MODOS MUSICAIS
Em Música, um modo é uma série ordenada de intervalos musicais definidos a partir de uma nota principal, sua tônica. Contudo, modo é usado no sentido de escala aplicado somente para algumas escalas específicas. O uso de mais de um modo é o que chamamos de polimodal, como em “cromatismo polimodal”. Enquanto toda a música tonal pode ser tecnicamente descrita como modal, a música chamada “modal” muitas vezes tem menos funcionalidade diatônica e muda menos freqüentemente de tonalidade do que outros tipos de música.
MODOS GREGOS
A música praticada na Antigüidade Grega se referia a escalas no contexto de modos “escalares”. Os modos gregos eram denominados em honra a cidades que preferiam um certo modo a outro no passado. Eram eles:
Jônio (ou Jônico)
Eólio e Lócrio
Dórico e Hipodórico
Frígio e Hipofrógio
Lídio, Hipolídio e Mixolídio
O filósofo grego Platão sentia que tocar música em um modo particular suscitaria certos comportamentos específicos associados àquele modo. Ele aconselhava soldados a escutar música nos modos Dórico e Frígio para que isto os tornassem mais fortes, porém os modos Lídio e Jônio deveriam ser evitados por terem qualidades opostas, isto é, tornavam as pessoas mais calmas.
MODOS ECLESIÁSTICOS
Há uma confusão comum de que os Modos Eclesiásticos da Música Medieval Européia descendiam diretamente da noção grega de modalidade. De fato, os Modos Eclesiásticos se originaram no século IX. Autores daquele período interpretaram erroneamente um texto de Boécio, um erudito do século VI que havia traduzido a teoria musical grega para o Latim. Mais tarde no século XVI, o teórico suíço Henricus Glareanus publicou Dodekachordon, onde ele solidificaria o conceito dos Modos Eclesiásticos, adicionando quatro modos adicionais: Eólio, Hipoeólio, Jônio e Hipojônio. Logo os nomes dos modos usados hoje em dia na verdade não refletem perfeitamente aqueles usados pelos gregos antigos.
Os oito Modos Eclesiásticos, ou Modos Gregorianos, podem ser divididos em quatro pares, cada par possuindo a mesma “nota final” ou tônica. A maioria dos cantos num certo modo começava na nota final daquele modo, e se esperava que terminasse na mesma nota final. O par também compartilha cinco notas centrais da escala. Se a “escala” é completada adicionando-se as três notas superiores, o modo é denominado “autêntico”, enquanto que se a escala é completada adicionando-se as três notas inferiores, o modo é denominado “plagal” (sério).
Os pares são organizados de uma maneira que modos que compartilham a mesma nota final são identificados com o mesmo número, com os números ímpares para os autênticos e os números pares para os plagais.
Cada modo tem uma nota “dominante” ou “nota de recitativo”, a qual é o tenor no canto do salmo. As notas dominantes dos modos autênticos começas uma quinta acima da nota final, enquanto que nos plagais elas estão uma terça acima. Contudo, as dominantes dos modos 3, 4 e 8 subiram um degrau durante os séculos X e XI (meio tom nos modos 3 e 8: si para dó; um tom inteiro no modo 4: sol para lá).
Somente um acidente era permitido no Canto Gregoriano (a nota si poderia ser abaixada de um semitom: si bemol). Isto normalmente (mas nem sempre) ocorria nos modos 5 e 6, sendo opcional nos outros modos.
Dada a confusão gerada pelas terminologias antiga, medieval e moderna, hoje em dia é mais prático o uso da designação tradicional dos modos com numerais romanos de I a VIII, ao invés do sistema de nomeação pseudo-grega.
USO DOS MODOS ECLESIÁSTICOS
A música antiga usava largamente os Modos Eclesiásticos. Os modos indicavam um som primário (uma final); a organização dos sons em relação à final; uma certa tessitura; fórmulas melódicas associadas a eles; lugar e importância das cadências; afeto musical (isto é, afeto emocional). Alguns teóricos acham que os modos não deveriam ser equiparados a escalas, que fatores tais como organização melódica, colocação das cadências e afeto emocional são essenciais ao conteúdo modal nos períodos Medieval e da Renascença.
A teoria do Canto Gregoriano foi quase que inteiramente formulada após a composição dos cantos mais antigos, os quais não foram compostos com a intenção de se enquadrar em qualquer modo em particular. Por esta razão, sua qualificação pode ser somente aproximada. Mais tarde os cantos foram escritos com a consciência da existência dos oito modos.
MODOS MODERNOS
A concepção moderna das escalas modais é a de um sistema onde cada modo é a escala diatônica usual, porém com uma diferente tônica. Intervalos nas escalas modais
Três modos são qualificados de “maior”, enquanto quatro são qualificados de “menor”. O modo Lócrio é considerado mais teórico do que prático. Estas qualificações se referem ao intervalo de terça a partir da tônica (maior ou menor).
São maiores: Lídio, Jônio e Mixolídio.
São menores: Dórico, Eólio, Frígio e Lócrio.
USO DOS MODOS MODERNOS
Os modos voltaram a ser usados algum tempo depois do desenvolvimento do jazz (jazz modal) e nas músicas do século XX e contemporânea.
O uso e a concepção de modos e música modal hoje em dia é diferente dos mesmos na Música Antiga. Qualquer comparação entre os usos antigo e moderno dos modos deve reconhecer que a música de hoje é composta sobre uma fundação de três séculos de música tonal, o que permite um diálogo entre as duas tradições.
O modo Jônico é na verdade outro nome para o modo maior, no qual grande parte da música ocidental é baseada. O modo Eólio fornece as bases para a escala mais comum ocidental; contudo, uma composição escrita inteiramente no modo Eólio usaria somente as sete notas da escala eólica, enquanto que muitas composições no modo menor levam acidentes no sexto e no sétimo graus para que as harmonias e melodias funcionem melhor.
Além do modo Jônico e dos modos menores modernos (harmônico/melódico), os outros modos têm uso limitado hoje em dia. A música folclórica é muitas vezes analisada em termos de modos. Por exemplo, na música irlandesa tradicional os modos Jônio, Dórico, Eólio e Mixolídio estão presentes; o modo Frígio é característica do Flamenco. O modo Dórico é também usado na música folclórica de povos latinos, enquanto que o Frígio é encontrado na música centro-européia ou música árabe estilizada, sendo ele natural ou Frígio harmônico (o qual tem a terça elevada – a “escala cigana”). O modo Mixolídio é bastante comum no jazz e em outras formas de música popular. Por seu caráter de “terra dos sonhos”, o modo Lídio é freqüentemente ouvido em trilhas sonoras e música para vídeo-games.
