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As práticas musicais dos fagotistas no Rio de Janeiro no século XIX
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Resumo(s)
Esta investigação teve por objetivo compreender e situar historicamente a atuação de fagotistas e a dinâmica de suas práticas musicais, na cidade do Rio de Janeiro, no século XIX. Entende-se por fagotistas os músicos que exerceram, em algum momento de suas carreiras, atividade profissional com o fagote. Porém, como era característico da profissão ao longo do século XIX, esses músicos alternavam a sua atuação em vários instrumentos conforme a necessidade e a disponibilidade de trabalho, e/ou exerciam uma diversidade de atividades, como compositores, regentes, empresários etc. Deste modo, esta investigação procurou responder às seguintes questões: Quais foram as principais formas de atuação (práticas musicais) dos fagotistas no Rio de Janeiro no século XIX? Quem eram esses fagotistas? Que repertórios tocavam? Como desenvolviam outras atividades e como elas se relacionavam? Quais fatores influenciaram a necessidade de fagotistas nessas atividades musicais? Para este estudo, a maior parte dos documentos analisados concentrou-se em fontes periódicas do Rio de Janeiro, o que permitiu evidenciar os principais músicos fagotistas e suas atuações mais relevantes. Entretanto, outras fontes, manuscritas e impressas (documentos administrativos, registros paroquiais e partituras), foram levantadas em diferentes arquivos, bibliotecas e bases de dados do Brasil, Portugal, Espanha, França e Itália. A análise desse conjunto de músicos fagotistas foi tratada como um estudo de caso, propondo compreender, a partir de uma visão coletiva, como as diferentes trajetórias e práticas musicais e as características que os unem e os distanciam se integravam e interagiam com o meio musical do Rio de Janeiro. Trata-se, portanto, de um olhar para as atividades musicais do Rio de Janeiro no século XIX, sob a perspectiva de um seleto grupo de instrumentistas que tocava o fagote.
This research aimed at understanding and historically placing the performance of bassoonists and the dynamics of their musical practices in the city of Rio de Janeiro in the nineteenth century. Bassoonists are understood as musicians who had, at some point in their careers, professional activity with the bassoon. However, as it was characteristic of the profession throughout the nineteenth century, these musicians alternated their performance on several instruments according to the need and availability of work, and/or had a diversity of activities as composers, conductors, entrepreneurs, etc. Thus, this research sought to answer the following questions: What were the main forms of performance (musical practices) of bassoonists in Rio de Janeiro in the 19th century? Who were these bassoonists? What repertoires did they play? How did they develop other activities and how were they related? What factors influenced the need for bassoonists in these musical activities? For this study, most of the documents analyzed were concentrated in periodical sources from Rio de Janeiro, which made it possible to highlight the main bassoonists and their most relevant activities. However, other sources, both handwritten and printed (administrative documents, parish registers and scores), were gathered from different archives, libraries, and databases in Brazil, Portugal, Spain, France, and Italy. The analysis of this group of bassoon musicians was treated as a case study, proposing to understand, from a collective point of view, how the different musical trajectories and practices, and the characteristics that unite and distance them integrated and interacted with the musical environment of Rio de Janeiro. It is, therefore, a look at the musical activities of Rio de Janeiro in the nineteenth century, from the perspective of a select group of instrumentalists who played the bassoon.
This research aimed at understanding and historically placing the performance of bassoonists and the dynamics of their musical practices in the city of Rio de Janeiro in the nineteenth century. Bassoonists are understood as musicians who had, at some point in their careers, professional activity with the bassoon. However, as it was characteristic of the profession throughout the nineteenth century, these musicians alternated their performance on several instruments according to the need and availability of work, and/or had a diversity of activities as composers, conductors, entrepreneurs, etc. Thus, this research sought to answer the following questions: What were the main forms of performance (musical practices) of bassoonists in Rio de Janeiro in the 19th century? Who were these bassoonists? What repertoires did they play? How did they develop other activities and how were they related? What factors influenced the need for bassoonists in these musical activities? For this study, most of the documents analyzed were concentrated in periodical sources from Rio de Janeiro, which made it possible to highlight the main bassoonists and their most relevant activities. However, other sources, both handwritten and printed (administrative documents, parish registers and scores), were gathered from different archives, libraries, and databases in Brazil, Portugal, Spain, France, and Italy. The analysis of this group of bassoon musicians was treated as a case study, proposing to understand, from a collective point of view, how the different musical trajectories and practices, and the characteristics that unite and distance them integrated and interacted with the musical environment of Rio de Janeiro. It is, therefore, a look at the musical activities of Rio de Janeiro in the nineteenth century, from the perspective of a select group of instrumentalists who played the bassoon.
Descrição
Palavras-chave
Fagote Fagotistas Práticas Musicais Rio de Janeiro Século XIX Bassoon Bassoonists Musical practices 19th Century