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Authors
Abstract(s)
Procurando refletir sobre o conceito e a problemática da interpretação musical autêntica, e contrapondo a uma visão historicista as visões de Heidegger e de Adorno, este estudo tem como objetivo geral a procura de uma definição de autenticidade, que esteja em concordância com uma possível interpretação da verdadeira intenção expres-siva do compositor, a um nível mais espiritual do que racional ou idiomático e, simulta-neamente, em concordância com a necessidade do intérprete ser fiel aos seus mais genuínos impulsos expressivos. Numa relação com a abordagem da psicanálise, preten-deu-se explorar a ideia do intérprete como medium do compositor e do seu próprio inconsciente, estabelecendo uma relação entre ambos.
Como fonte primária no contexto do repertório pianístico, foi realizado um estu-do aprofundado sobre uma obra de um compositor que terá, segundo as fontes históri-cas, sofrido de doença mental, Robert Schumann (1810-1856). Partindo da hipótese de que a doença mental constitui um caminho privilegiado para uma expressão mais autên-tica de si mesmo, foi realizado um estudo de design metodológico de índole qualitativa, através da análise de conteúdo do estado da arte de âmbito multidisciplinar, procurando fundamentar e verificar a influência na obra analisada dessa questão, explorando a dico-tomia entre seguimento de regras de composição tradicionais e possível obediência a impulsos mais viscerais, ligados à expressão de necessidades criativas mais profundas.
O percurso analítico seguiu a análise da obra segundo múltiplas vertentes – aná-lise da partitura, segundo a perspetiva crítica de Simonett ao método de Riemann, e aná-lise auditiva de 30 gravações, que culmina num estudo empírico, também de índole qua-litativa.
Com base na soma dos factos apurados através do estudo da biografia, numa lei-tura “barthesiana” das conclusões obtidas na análise musical e, ainda, numa análise dos paralelismos da música de Schumann com a narrativa literária, influenciada por Erika Reiman, procurar-se-á traçar um retrato psicológico do compositor que permita decidir o melhor método de construção de uma interpretação a seguir.
Este estudo pretende dar um contributo para a elaboração de um modelo de interpretação fiel à partitura e, simultaneamente, fiel à subjetividade do pianista enquanto intérprete, tentando apontar um caminho para a interpretação como verdadeiro ato de criatividade e descoberta.
Reflecting on the concept and the problem of authentic musical interpretation, and opposition to a historicist view, the views of Heidegger and Adorno, this study has as a general objective, the search for a definition of authenticity, which is consistent with a possible interpretation of the true expressive intention of the composer, in a more spiritual than rational or idiomatic level and, simultaneously, in accordance with the need for the interpreter to be faithful to his/her most genuine expressive impulses. It was tried, in relation with the psychoanalytic approach, to explore the idea of interpreter as a medium of the composer and of his own unconscious, establishing a relationship between both. As a primary source in the context of piano repertoire, it was conducted a depth study of one work of a composer who had suffered, according to historical sources, from mental illness, Robert Schumann (1810-1856). Assuming that mental illness is a privileged way to a more authentic expression of the self, there was a methodological design study of a qualitative nature, through the analysis of the content of the state of the art, in a muitidisciplinar perspective, looking for support and verifying the influence in the analyzed work of this question by exploring the dichotomy between following traditional rules of composition and a possible obedience to more visceral impulses associated with the expression of deeper creative needs. The analytical path followed the analysis of the work according to multiple aspects - analysis of the score, according to the critical perspective of the Riemann’s method by Simonett, and auditory analysis of 30 recordings of the work, which also culminates in an empirical qualitative study. This study aims to contribute to the development of a model of interpretation faithful to the score and at the same time faithful to the subjectivity of the pianist as interpreter, trying to point out a path to interpretation as a true act of creativity and discovery.
Reflecting on the concept and the problem of authentic musical interpretation, and opposition to a historicist view, the views of Heidegger and Adorno, this study has as a general objective, the search for a definition of authenticity, which is consistent with a possible interpretation of the true expressive intention of the composer, in a more spiritual than rational or idiomatic level and, simultaneously, in accordance with the need for the interpreter to be faithful to his/her most genuine expressive impulses. It was tried, in relation with the psychoanalytic approach, to explore the idea of interpreter as a medium of the composer and of his own unconscious, establishing a relationship between both. As a primary source in the context of piano repertoire, it was conducted a depth study of one work of a composer who had suffered, according to historical sources, from mental illness, Robert Schumann (1810-1856). Assuming that mental illness is a privileged way to a more authentic expression of the self, there was a methodological design study of a qualitative nature, through the analysis of the content of the state of the art, in a muitidisciplinar perspective, looking for support and verifying the influence in the analyzed work of this question by exploring the dichotomy between following traditional rules of composition and a possible obedience to more visceral impulses associated with the expression of deeper creative needs. The analytical path followed the analysis of the work according to multiple aspects - analysis of the score, according to the critical perspective of the Riemann’s method by Simonett, and auditory analysis of 30 recordings of the work, which also culminates in an empirical qualitative study. This study aims to contribute to the development of a model of interpretation faithful to the score and at the same time faithful to the subjectivity of the pianist as interpreter, trying to point out a path to interpretation as a true act of creativity and discovery.