Algumas obras de Beethoven contêm inflexões modais; Chopin, Berlioz e Liszt empregaram largamente os modos. Os modos também influenciaram a música russa do século XIX, com compositores tais como Mussorgsky e Borodin; muitos compositores do século XX se inspiraram nesta corrente na sua incorporação dos elementos modais, incluindo Claude Debussy, Leos Janacek, Ralph Vaughn-Williams entre outros. Zoltán Kodály, Gustave Holst, Manuel de Falla usaram elementos modais como um pano de fundo diatônico, enquanto que Debussy e Béla Bartók substituíram a tonalidade diatônica pela modalidade.
ACORDES QUE INVOCAM MODOS
No jazz, os modos da escala maior são comumente tocados sobre acordes específicos. Os exemplos de acordes abaixo são para a tonalidade de Dó maior. Por exemplo, sobre um acorde Fmaj7#11 é tocado o modo Lídio em Dó.
Apesar de ambos os modos Dórico e Eólio serem tocados sobre um acorde de sétima menor (m7), o modo Dórico é mais comumente usado em jazz tradicional por causa da consonância natural de 6.a (ex: si sobre Dm7), em oposição à 6.a menor no Eólio. Igualmente, em vez do Lócrio, muitos músicos de jazz tocam o 6.o modo da escala melódica menor sobre um acorde meio-diminuto (m7b5), por causa da 9.a natural daquele modo. O acorde “susb9” é freqüentemente tocado usando-se o 2.o modo da escala melódica menor em vez do Frígio por causa da 6.a natural.
OUTROS TIPOS DE MODOS
Na teoria musical moderna, escalas que não sejam a escala maior algumas vezes têm o termo “modos” aplicados a elas. Isto é notado, por exemplo, na “Harmonia da Escala Melódica Menor”, a qual é baseada nos sete modos da escala melódica menor, gerando escalas interessantes.
Muitos destes acordes são bastante usados no jazz; os acordes menor/maior, 7#11 e alt. foram muito comuns na era Bebop, enquanto que na era Coltrane e jazz tardio se usa muito acordes susb9. Maj#5 é menos comum, aparecendo nas composições de Wayne Shorter.
Apesar do termo “modo” ser ainda usado nestes casos (e é útil no reconhecimento que estas escalas têm uma geratriz comum – a escala menor melódica), os músicos ainda entendem como modos o Dórico, Frígio, Lídio, Mixolídio, Eólio e o Lócrio.
CARACTERÍSTICAS DOS MODOS MODERNOS
Cada modo é construído sobre degrau da escala e possui estruturas harmônicas o que lhes confere sua identidade sonora:
· O modo Jônico invoca um acorde V7 e é onde este acorde ocorre naturalmente. “Maior” se refere ao modo Jônico. Exemplos: “Parabéns a Você”, “Brilha, brilha estrelinha”.
· O modo Dórico tem sua sexta nota abaixada em relação ao modo Eólio, gerando acordes IV maior e II menor. Exemplos: “Greensleeves”, Sexta Sinfonia de Jean Sibelius.
· O modo Frígio tem a segunda nota abaixada em relação ao Eólio, o que cria seus acordes característicos bIImaior e v diminuto. Este modo é bastante comum no estilo flamenco e é também chamado de modo “espanhol”. Exemplos: “So Cold The Night”(Jimmy Somerville), “White Rabbit”(Jefferson Airplane), a abertura do segundo movimento da Quarta Sinfonia de J. Brahms.
· O modo Lídio tem sua quarta nota elevada em relação ao modo Jônico, gerando acordes do tipo iv diminuto, vii menor e II maior. O tema do desenho animado “Os Simpsons” é um exemplo comum do modo Lídio, apesar da sua sétima abaixada qual o colocaria tecnicamente no modo derivado “Lídio Dominante”.
· O modo Mixolídio tem sua sétima nota abaixada em relação ao Jônico, criando acordes I7, v menor e VII maior. Há também o acorde iii diminuto, porém este quase não é usado em composições modais. Exemplos: “Asa Branca” (Luiz Gonzaga), “Norwegian Wood”(Beatles), “The Visitors” (ABBA). O nosso Baião, o Jazz e o boogie woogie são freqüentemente escritos neste modo. Gaitas de fole escocesas, as quais tem a nota si bemol como tônica, geralmente tocam no modo Mixolídio, com sua sétima nota um quarto de tom mais alta.
· O modo Eólio tem abaixadas sua terça, sexta e sétima notas, seus acordes característicos são iv e v. Há uma leve diferença entre uma composição no modo Eólio e uma composição no modo menor, por causa da alteração no sexto e sétimos graus da escala menor para gerar acordes IV e V. O modo Eólio é também chamado de Escala Menor Natural (Pura). Exemplos: o solo de guitarra de Led Zeppelin na música “Achilles Last Stand”, “Summertime” (George Gershwin).
· O modo Lócrio tem abaixadas sua segunda e quinta notas em relação ao Eólio, gerando o acorde i diminuto. Isto torna quase impossível se estabelecer uma tonalidade. Poucas peças foram escritas neste modo, ainda assim usando certos acordes alterados para estabelecer um centro tonal.
