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A trompa sofreu um dos mais extensos caminhos evolutivos de todos os instrumentos musicais. Desde o período em que foi introduzida na orquestra, à época em que o seu formato foi estabelecido, em finais do século XIX, com a invenção da trompa de afinação dupla, muitos foram os trompistas e compositores que se
deslumbraram com o instrumento, contribuindo para o incremento e difusão aos vários países europeus. O século XIX ficou também marcado pela movimento nacionalista musical que foi sentido por toda a Europa, afectando os domínios da composição e da performance. Como seria óbvio, esses estilos nacionais foram
surgindo na história do instrumento e resultaram em formas de tocar trompa muito contrastantes, facilmente distintivos. Assim, o propósito desta dissertação passa, sobretudo, pela análise do sincronismo entre os ideias performativos e de lecionação manifestos em cada escola e as particularidades compositivas dos principais representantes de composição de cada escola. As escolas de trompa mais influentes e
também as mais dispares são as escolas alemã e francesa. As outras escolas- vienense, russa e inglesa- foram, de certa forma, afectadas por uma ou outra escola. Os estilos europeus são tão distintos que facilmente se reconhece as diferenças entre um trompista francês, alemão ou até inglês. Atualmente, essas diferenças tem diminuído um pouco, mas continuam a existir idealistas que defendem determinado estilo
nacional.
The horn experienced one of the largest evolutionary paths of all musical instruments. Since it was introduced in the orchestra, until the time when its format was established in the late nineteenth century, with the invention of the double tuning horn, there were many horn players and composers who dazzled with the instrument, contributing to the increase and spread to several European countries. The nineteenth century was also marked by musical nationalist movement that was felt throughout Europe, affecting the areas of composition and performance. As would be obvious, these national styles have emerged in the history of the instrument and resulted in very contrasting ways of playing horn, easily distincts. Thus , the purpose of this work goes mainly by timing analysis between the performative and teaching manifest ideas in each school and the compositional characteristics of the main representatives of composition of each school The most influential Horn schools and also the most shoot are the German and French schools. The other´s schools – Viennese, Russian and English- were somehow affected by one or another school. European styles are so different that easily recognizes the differences between a French horn player, German or even English. Currently, these differences have diminished somewhat, but there are still idealists who defend certain national style.
The horn experienced one of the largest evolutionary paths of all musical instruments. Since it was introduced in the orchestra, until the time when its format was established in the late nineteenth century, with the invention of the double tuning horn, there were many horn players and composers who dazzled with the instrument, contributing to the increase and spread to several European countries. The nineteenth century was also marked by musical nationalist movement that was felt throughout Europe, affecting the areas of composition and performance. As would be obvious, these national styles have emerged in the history of the instrument and resulted in very contrasting ways of playing horn, easily distincts. Thus , the purpose of this work goes mainly by timing analysis between the performative and teaching manifest ideas in each school and the compositional characteristics of the main representatives of composition of each school The most influential Horn schools and also the most shoot are the German and French schools. The other´s schools – Viennese, Russian and English- were somehow affected by one or another school. European styles are so different that easily recognizes the differences between a French horn player, German or even English. Currently, these differences have diminished somewhat, but there are still idealists who defend certain national style.
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Keywords
Escolas Europeias Trompa Reflexos na lecionação