorama of the public reception destined to interpreters and performers in the course of approximately three centuries, be it lay or specialized, centered on a single discipline or counting with interdisciplinary focuses. Entering the 1800s, the European continent is the stage for a series of events with expressive impact on classical music production, were they political, social, economic, or intellectual episodes. Facing a scenery marked by a strong militarism and the exaltation of great war heroes, among them the Emperor of the French himself, Napoleon Bonaparte, violinists frequently see their images associated with belic, virile values, as a representation of swanky generals leading their armies. As a counterpart, when new philosophic currents are consolidated, mainly in Germany, with its idealism, performers have their actuation more and more subjected to the composer’s figure and even to the extraordinary entity imposed on the musical work, imbued with a sentiment of absolute expressivity and inalienable authenticity. Already in the twentieth century, the debate acquires new connotations in the face of a society highly industrialized also in terms of culture and knowledge, set as possible subjection tools. Alongside writings of the Frankfurt School, with respect to a dominant facet to scientific rationality and a subjective self-realization potential definitely alien to individuals, the essays on musical interpretation by Polish conductor René Leibowitz offer insights into different areas of the practice, such as the ideals of an authentic execution, the construction of the performer through their repertoire, and the implications of an outdated technique on the continuity of certain instruments. Nowadays, the possibility that music might be accompanied by anthropology is reiterated, lending methods and wisdom, whereby one even questions an unduly unidimensional bias; sharing both subjects and objects, in approaches beyond conventionally structured disciplines; and, above all, rescuing the transformative character of musical performance.
Based on a preliminary contextualization of the concept of virtuosity and its consequent application in music, proceeding from different lexicons and encyclopedias proper to this art, the following research proposes to offer a concise panorama of the public reception destined to interpreters and performers in the course of approximately three centuries, be it lay or specialized, centered on a single discipline or counting with interdisciplinary focuses. Entering the 1800s, the European continent is the stage for a series of events with expressive impact on classical music production, were they political, social, economic, or intellectual episodes. Facing a scenery marked by a strong militarism and the exaltation of great war heroes, among them the Emperor of the French himself, Napoleon Bonaparte, violinists frequently see their images associated with belic, virile values, as a representation of swanky generals leading their armies. As a counterpart, when new philosophic currents are consolidated, mainly in Germany, with its idealism, performers have their actuation more and more subjected to the composer’s figure and even to the extraordinary entity imposed on the musical work, imbued with a sentiment of absolute expressivity and inalienable authenticity. Already in the twentieth century, the debate acquires new connotations in the face of a society highly industrialized also in terms of culture and knowledge, set as possible subjection tools. Alongside writings of the Frankfurt School, with respect to a dominant facet to scientific rationality and a subjective self-realization potential definitely alien to individuals, the essays on musical interpretation by Polish conductor René Leibowitz offer insights into different areas of the practice, such as the ideals of an authentic execution, the construction of the performer through their repertoire, and the implications of an outdated technique on the continuity of certain instruments. Nowadays, the possibility that music might be accompanied by anthropology is reiterated, lending methods and wisdom, whereby one even questions an unduly unidimensional bias; sharing both subjects and objects, in approaches beyond conventionally structured disciplines; and, above all, rescuing the transformative character of musical performance.
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Palavras-chave
Virtuosidade, Cultura da performance musical, Identidade, Autorrealização, Antropologia da performance, Virtuosity, Musical performance culture, Identity, Self-realization, Performance anthropology