REFERÊNCIAS:
“Church modes” e “properties of musical modes” – Wikipedia (Internet)
quinta-feira, 30 de agosto de 2007
Termos musicais (Alemão)
PEQUENO GLOSSÁRIO DE TERMOS ESTRANGEIROS EM MÚSICA
ALEMÃO
A
A, nota lá
ab, fora (tirar...)
abdämpfen, abafar
aber, mas
absetze, ,remover
abwechselnd, alternando
abwogend, em ondas
acht, oito
Achtel, colcheias
alle, todos(as)
alles, tudo
allmählich, allmählig, gradualmente
als, como, que
altväterisch, fora de moda
am, no(a) / para o(a)
A-moll, lá menor
an, para
andere, outro
Andern, outros
Anfang, começo
angehalten, lento
anhaltend, mais lento
Anmerkung, nota
Art, maneira
atmen, respire
auch, também
auf, acima / no ar
auf, G na corda sol
auf und abwogend, surgindo e desaparecendo (em ondas)
aufgestellt, localizado/ tocado
Ausdruck, expressão
ausdrucksvoll, com muita expressão
ausklingen, morrendo / desaparecendo o som
ausschlagen, pulsação / reger
äusserst, extremamente
B
B, si bemol
Bach Werke-Verzeichnis, catálogo temático das obras de J.S. Bach, editado por W. Schmieder
bedächtig, lento
bedeutend, significativamente
befestigt, anexo / ligado
beginnend, começo
beiden, ambos
belebend, mais animado
belebt, animado
beruhigend, tornando-se (gradativamente) mais calmo
beschleunigend, tornando-se (gradativamente) mais rápido
bestimmt, marcato
bewegt, agitado
bewegter, mais agitado
BWV, ver Bach Werke-Verzeichnis
bezeichnet, indicado
bis, até (este ponto)
bis zum, até o
Bogen, arco(s)
Bögen, arcos
Bogenwechsel(n), mudanças de arco (direção)
brechen, arpegiar
breit, largamente
breiter, longo
C
C, dó
D
D, ré
Dämpfer(n), surdina(s)
das, o
dasselbe, o mesmo
dem, o
den, o
der, o / do
des, do
deutlich, claro / distinto
d.h., isto é (i.e.)
die, a
Dirigenten, regente / maestro
Doppelgr., cordas duplas
drängen, apressando
drängend, stringendo
drängender, mais rápido
drei, três
dreifach, em três
dreinfahren, sempre para a frente
drittem / drittes, terceiro
dür, maior
E
E, nota mi
eben, exatamente
eilen, pressa
ein(e), um(a)
einem, um
Einem, um executante
einhaltend, restrito
einmal, uma vez
noch einmal, novamente
einzelne, individual
Empfindung, sentimento
energisch, enérgico
Entfernung, distância
erste / ersten / erster / erstes, primeiro
Es, mi bemol
etwas, um pouco / algo
F
F, fá
Fermate, fermata
Ferne, distância (ver Entfernung)
festhalten, manter
feurig, fogoso
Flag., harmônicos
fliessend, fluindo
fliessender, mais fluído
flüchtig, fugaz / passageiro
flüssiger, mais fluído (ver fliessender)
folgt, segue
freihängend, suspenso
freudig, giocoso / alegremente
frisch, vivo
für, para
G
G, sol
ganz, totalmente
ganze, inteiro
ganzlich, completamente
gebrochen, arpegiado (similar: brechen)
gedämpft, com surdina, abafado (Dämpfer = surdina)
gehalten(er), mais lento (ver bedächtig e angehalten)
gehend, andante / como alguém caminhando
gemessen(em) / gemessigt, medido
gemessener, mais medido
gepeitscht, excitado / estimulado
gerissen, cortar
geschlagen, tocado
geschliffen, ligado / legato
gest., gestopft, bouché (tapado)
gestrichen, tocado com arco
gesungen, cantando
get., geteilt, divisi
(mit) Gewalt, violentamente
gewöhnlich(e), normal, ordinário
gezogen, com arco (ver gestrichen)
gleiche, o mesmo / igual
gräzios, grazioso
grell, penetrante / estridente
Griffbr., Griffbrett, sul tasto, on the fingerboard, sur la touche
grosser, enorme
grösster, o maior de todos
gut, bem
H
H, si natural
Halbe, mínimas, half notes, minims
Hälfte, metade (de um naipe de cordas)
Händen, mãos
Hauch, respiração (ver atmen)
Hauptzeitmass, tempo principal
heftig, veementemente
hervortretend, proeminente, saliente / en dehors
hier, aqui
von hier an, daqui em diante
hoch, alto
(in die) Höhe, acima / no ar
Höhepunkt, climax
höher, mais alto (acima)
Holzrand, borda de madeira
Holzschl., martelo (baqueta?) de madeira
Holzstäbchen, batuta / baqueta / vareta de madeira
humorvoll, alla burlesca / com humor
I
im, no
immer, sempre / imóvel
immer noch, imóvel / parado
immer Halbe ohne zu drängen, marcar as mínimas numa pulsação constante, sem correr
in, para
innigster, mais sentido
ins, para
J
K
keck, insolente / atrevido
klagend, lamentoso / triste
klingen, vibrar (deixar o som ressoar)
klingen lassen, deixar vibrar / lasciare vibrare / laisser vibrer
Kondukt, cortejo fúnebre
Kraft, força
kräftig, vigorosamente
kurz, curto
K.V., Koechel-Verzeichnis, índice Koechel das obras de Mozart por Ludwig Koechel (1800-1877)
L
Laendler, valsa lenta, originária da região de Laendl, norte da Áustria
lang(e), longo(a)
langsam, lento
langsamer mais lento
lassen deixar, permitir
lebhaft, vivo / animado
leidenschaftlich, com paixão
leitmotiv, motivo condutor (expressão criada por Wagner)
letzten, precedente
lied, canção originária no romantismo alemão
M
m., com
Mal., tempo / compasso
markato, marcato (ver bestimmt)
markig, preciso / marcato
marschmässig, como uma marcha
mässig, moderato
mässigend, tornando-se moderato
mässig schnell, allegretto
Mediator, palheta (plectro)
mehrere, vários
mehrfach, muitos / vários
militärischer, militar
mit, com
möglich possível
munter, con brio
N
nach, para, no
Es nach E, „afine“ mi bemol para mi natural
nachlassend, rallentando
nächstfolgenden, seguindo, seguinte
natürlich, ordinário (natural ?)
nehmen, tome / mude para
nicht, não
nicht mehr, não mais / de agora em diante não é mais...
nimmt, tome / mude para (ver nehmen)
noch, mais / ainda
noch stärker werden, tornando-se ainda mais forte (intensidade)
noch ein wenig, um pouco mais
nur, somente
O
offen, aberto
ohne, sem
Orchester, orquestra
P
Paukenschlägel(n), baquetas de tímpano
Pauker, timpanista
Pause, fermata / pausa ?
