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A Prática do Piano a Quatro Mãos no Brasil de 1808 a 1889
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Parte-se da premissa, nesta investigação, de que a prática do piano a quatro mãos, perdida em acervos particulares e bibliotecas públicas, esteve inserida na história da música brasileira desde a chegada da Família Real portuguesa ao Brasil. Através da apresentação de composições localizadas, a pesquisa desenvolvida possibilitou o emergir deste material demonstrando sobejamente a realidade da prática do piano a quatro mãos no Brasil joanino e imperial. A partir de fontes primárias e secundárias foi possível comprovar a existência de 52 obras escritas e ou transcritas para piano a quatro mãos por 18 compositores brasileiros e estrangeiros que viveram no Rio de Janeiro de 1808 até a proclamação da República em 1889. Constata-se que membros da corte, como a Princesa Leopoldina, o compositor austríaco Neukomm, os mestres da Capela Real Padre José Maurício Nunes Garcia e Marcos Portugal, Dom Pedro I, Dom Pedro II, Princesa Isabel e o Visconde de Taunay comprovadamente praticavam o piano a quatro mãos. Ao adentrar pelo segundo império, prova-se a prática do piano a quatro mãos pela elite carioca em saraus, sociedades de concertos, em concertos privados e no Imperial Conservatório de Música. Confirma-se que a venda de partituras e a atuação dos editores de música significaram outro aspecto relevante na propagação do repertório para piano a quatro mãos vindo da Europa, influenciando profundamente o gosto, a forma de compor e a tipologia das obras para piano a
quatro mãos no Rio de Janeiro entre 1808 e 1889. A pesquisa avaliza ainda o valor da música brasileira composta no Brasil até o final do Império, pretendendo colaborar com os estudos recentes que descortinam a forte presença da música e a qualidade da produção de músicos brasileiros e estrangeiros no Rio de Janeiro antes da eclosão do chamado período nacionalista.
It is the premise, in this investigation, that the practice of piano four hands, lost in private collections and public libraries, was inserted in the history of brazilian music since the arrival of the Portuguese Royal family to Brazil. Through the presentation of compositions located, the research made possible the emergence of this material demonstrating clearly the reality of the practice of piano four hands on the Courts of Dom João VI, Dom Pedro I and Dom Pedro II in Brazil. From primary and secondary sources was possible to comfirm the existence of 52 works written or transcribed for piano four hands by 18 brazilian and foreign composers who lived in Rio de Janeiro from 1808 to the proclamation of the Republic in 1889. It is noted that members of the Court, as Princess Leopoldina, Austrian composer Neukomm, masters of the Royal Chapel Padre José Mauricio Nunes Garcia and Marcos Portugal, Dom Pedro I, Dom Pedro II, Princess Isabel and the Viscount of Taunay demonstrably practiced the piano four hands. Entering the second empire, was proved the practice of piano four hands by elite carioca in evening parties, concerts, private concerts and at the Imperial Conservatory of music. It is confirmed that the sale of sheet music and the performance of the music editors meant another relevant aspect in the propagation of the repertoire for piano four hands coming to Brazil from Europe, deeply influencing the taste, how to compose and typology of works for piano four hands in Rio de Janeiro between 1808 and 1889. The research endorses also the value of the brazilian music composed in Brazil until the end of the Empire, intending to cooperate with recent studies that revealed the strong presence of the music and the quality of the production from brazilian and foreign musicians in Rio de Janeiro before the outbreak of the so-called nationalist period.
It is the premise, in this investigation, that the practice of piano four hands, lost in private collections and public libraries, was inserted in the history of brazilian music since the arrival of the Portuguese Royal family to Brazil. Through the presentation of compositions located, the research made possible the emergence of this material demonstrating clearly the reality of the practice of piano four hands on the Courts of Dom João VI, Dom Pedro I and Dom Pedro II in Brazil. From primary and secondary sources was possible to comfirm the existence of 52 works written or transcribed for piano four hands by 18 brazilian and foreign composers who lived in Rio de Janeiro from 1808 to the proclamation of the Republic in 1889. It is noted that members of the Court, as Princess Leopoldina, Austrian composer Neukomm, masters of the Royal Chapel Padre José Mauricio Nunes Garcia and Marcos Portugal, Dom Pedro I, Dom Pedro II, Princess Isabel and the Viscount of Taunay demonstrably practiced the piano four hands. Entering the second empire, was proved the practice of piano four hands by elite carioca in evening parties, concerts, private concerts and at the Imperial Conservatory of music. It is confirmed that the sale of sheet music and the performance of the music editors meant another relevant aspect in the propagation of the repertoire for piano four hands coming to Brazil from Europe, deeply influencing the taste, how to compose and typology of works for piano four hands in Rio de Janeiro between 1808 and 1889. The research endorses also the value of the brazilian music composed in Brazil until the end of the Empire, intending to cooperate with recent studies that revealed the strong presence of the music and the quality of the production from brazilian and foreign musicians in Rio de Janeiro before the outbreak of the so-called nationalist period.
Descrição
Palavras-chave
Piano a quatro mãos Rio de Janeiro Brasil Império Four hands piano Imperial Brazil