Abordagens de análise aplicadas à Sinfonia nº 2, op. 73, em ré maior, de Johannes Brahms
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Data
2019-02-06
Autores
Mannis, Guilherme Daniel Breternitz [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
Uma das maneiras de ampliar a compreensão sobre um texto musical é abrir o leque de perspectivas de abordagem analítica frente a uma mesma obra, para que maiores possibilidades interpretativas possam advir. Partindo-se desta premissa, esta tese tem como principal objetivo a aplicação de diferentes procedimentos analítico-musicais a uma mesma composição, e posterior inter-relação entre seus resultados, cotejando as diferentes visões e interpretações encontradas. Para tanto, selecionou-se uma obra tradicional do repertório sinfônico romântico: a Sinfonia nº 2, op. 73, em Ré maior, de Johannes Brahms. Foram realizados três estudos analíticos completos de seus 4 Movimentos: Análise Formal, de acordo com Arnold Schönberg (1996), William Caplin (1998), Charles Rosen (1988) e James Hepokoski e Warren Darcy (2006); Análise Motívica, segundo Rudolph Reti (1978); e, por fim, Análise Schenkeriana, conforme Heinrich Schenker (1935), Allen Forte e Steven Gilbert (1982), Felix Salzer (1982) e David Neumeyer e Susan Tepping (1992). Posteriormente, os dados encontrados foram comparados, procurando indicar algumas possibilidades de leitura da obra por meio da intersecção das visões específicas. Ao final, esses resultados analíticos foram confrontados com três gravações realizadas por diferentes orquestras, em épocas distintas, tendo à frente regentes reconhecidos como grandes intérpretes da obra de Brahms: Orquestra Sinfônica Columbia, Bruno Walter (1960), Orquestra Filarmônica de Berlim, Claudio Abbado (1989) e Orquestra Sinfônica de Boston, Andris Nelsons (2017). Observou-se se essas performances teriam afinidades com as posturas analíticas estudadas, e verificou-se em quais aspectos as considerações advindas das inter-relações entre procedimentos analíticos poderiam indicar diferentes concepções estético-formais para as interpretações analisadas.
A good way to expand the comprehension of a musical text is to open the range of analytical perspectives on approaching the same work, so that greater interpretative possibilities may arise. Starting from this premise, the main goal of this thesis consists in applying different analytic-musical procedures to the same composition, and later interrelationship between its results, comparing the different visions and interpretations founded. For this, a traditional work of the romantic symphonic repertoire was selected: Symphony No. 2, op. 73, in D major, by Johannes Brahms. Three complete analytical studies were built of its 4 Movements: Formal Analysis, according to Arnold Schönberg (1996), William Caplin (1998), Charles Rosen (1988) and James Hepokoski and Warren Darcy (2006); Motivic Analysis, according to Rudolph Reti (1978); and finally, Schenkerian Analysis, according to Heinrich Schenker (1935), Allen Forte and Steven Gilbert (1982), Felix Salzer (1982) and David Neumeyer and Susan Tepping (1992). After that, the data found were compared, trying to indicate some possibilities of reading the work through the intersection of those specific views. Finally, those analytical results were confronted with three recordings performed by different orchestras at different times, with conductors recognized as great performers of Brahms' work: Columbia Symphony Orchestra, Bruno Walter (1960), Berlin Philharmonic Orchestra, Claudio Abbado (1989) and Boston Symphony Orchestra, Andris Nelsons (2017). It was observed if these performances would have affinities with the analytical positions, and it was verified in which aspects the considerations found in from the interrelationships between analytical procedures could indicate different aesthetic-formal conceptions for the analyzed interpretations.
A good way to expand the comprehension of a musical text is to open the range of analytical perspectives on approaching the same work, so that greater interpretative possibilities may arise. Starting from this premise, the main goal of this thesis consists in applying different analytic-musical procedures to the same composition, and later interrelationship between its results, comparing the different visions and interpretations founded. For this, a traditional work of the romantic symphonic repertoire was selected: Symphony No. 2, op. 73, in D major, by Johannes Brahms. Three complete analytical studies were built of its 4 Movements: Formal Analysis, according to Arnold Schönberg (1996), William Caplin (1998), Charles Rosen (1988) and James Hepokoski and Warren Darcy (2006); Motivic Analysis, according to Rudolph Reti (1978); and finally, Schenkerian Analysis, according to Heinrich Schenker (1935), Allen Forte and Steven Gilbert (1982), Felix Salzer (1982) and David Neumeyer and Susan Tepping (1992). After that, the data found were compared, trying to indicate some possibilities of reading the work through the intersection of those specific views. Finally, those analytical results were confronted with three recordings performed by different orchestras at different times, with conductors recognized as great performers of Brahms' work: Columbia Symphony Orchestra, Bruno Walter (1960), Berlin Philharmonic Orchestra, Claudio Abbado (1989) and Boston Symphony Orchestra, Andris Nelsons (2017). It was observed if these performances would have affinities with the analytical positions, and it was verified in which aspects the considerations found in from the interrelationships between analytical procedures could indicate different aesthetic-formal conceptions for the analyzed interpretations.
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Palavras-chave
Análise musical, Intersecção entre procedimentos metodológicos formal, motívico e schenkeriano, Análise de gravações, Brahms, Sinfonia nº 2, Musical analysis, Intersection between formal, motivic and schenkerian methodological procedures, Recording analysis, Brahms, Symphony No. 2