plötzlich, de repente
Pulte, estantes (de uma orquestra)
Q
R
rascher, mais rápido
rein, precisamente
roh / roher, duro / áspero
ruhig, calmo
ruhiger, mais calmo
S
Saite, corda
sammeln, juntar
Satzes, movimento (de uma obra)
Sch. / Schalltr. / Schalltrichter, campanas de instrumentos de sopro
schlagen, reger
schleppen, atrasar
schleppend, atrasando
ohne zu schleppen, sem atrasar
Schluss, final
schmeichelnd, acariciando
schmetternd, barulhento
schnell, rápido
schneller, mais rápido
schon, calmo / parado (ver immer noch)
Schritt, andamento
schüchtern, com timidez
schwach, fraco
schwächer, mais fraco
schwer, pesado
mit schwung, con spirito
schwungvoll, enérgico
sechs, seis
sich beruhigend, tornando-se mais calmo
sind, são
singend, cantabile
so, como
Sord. / Sordinen surdinas (ver Dämpfer(n))
spielen, tocar
zu spielen, a ser tocado
spring. Bogen, sautillé
stark, vigorosamente
stärker, mais vigorosamente
Steg, cavalete / bridge / chevalet
steigern(d), aumentando
stets / stetig, constante
stimmen, voz (linha melódica)
straffer, mais tenso (retesado)
streng, tempo exato
Strich, golpe de arco
Strich für Strich, détaché
stürmisch, violentamente
T
Takt(e), tempo / andamento
im Takt, in tempo
Teil, parte
teilen, dividir
nicht teilen, uníssono
Ton, som musical
Töne sons
Trauermarsch, marcha fúnebre
Triole, tercinas
Trommel, instrumento de percussão (caixa, bumbo)
U
u., e
übergehen(d), progredindo, movendo-se para
übernimmt, toma, troca para
und, e
ungefähr, aproximadamente
unmerklich, quase que de maneira imperceptível
unten am Griffbrett, no final do espelho dos instrumentos de corda (parte de baixo ?)
V
Vehemenz, veemência
verändern, mudando
verklingend, morrendo
verlöschend, morrendo
viel, muito
vier, quatro
Viertel, semínimas
von, através, por
vorher, previamente
vorhin, previamente
Vorschläge, apogiaturas
vorwärts, empurrando o tempo para a frente
W
Wärme, calor
wechseln, mudar
wenig, pouco
ganz wenig belebt, somente um pouco mais animado
werden, tornando-se
wie, como, como se
wieder, novamente, de volta
wild, selvagem
womöglich, onde possível
wuchtig, pesado, poderoso
wuchtiger, mais pesado
wütend, furiosamente
X Y
Z
zart, suave
Zeit, tempo
(sich)Zeit lassen, tomar tempo
zögernd, demorando-se
zu, no / para / também
zum, para o / ao
zurückhalten, ralentar
zurückhaltend, ritenuto
zurückkehren, retornando
zuvor, previamente
zwei, dois
zweite, segundo
zwei oder mehrfach, besetzt, usando dois ou mais instrumentos
3fach, em três
4fach, em quatro
1., 2., (etc) primeiro, segundo, etc
Clodoaldo Leite Junior, abril 2001
legendas: itálico = palavra em alemão
normal= tradução da tradução em inglês
sublinhado= sinônimos em outras línguas (italiano, inglês ou francês)
negrito= palavras encontradas com freqüencia
ALEMÃO
A
A, nota lá
ab, fora (tirar...)
abdämpfen, abafar
aber, mas
absetze, ,remover
abwechselnd, alternando
abwogend, em ondas
acht, oito
Achtel, colcheias
alle, todos(as)
alles, tudo
allmählich, allmählig, gradualmente
als, como, que
altväterisch, fora de moda
am, no(a) / para o(a)
A-moll, lá menor
an, para
andere, outro
Andern, outros
Anfang, começo
angehalten, lento
anhaltend, mais lento
Anmerkung, nota
Art, maneira
atmen, respire
auch, também
auf, acima / no ar
auf, G na corda sol
auf und abwogend, surgindo e desaparecendo (em ondas)
aufgestellt, localizado/ tocado
Ausdruck, expressão
ausdrucksvoll, com muita expressão
ausklingen, morrendo / desaparecendo o som
ausschlagen, pulsação / reger
äusserst, extremamente
B
B, si bemol
Bach Werke-Verzeichnis, catálogo temático das obras de J.S. Bach, editado por W. Schmieder
bedächtig, lento
bedeutend, significativamente
befestigt, anexo / ligado
beginnend, começo
beiden, ambos
belebend, mais animado
belebt, animado
beruhigend, tornando-se (gradativamente) mais calmo
beschleunigend, tornando-se (gradativamente) mais rápido
bestimmt, marcato
bewegt, agitado
bewegter, mais agitado
BWV, ver Bach Werke-Verzeichnis
bezeichnet, indicado
bis, até (este ponto)
bis zum, até o
Bogen, arco(s)
Bögen, arcos
Bogenwechsel(n), mudanças de arco (direção)
brechen, arpegiar
breit, largamente
breiter, longo
C
C, dó
D
D, ré
Dämpfer(n), surdina(s)
das, o
dasselbe, o mesmo
dem, o
den, o
der, o / do
des, do
deutlich, claro / distinto
d.h., isto é (i.e.)
