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Interpretação dos Sinais de Ornamentação e Sugestões para as Cadências nas Sonatas Prussianas de C. Ph. E. Bach
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C. Ph. E. Bach é um dos mais importantes compositores no período de transição entre os estilos Barroco e Clássico. E apesar de na obra de C. Ph. E. Bach coexistirem características que podem ser consideradas reminiscências do Período Barroco e características mais progressistas, o estilo das obras de C. Ph. E. Bach não se enquadra em nenhum dos dois períodos mas tem um estilo próprio com o qual músicos profissionais, músicos amadores, professores ou alunos podem não estar familiarizados. Possivelmente por isso, as obras de C. Ph. E. Bach colocam questões e dificuldades que fazem com que este repertório do período de transição seja menos frequentemente estudado e interpretado. Uma das dificuldades com que se deparam alunos e músicos profissionais são as decisões relativamente à ornamentação a executar. A complexidade do capítulo dedicado à ornamentação do Versuch über die wahre Art das Clavier zu spielen (Ensaio sobre a verdadeira arte de tocar instrumentos de tecla) publicado em 1753 (Parte I) e 1762 (Parte II) e o facto de o principal sinal de ornamentação encontrado nas obras de C. Ph. E. Bach poder ter múltiplos significados, podem dissuadir os intérpretes de investirem neste repertório. Outra das dificuldades poderá residir na elaboração de cadências e na atitude criativa que implicam. Nesta dissertação procuro: enquadrar o compositor e a sua obra no seu contexto; abordar a prática musical e seus recursos na época; desmistificar o complexo capítulo do Versuch dedicado à ornamentação; analisar exemplos de cadências de C. Ph. E. Bach; analisar a primeira colecção de sonatas publicadas por C. Ph. E. Bach enquanto músico da corte do rei Friedrich II, as Sonatas Prussianas, e enquadrá-las no conjunto das sonatas para instrumento de tecla de C. Ph. E. Bach; e por fim descodificar as indicações de ornamentação nas Sonatas Prussianas e propor sugestões para as cadências nas Sonatas Prussianas. Apresento, de forma escrita e interpretativa, aspectos tratados nesta dissertação, justificando a escolha do instrumento, diapasão e temperamento. Espero que a presente dissertação ajude na clarificação de vários aspectos relacionados com a interpretação das Sonatas Prussianas e espero sobretudo promover o estudo e a interpretação das obras de C. Ph. E Bach e de outros compositores do período de transição.
C. P. E. Bach is one of the most important composers from the period of transition between the baroque and classical styles. Although reminiscences from the Baroque Period and more progressive characteristics coexist, the style of C. P. E. Bach’s works does not fit into either of the two periods but it is a unique style; a style probably not familiar to professional or amateur musicians, teachers or students. Possibly C. P. E. Bach’s works raise difficulties that justify this repertoire to be less studied and performed. One of the difficulties students and professional musicians face is ornamentation. The complexity of the chapter on ornamentation of Versuch über dies wahre Art das Clavier zu spielen (Essay on the true art of playing keyboard instruments) published in 1753 (Part I) and in 1762 (Part II) together with the fact that the main ornamentation sign found in C. P. E. Bach’s works may have multiple meanings, might lead performers to feel discourage to study and perform this repertoire. Other of the difficulties might be the elaboration of cadenzas and the creativity they demand. With the present dissertation I aim to present the composer and his work in his time; to discuss the musical performance and its resources in the 18th century; to demystify the complexity of the «Essay» ornamentation chapter; to analyze C. P. E. Bach’s cadenzas examples; to analyze the first collection of sonatas C. P. E. Bach published as court musician of Friedrich II, the Prussian Sonatas, and to compare these sonatas with the totality of C. P. E. Bach’s keyboard instruments sonatas; and finally to decipher the ornamentation signs found in the Prussian Sonatas and to suggest cadenzas for this musical work. In both written and interpretative means I present several issues discussed in this dissertation, justifying the instrument, pitch and temperament selection. I hope this dissertation clarifies several issues related to the interpretation of the Prussian Sonatas and I also hope to promote the study and performance of C. P. E. Bach’s works as well as works by other composers from the transition period.
C. P. E. Bach is one of the most important composers from the period of transition between the baroque and classical styles. Although reminiscences from the Baroque Period and more progressive characteristics coexist, the style of C. P. E. Bach’s works does not fit into either of the two periods but it is a unique style; a style probably not familiar to professional or amateur musicians, teachers or students. Possibly C. P. E. Bach’s works raise difficulties that justify this repertoire to be less studied and performed. One of the difficulties students and professional musicians face is ornamentation. The complexity of the chapter on ornamentation of Versuch über dies wahre Art das Clavier zu spielen (Essay on the true art of playing keyboard instruments) published in 1753 (Part I) and in 1762 (Part II) together with the fact that the main ornamentation sign found in C. P. E. Bach’s works may have multiple meanings, might lead performers to feel discourage to study and perform this repertoire. Other of the difficulties might be the elaboration of cadenzas and the creativity they demand. With the present dissertation I aim to present the composer and his work in his time; to discuss the musical performance and its resources in the 18th century; to demystify the complexity of the «Essay» ornamentation chapter; to analyze C. P. E. Bach’s cadenzas examples; to analyze the first collection of sonatas C. P. E. Bach published as court musician of Friedrich II, the Prussian Sonatas, and to compare these sonatas with the totality of C. P. E. Bach’s keyboard instruments sonatas; and finally to decipher the ornamentation signs found in the Prussian Sonatas and to suggest cadenzas for this musical work. In both written and interpretative means I present several issues discussed in this dissertation, justifying the instrument, pitch and temperament selection. I hope this dissertation clarifies several issues related to the interpretation of the Prussian Sonatas and I also hope to promote the study and performance of C. P. E. Bach’s works as well as works by other composers from the transition period.
Descrição
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Palavras-chave
C. Ph. E. Bach Sonatas Prussianas Ornamentação Cadências Instrumentos de Tecla Prussian Sonatas Ornamentation Cadenzas Keyboard Instruments