Il Grido del Popolo: ética e engajamento na escritura musical de Coro, de Luciano Berio
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Data
2021-08-03
Autores
Miranda, Paulo Agenor [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
Esta tese investiga a poética musical do compositor Luciano Berio (1925-2003) visando explorar a plurivalente relação entre a escritura do mestre italiano e seu ideário político humanista e de clara matiz esquerdista. Iluminamos tal programa ético-composicional beriano pelo prisma da obra Coro, seu magnum opus da década de 1970 e que denuncia uma atmosfera de terror incitada pela violência fascista naqueles anos notavelmente inóspitos à democracia. Na primeira parte do trabalho, constituída por três capítulos, situamos inicialmente a problemática do engajamento artístico mobilizada por alguns intelectuais marxistas do século XX. Apontamos em Berio uma contraposição à noção restritiva de obra de arte engajada que se identifica apenas ao conteúdo ideológico explícito da criação, ideia falaz que daria vazão a uma reificação ou “eugenia” do ofício de compor. Dessarte, enfrentamos o discurso sobre compromisso na poética beriana pela formatividade (ou formação) específica de sua obra, cujo constructo artístico vincula-se sobretudo aos conceitos de obra aberta e de pensamento serial, esse último enquanto um prolongamento do método a um modelo arquetípico de pensamento. Posteriormente, centramos as discussões na prática da tradução (ou transcrição) musical vivamente presente na obra de Berio, princípio que ressalta sua escritura como o exercício de uma linguagem de linguagens, um Texto pelo qual passam outros textos. Reconhecemos que esse ímpeto tradutor beriano é impregnado de profunda vocação ética proveniente do seu entendimento da música enquanto território do contato intercultural, da hospitalidade linguística e do encontro com a alteridade. Ao final da primeira parte, discorremos sobre a relação de Berio com as práticas musicais populares e com os estudos etnomusicológicos, revelando sua aderência ao pensamento de Antonio Gramsci e às políticas culturais do Partido Comunista Italiano. Versamos ainda sobre um grito de população na poética beriana, a fim de esclarecer o modo pelo qual o compositor defrontou-se com a invenção de um Povo sonoro em tempos de violência totalitária. Na segunda e terceira partes do trabalho, os sedimentos de um programa ético-político beriano recaem e se desdobram na escritura de Coro por meio de uma investigação minuciosa do seu processo genético-composicional. Analisamos a obra e os meandros de sua criação em um percurso de especulação espiralado e transtextual mediante entrelaços e proliferações das discussões anteriormente empreendidas. Nosso estudo amparou-se em uma pesquisa in loco no acervo da Paul Sacher Stiftung (Basileia, Suíça), fundação que abriga a coleção de manuscritos e demais documentos originais de Luciano Berio.
This thesis investigates the poetics of Luciano Berio (1925-2003) and explores the polyvalent relationship between the Italian composer’s musical writing and his humanist and clearly left-wing political ideals. We illuminate this ethical-compositional program in Berio’s work through the prism of Coro, his magnum opus from the 1970s, which denounces an atmosphere of terror incited by fascist violence in years remarkably inhospitable to democracy. The first part of the thesis, consisting of three chapters, initially situates the debate on artistic engagement mobilised by some 20th-century Marxist thinkers. Through Berio, we point out a contraposition to the restrictive notion of engaged work of art identified only by the explicit ideological content of its creation, a fallacious idea that would give rise to reification or “eugenics” in musical composition. Thus, we address the discourse on commitment in Berio’s poetics by exploring the particular formativity (or formation) of his work, whose artistic construct is mainly attached to the concepts of open work and serial thought, the latter approached as an extension of the method to an archetypal model of thinking. Subsequently, the discussion focuses on the practice of musical translation (or transcription), vividly present in Berio’s work, and which is a principle that highlights his composition as the exercise of a language of languages, a Text through which other texts pass. We recognize a profound ethical vocation in such translation impetus by Berio, which arises from his understanding of music as a territory of intercultural contact, linguistic hospitality and the encounter with alterity. At the end of the first part, we discuss Berio’s relationship with popular musical practices and ethnomusicological studies, revealing his adherence to Antonio Gramsci’s thought and the cultural policies of the Italian Communist Party. In this context, a cry of the population in Berio’s poetics is also considered in order to clarify how the composer faced the invention of a sonorous People in times of totalitarian violence. In the second and third parts of the thesis, the sediments of an ethical-political program in Berio’s music are examined through a meticulous investigation of Coro’s genetic-compositional process. We analyse this work and the intricacy of its creation through a spiral and transtextual speculation, interweaving previously undertaken discussions and their proliferations. Our study benefitted from an on-site visit to Paul Sacher Stiftung (Basel, Switzerland), a foundation that houses the collection of manuscripts and other original documents by Luciano Berio.
This thesis investigates the poetics of Luciano Berio (1925-2003) and explores the polyvalent relationship between the Italian composer’s musical writing and his humanist and clearly left-wing political ideals. We illuminate this ethical-compositional program in Berio’s work through the prism of Coro, his magnum opus from the 1970s, which denounces an atmosphere of terror incited by fascist violence in years remarkably inhospitable to democracy. The first part of the thesis, consisting of three chapters, initially situates the debate on artistic engagement mobilised by some 20th-century Marxist thinkers. Through Berio, we point out a contraposition to the restrictive notion of engaged work of art identified only by the explicit ideological content of its creation, a fallacious idea that would give rise to reification or “eugenics” in musical composition. Thus, we address the discourse on commitment in Berio’s poetics by exploring the particular formativity (or formation) of his work, whose artistic construct is mainly attached to the concepts of open work and serial thought, the latter approached as an extension of the method to an archetypal model of thinking. Subsequently, the discussion focuses on the practice of musical translation (or transcription), vividly present in Berio’s work, and which is a principle that highlights his composition as the exercise of a language of languages, a Text through which other texts pass. We recognize a profound ethical vocation in such translation impetus by Berio, which arises from his understanding of music as a territory of intercultural contact, linguistic hospitality and the encounter with alterity. At the end of the first part, we discuss Berio’s relationship with popular musical practices and ethnomusicological studies, revealing his adherence to Antonio Gramsci’s thought and the cultural policies of the Italian Communist Party. In this context, a cry of the population in Berio’s poetics is also considered in order to clarify how the composer faced the invention of a sonorous People in times of totalitarian violence. In the second and third parts of the thesis, the sediments of an ethical-political program in Berio’s music are examined through a meticulous investigation of Coro’s genetic-compositional process. We analyse this work and the intricacy of its creation through a spiral and transtextual speculation, interweaving previously undertaken discussions and their proliferations. Our study benefitted from an on-site visit to Paul Sacher Stiftung (Basel, Switzerland), a foundation that houses the collection of manuscripts and other original documents by Luciano Berio.
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Palavras-chave
Luciano Berio, Coro, Engajamento, Análise musical, Música do século XX, Engagement, Musical analysis, Twentieth-century music