die, a
Dirigenten, regente / maestro
Doppelgr., cordas duplas
drängen, apressando
drängend, stringendo
drängender, mais rápido
drei, três
dreifach, em três
dreinfahren, sempre para a frente
drittem / drittes, terceiro
dür, maior
E
E, nota mi
eben, exatamente
eilen, pressa
ein(e), um(a)
einem, um
Einem, um executante
einhaltend, restrito
einmal, uma vez
noch einmal, novamente
einzelne, individual
Empfindung, sentimento
energisch, enérgico
Entfernung, distância
erste / ersten / erster / erstes, primeiro
Es, mi bemol
etwas, um pouco / algo
F
F, fá
Fermate, fermata
Ferne, distância (ver Entfernung)
festhalten, manter
feurig, fogoso
Flag., harmônicos
fliessend, fluindo
fliessender, mais fluído
flüchtig, fugaz / passageiro
flüssiger, mais fluído (ver fliessender)
folgt, segue
freihängend, suspenso
freudig, giocoso / alegremente
frisch, vivo
für, para
G
G, sol
ganz, totalmente
ganze, inteiro
ganzlich, completamente
gebrochen, arpegiado (similar: brechen)
gedämpft, com surdina, abafado (Dämpfer = surdina)
gehalten(er), mais lento (ver bedächtig e angehalten)
gehend, andante / como alguém caminhando
gemessen(em) / gemessigt, medido
gemessener, mais medido
gepeitscht, excitado / estimulado
gerissen, cortar
geschlagen, tocado
geschliffen, ligado / legato
gest., gestopft, bouché (tapado)
gestrichen, tocado com arco
gesungen, cantando
get., geteilt, divisi
(mit) Gewalt, violentamente
gewöhnlich(e), normal, ordinário
gezogen, com arco (ver gestrichen)
gleiche, o mesmo / igual
gräzios, grazioso
grell, penetrante / estridente
Griffbr., Griffbrett, sul tasto, on the fingerboard, sur la touche
grosser, enorme
grösster, o maior de todos
gut, bem
H
H, si natural
Halbe, mínimas, half notes, minims
Hälfte, metade (de um naipe de cordas)
Händen, mãos
Hauch, respiração (ver atmen)
Hauptzeitmass, tempo principal
heftig, veementemente
hervortretend, proeminente, saliente / en dehors
hier, aqui
von hier an, daqui em diante
hoch, alto
(in die) Höhe, acima / no ar
Höhepunkt, climax
höher, mais alto (acima)
Holzrand, borda de madeira
Holzschl., martelo (baqueta?) de madeira
Holzstäbchen, batuta / baqueta / vareta de madeira
humorvoll, alla burlesca / com humor
I
im, no
immer, sempre / imóvel
immer noch, imóvel / parado
immer Halbe ohne zu drängen, marcar as mínimas numa pulsação constante, sem correr
in, para
innigster, mais sentido
ins, para
J
K
keck, insolente / atrevido
klagend, lamentoso / triste
klingen, vibrar (deixar o som ressoar)
klingen lassen, deixar vibrar / lasciare vibrare / laisser vibrer
Kondukt, cortejo fúnebre
Kraft, força
kräftig, vigorosamente
kurz, curto
K.V., Koechel-Verzeichnis, índice Koechel das obras de Mozart por Ludwig Koechel (1800-1877)
L
Laendler, valsa lenta, originária da região de Laendl, norte da Áustria
lang(e), longo(a)
langsam, lento
langsamer mais lento
lassen deixar, permitir
lebhaft, vivo / animado
leidenschaftlich, com paixão
leitmotiv, motivo condutor (expressão criada por Wagner)
letzten, precedente
lied, canção originária no romantismo alemão
M
m., com
Mal., tempo / compasso
markato, marcato (ver bestimmt)
markig, preciso / marcato
marschmässig, como uma marcha
mässig, moderato
mässigend, tornando-se moderato
mässig schnell, allegretto
Mediator, palheta (plectro)
mehrere, vários
mehrfach, muitos / vários
militärischer, militar
mit, com
möglich possível
munter, con brio
N
nach, para, no
Es nach E, „afine“ mi bemol para mi natural
nachlassend, rallentando
nächstfolgenden, seguindo, seguinte
natürlich, ordinário (natural ?)
nehmen, tome / mude para
nicht, não
nicht mehr, não mais / de agora em diante não é mais...
nimmt, tome / mude para (ver nehmen)
noch, mais / ainda
noch stärker werden, tornando-se ainda mais forte (intensidade)
noch ein wenig, um pouco mais
nur, somente
O
offen, aberto
ohne, sem
Orchester, orquestra
P
Paukenschlägel(n), baquetas de tímpano
Pauker, timpanista
Pause, fermata / pausa ?
plötzlich, de repente
Pulte, estantes (de uma orquestra)
Q
R
rascher, mais rápido
rein, precisamente
roh / roher, duro / áspero
ruhig, calmo
ruhiger, mais calmo
S
Saite, corda
sammeln, juntar
Satzes, movimento (de uma obra)
Sch. / Schalltr. / Schalltrichter, campanas de instrumentos de sopro
schlagen, reger
schleppen, atrasar
schleppend, atrasando
ohne zu schleppen, sem atrasar
Schluss, final
schmeichelnd, acariciando
schmetternd, barulhento
schnell, rápido
schneller, mais rápido
schon, calmo / parado (ver immer noch)
Schritt, andamento
schüchtern, com timidez
schwach, fraco
schwächer, mais fraco
schwer, pesado
mit schwung, con spirito
schwungvoll, enérgico
sechs, seis
sich beruhigend, tornando-se mais calmo
sind, são
singend, cantabile
so, como
Sord. / Sordinen surdinas (ver Dämpfer(n))
spielen, tocar
zu spielen, a ser tocado
spring. Bogen, sautillé
stark, vigorosamente
stärker, mais vigorosamente
Steg, cavalete / bridge / chevalet
steigern(d), aumentando
stets / stetig, constante
stimmen, voz (linha melódica)
straffer, mais tenso (retesado)
streng, tempo exato
Strich, golpe de arco
Strich für Strich, détaché
stürmisch, violentamente
T
Takt(e), tempo / andamento
im Takt, in tempo
Teil, parte
teilen, dividir
nicht teilen, uníssono
Ton, som musical
Töne sons
Trauermarsch, marcha fúnebre
Triole, tercinas
Trommel, instrumento de percussão (caixa, bumbo)
U
u., e
übergehen(d), progredindo, movendo-se para
übernimmt, toma, troca para
und, e
ungefähr, aproximadamente
unmerklich, quase que de maneira imperceptível
unten am Griffbrett, no final do espelho dos instrumentos de corda (parte de baixo ?)
V
Vehemenz, veemência
verändern, mudando
verklingend, morrendo
verlöschend, morrendo
viel, muito
vier, quatro
Viertel, semínimas
von, através, por
vorher, previamente
vorhin, previamente
Vorschläge, apogiaturas
vorwärts, empurrando o tempo para a frente
W
Wärme, calor
wechseln, mudar
wenig, pouco
ganz wenig belebt, somente um pouco mais animado
werden, tornando-se
wie, como, como se
wieder, novamente, de volta
wild, selvagem
womöglich, onde possível
wuchtig, pesado, poderoso
wuchtiger, mais pesado
wütend, furiosamente
X Y
Z
zart, suave
Zeit, tempo
(sich)Zeit lassen, tomar tempo
zögernd, demorando-se
zu, no / para / também
zum, para o / ao
zurückhalten, ralentar
zurückhaltend, ritenuto
zurückkehren, retornando
zuvor, previamente
zwei, dois
zweite, segundo
zwei oder mehrfach, besetzt, usando dois ou mais instrumentos
3fach, em três
4fach, em quatro
1., 2., (etc) primeiro, segundo, etc
Clodoaldo Leite Junior, abril 2001
legendas: itálico = palavra em alemão
normal= tradução da tradução em inglês
sublinhado= sinônimos em outras línguas (italiano, inglês ou francês)
negrito= palavras encontradas com freqüencia
Termos musicais (inglês)
PEQUENO GLOSSÁRIO DE TERMOS MUSICAIS ESTRANGEIROS
INGLÊS
bar, compasso (ver também measure)
barline, barra de compasso
beat, tempo (do compasso)
bow, arco
bridge, cavalete
clef, clave
crotchet, semínima (G.B.), ver quarter note
demisemiquaver, fusa (G.B.,) ver thirty-second note
down-bow, arco para baixo
eighth note, colcheia (EUA), ver quaver
fast, rápido
faster, mais rápido
fingerboard, espelho (instrumentos de corda)
first time bar, casinha de primeira repetição
flat, bemol
frog, talão (ver nut)
from the top, da Capo
from the very beginning, da Capo
hairpins, sinais gráficos de crescendo e decrescendo (“grampos de cabelo”)
half note, mínima (EUA), ver minim
hemidemisemiquaver, semifusa (G.B.), ver sixty-fourth note
key signature armadura de clave
key, tom
ledger lines, linhas suplementares
loud, forte
louder, mais forte
measure, compasso (na Inglaterra: bar)
middle, meio
minim, mínima
not too fast, não muito rápido
nut, talão
pause, fermata
pegs, cravelhas
point, ponta
pulse, pulsação
quarter note, crotchet
quaver,
repeats, barra de repetição
rest, pausa
scroll, voluta
second time bar, casa de Segunda vez
semibreve,
semiquaver,
sharp, sustenido
singing, cantando
sixteenth note,
sixty-fourth note,
slow, lento
slower, mais lento
soft, suave
softer, mais suave
soundpost, alma
spike, espigão
staff / staves, pauta
string, corda
tempo,
thirty-second note, fusa
time signature fórmula de compasso
tune, afinar (in tune = afinado)
up-bow, arco para cima
whole note, semibreve
INGLÊS
bar, compasso (ver também measure)
barline, barra de compasso
beat, tempo (do compasso)
bow, arco
bridge, cavalete
clef, clave
crotchet, semínima (G.B.), ver quarter note
demisemiquaver, fusa (G.B.,) ver thirty-second note
down-bow, arco para baixo
eighth note, colcheia (EUA), ver quaver
fast, rápido
faster, mais rápido
fingerboard, espelho (instrumentos de corda)
first time bar, casinha de primeira repetição
flat, bemol
frog, talão (ver nut)
from the top, da Capo
from the very beginning, da Capo
hairpins, sinais gráficos de crescendo e decrescendo (“grampos de cabelo”)
half note, mínima (EUA), ver minim
hemidemisemiquaver, semifusa (G.B.), ver sixty-fourth note
key signature armadura de clave
key, tom
ledger lines, linhas suplementares
loud, forte
louder, mais forte
measure, compasso (na Inglaterra: bar)
middle, meio
minim, mínima
not too fast, não muito rápido
nut, talão
pause, fermata
pegs, cravelhas
point, ponta
pulse, pulsação
quarter note, crotchet
quaver,
repeats, barra de repetição
rest, pausa
scroll, voluta
second time bar, casa de Segunda vez
semibreve,
semiquaver,
sharp, sustenido
singing, cantando
sixteenth note,
sixty-fourth note,
slow, lento
slower, mais lento
soft, suave
softer, mais suave
soundpost, alma
spike, espigão
staff / staves, pauta
string, corda
tempo,
thirty-second note, fusa
time signature fórmula de compasso
tune, afinar (in tune = afinado)
up-bow, arco para cima
whole note, semibreve
Notas de alguém que ouviu Joachim ao vivo
JOSEPH JOACHIM
[1861]
O evento mais importante das últimas semanas foi a aparição de Joseph Joachim[1]. Ele havia tocado em Viena anos atrás como criança prodígio, porém o “homem prodígio” tem permanecido um estranho. Como o lugar de sua educação, se não de seu nascimento, Viena tem razão para se queixar de ser negligenciada por este artista que viaja tanto. Jovem como ele ainda é, Joachim é tido como o maior violinista vivo; se Vieuxtemps é às vezes equiparado a ele, isto é por si só prova de sua grandeza. Não foi tarefa fácil para o artista corresponder à intensa e por muito tempo cultivada expectativa de um público tão experiente como o nosso. Joachim o fez, e de maneira brilhante.
Ele começou com o concerto de Beethoven. Depois do primeiro movimento parece ter ficado claro para todo mundo que ali não estava um mero (e impressionante) virtuoso, mas uma personalidade significante e individual. Por sua técnica, Joachim é tão identificado com o ideal musical que pode se dizer que ele transcendeu a mera virtuosidade para ser transcendental no aspecto musical. Sua maneira de tocar é grandiosa, nobre e livre. Nem o mais simples mordente tem o sabor do virtuosismo; qualquer coisa que invoque vaidade ou aplauso fácil foi eliminada. Esta nobre dedicação causa tamanho impacto que somente algum tempo depois é que o público se da conta da sua imensa bagagem técnica.
Que jorro de energia há no som do instrumento com suas grandes e seguras arcadas! Pela primeira vez nós não escutamos nada de “serrar” e “arranhar”, mesmo no tratamento mais enfático das cordas graves, o que acontece de vez em quando mesmo com outros violinistas famosos. Seu trilo é incomparável na sua pureza e igualdade. Ao tocar passagens polifônicas as vozes individuais são tão coordenadas e tão bem diferenciadas que se tem a impressão de haver mais de um executante no palco.
Baseando-se neste primeiro concerto, poderia se concluir que a grandeza, a nobreza e o trágico seriam as qualidades que mais correspondessem à sua natureza. O concerto de Beethoven, particularmente a apresentação quase improvisatória e profundamente motivada do Adagio, foi prova de sua distinta individualidade. O mesmo concerto soou mais brilhante, mais cheio de vida quando Vieuxtemps o executou; Joachim pesquisou naquela obra mais profundamente e ultrapassou, através de uma verdadeira força ética, aquilo que Vieuxtemps havia conseguido através de um temperamento irresistível.
Em seguida ele apresentou o Adagio de Spohr, do qual a parcialidade perdeu qualquer traço de peso excessivo na interpretação de Joachim através da variedade e força rítmica. O mais surpreendente, contudo, foi sua interpretação da sonata de Tartini “O Trilo do Diabo”. Os violinistas concordarão que esta representa uma técnica colossal e ao mesmo tempo classicamente articulada até o momento sem exemplos. Não somente ele demonstrou bravura com facilidade e segurança; ele até foi capaz de distribuir inúmeros toques significantes através do tumulto de sons, lançando luzes aqui e ali, o que deu à composição um caráter novo e expressivo. Há pouquíssimos violinistas dos quais as conquistas parecem vir tão completamente de uma mesma fôrma, imediatamente tão claras e harmoniosas no seu efeito.
A respeito do concerto de sua autoria “Concerto em Estilo Húngaro” é necessário precaução para se tirar conclusões da extensão e natureza de seu talento criativo. É uma peça muito expansiva e complicada,e , através do papel desempenhado pelo elemento virtuosismo, causadora de grande impacto para ser avaliada inteiramente numa única audição. De qualquer maneira, esta peça ocupou e atraiu a atenção dos ouvintes sobremaneira. Sua significância parece estar mais na energia com a qual o caráter da peça é controlado e a maneira imaginativa com a qual esta energia é variada, do que na riqueza da invenção melódica.
Outras preciosidades, verdadeiras conquistas de uma brilhante e ao mesmo tempo subordinada técnica, foram movimentos selecionados das sonatas de J.S. Bach e uma “Fantasia com acompanhamento de Orquestra” de Schumann (opus 131)[2]. Como não há nenhum traço da vaidade comum do virtuoso nele, deve ter sido seguramente pena o que o fez tocar uma peça ao mesmo tempo tão desagradável e tão difícil. Schumann a escreveu no final de seus dias de lucidez e a dedicou a Joachim.. É um abismo escuro sobre o qual dois artistas se dão as mãos. Martirizante, sombria e obstinada, esta Fantasia desenvolve sua “luta”, fazendo uso contínuo de figuração para compensar pela sua pobreza melódica. Somente raras vezes o cansaço destas características é interrompido por algo harmonicamente ou orquestralmente imaginativo.
Não podemos nos lembrar de termos ouvido o Romance em Fá (opus 50) de Beethoven tocado em público. Beethoven escreveu dois Romances para violino (com acompanhamento de octeto). Ambas [as peças] levam o selo do seu gênio, mas obviamente não são só produto de impulsos criativos. Elas têm a característica de “peças de ocasião”. Apesar de pertencerem ao período que Beethoven foi mais forte e mais individual, muitas vezes recursos obsoletos [composicionais] sugerem seu “primeiro período”. Joachim a projetou com uma amplidão e repouso maravilhosos, tocando a melodia de maneira simples na brilhante corda mi, enquanto que quase nenhum outro violinista teria falhado em dar-lhe cores mais sombrias artificialmente.
Esta grandeza modesta e sem adornos parece ser a mais impressionante qualidade da maneira de tocar de Joachim. Muitos bons efeitos que tocam de imediato são perdidos em razão disto. O estilo amplo e dramático sempre trará admiração que amor: ele ocupa a mente e não pode, em conseqüência, ir direto ao coração. Como no caráter pessoal dos seres humanos em geral, nas individualidades artísticas também encontramos certos atributos que estão fadados a serem mutuamente excludentes. em muitas passagens da peça de Beethoven, a naturalidade estimulante de Hellmesberger[3] teria tocado mais diretamennte a nossos corações do que a inflexível seriedade romana de Joachim.
* * * * *
Hanslick’s Music Criticisms, Dover 1978, tradução de Clodoaldo Leite Junior, 2006.
[1] Durante sua visita a Viena, Joachim (1831-1907) deu cinco concertos no Musikvereinssaal e um sexto na sala maior Redoutensaal. Nascido em Kittsee, perto de Bratislava, ele entrou para o Conservatório de Viena em 1838 como aluno de Joseph Boehm. Em 1843 ele se mudou para Leipzig e não retornou a Viena até 1861, ocasião dos concertos aqui discutidos.
[2] O mesmo ‘Concerto’ que Yehudi Menuhin ‘descobriu’ e tocou com muita publicidade na
temporada 1938-9.
[3] Joseph Hellmerberger (1828-93), membro de uma distinta família musical vienense e, como Joachim, discípulo de Boehm. Era Diretor e Professor de Violino no Conservatório de Viena, spalla das Orquestras Filarmônica e da Ópera e fundador do famoso Hellmesberger Quarteto. Foi também por um tempo (1851-9) diretor da Sociedade dos Amigos da Música.
[1861]
O evento mais importante das últimas semanas foi a aparição de Joseph Joachim[1]. Ele havia tocado em Viena anos atrás como criança prodígio, porém o “homem prodígio” tem permanecido um estranho. Como o lugar de sua educação, se não de seu nascimento, Viena tem razão para se queixar de ser negligenciada por este artista que viaja tanto. Jovem como ele ainda é, Joachim é tido como o maior violinista vivo; se Vieuxtemps é às vezes equiparado a ele, isto é por si só prova de sua grandeza. Não foi tarefa fácil para o artista corresponder à intensa e por muito tempo cultivada expectativa de um público tão experiente como o nosso. Joachim o fez, e de maneira brilhante.
Ele começou com o concerto de Beethoven. Depois do primeiro movimento parece ter ficado claro para todo mundo que ali não estava um mero (e impressionante) virtuoso, mas uma personalidade significante e individual. Por sua técnica, Joachim é tão identificado com o ideal musical que pode se dizer que ele transcendeu a mera virtuosidade para ser transcendental no aspecto musical. Sua maneira de tocar é grandiosa, nobre e livre. Nem o mais simples mordente tem o sabor do virtuosismo; qualquer coisa que invoque vaidade ou aplauso fácil foi eliminada. Esta nobre dedicação causa tamanho impacto que somente algum tempo depois é que o público se da conta da sua imensa bagagem técnica.
Que jorro de energia há no som do instrumento com suas grandes e seguras arcadas! Pela primeira vez nós não escutamos nada de “serrar” e “arranhar”, mesmo no tratamento mais enfático das cordas graves, o que acontece de vez em quando mesmo com outros violinistas famosos. Seu trilo é incomparável na sua pureza e igualdade. Ao tocar passagens polifônicas as vozes individuais são tão coordenadas e tão bem diferenciadas que se tem a impressão de haver mais de um executante no palco.
Baseando-se neste primeiro concerto, poderia se concluir que a grandeza, a nobreza e o trágico seriam as qualidades que mais correspondessem à sua natureza. O concerto de Beethoven, particularmente a apresentação quase improvisatória e profundamente motivada do Adagio, foi prova de sua distinta individualidade. O mesmo concerto soou mais brilhante, mais cheio de vida quando Vieuxtemps o executou; Joachim pesquisou naquela obra mais profundamente e ultrapassou, através de uma verdadeira força ética, aquilo que Vieuxtemps havia conseguido através de um temperamento irresistível.
Em seguida ele apresentou o Adagio de Spohr, do qual a parcialidade perdeu qualquer traço de peso excessivo na interpretação de Joachim através da variedade e força rítmica. O mais surpreendente, contudo, foi sua interpretação da sonata de Tartini “O Trilo do Diabo”. Os violinistas concordarão que esta representa uma técnica colossal e ao mesmo tempo classicamente articulada até o momento sem exemplos. Não somente ele demonstrou bravura com facilidade e segurança; ele até foi capaz de distribuir inúmeros toques significantes através do tumulto de sons, lançando luzes aqui e ali, o que deu à composição um caráter novo e expressivo. Há pouquíssimos violinistas dos quais as conquistas parecem vir tão completamente de uma mesma fôrma, imediatamente tão claras e harmoniosas no seu efeito.
A respeito do concerto de sua autoria “Concerto em Estilo Húngaro” é necessário precaução para se tirar conclusões da extensão e natureza de seu talento criativo. É uma peça muito expansiva e complicada,e , através do papel desempenhado pelo elemento virtuosismo, causadora de grande impacto para ser avaliada inteiramente numa única audição. De qualquer maneira, esta peça ocupou e atraiu a atenção dos ouvintes sobremaneira. Sua significância parece estar mais na energia com a qual o caráter da peça é controlado e a maneira imaginativa com a qual esta energia é variada, do que na riqueza da invenção melódica.
Outras preciosidades, verdadeiras conquistas de uma brilhante e ao mesmo tempo subordinada técnica, foram movimentos selecionados das sonatas de J.S. Bach e uma “Fantasia com acompanhamento de Orquestra” de Schumann (opus 131)[2]. Como não há nenhum traço da vaidade comum do virtuoso nele, deve ter sido seguramente pena o que o fez tocar uma peça ao mesmo tempo tão desagradável e tão difícil. Schumann a escreveu no final de seus dias de lucidez e a dedicou a Joachim.. É um abismo escuro sobre o qual dois artistas se dão as mãos. Martirizante, sombria e obstinada, esta Fantasia desenvolve sua “luta”, fazendo uso contínuo de figuração para compensar pela sua pobreza melódica. Somente raras vezes o cansaço destas características é interrompido por algo harmonicamente ou orquestralmente imaginativo.
Não podemos nos lembrar de termos ouvido o Romance em Fá (opus 50) de Beethoven tocado em público. Beethoven escreveu dois Romances para violino (com acompanhamento de octeto). Ambas [as peças] levam o selo do seu gênio, mas obviamente não são só produto de impulsos criativos. Elas têm a característica de “peças de ocasião”. Apesar de pertencerem ao período que Beethoven foi mais forte e mais individual, muitas vezes recursos obsoletos [composicionais] sugerem seu “primeiro período”. Joachim a projetou com uma amplidão e repouso maravilhosos, tocando a melodia de maneira simples na brilhante corda mi, enquanto que quase nenhum outro violinista teria falhado em dar-lhe cores mais sombrias artificialmente.
Esta grandeza modesta e sem adornos parece ser a mais impressionante qualidade da maneira de tocar de Joachim. Muitos bons efeitos que tocam de imediato são perdidos em razão disto. O estilo amplo e dramático sempre trará admiração que amor: ele ocupa a mente e não pode, em conseqüência, ir direto ao coração. Como no caráter pessoal dos seres humanos em geral, nas individualidades artísticas também encontramos certos atributos que estão fadados a serem mutuamente excludentes. em muitas passagens da peça de Beethoven, a naturalidade estimulante de Hellmesberger[3] teria tocado mais diretamennte a nossos corações do que a inflexível seriedade romana de Joachim.
* * * * *
Hanslick’s Music Criticisms, Dover 1978, tradução de Clodoaldo Leite Junior, 2006.
[1] Durante sua visita a Viena, Joachim (1831-1907) deu cinco concertos no Musikvereinssaal e um sexto na sala maior Redoutensaal. Nascido em Kittsee, perto de Bratislava, ele entrou para o Conservatório de Viena em 1838 como aluno de Joseph Boehm. Em 1843 ele se mudou para Leipzig e não retornou a Viena até 1861, ocasião dos concertos aqui discutidos.
[2] O mesmo ‘Concerto’ que Yehudi Menuhin ‘descobriu’ e tocou com muita publicidade na
temporada 1938-9.
[3] Joseph Hellmerberger (1828-93), membro de uma distinta família musical vienense e, como Joachim, discípulo de Boehm. Era Diretor e Professor de Violino no Conservatório de Viena, spalla das Orquestras Filarmônica e da Ópera e fundador do famoso Hellmesberger Quarteto. Foi também por um tempo (1851-9) diretor da Sociedade dos Amigos da Música.
Texto de Eduard Hanslick (crítico musical)
VIEUXTEMPS[1]
[1854]
Tão somente quanto uma única experiência iluminadora pode ter o efeito de trazer calor e claridade para períodos inteiros de monotonia diária, consideramos um período rico (na vida artística) quando uma única personalidade imponente quebra a monotonia e a mediocridade. Ele se destaca como uma bandeira da vitória fincada numa pilha de pedras. Poderíamos recordar os eventos musicais das últimas semanas com agradável satisfação, caso eles consistissem de nada além da apresentação de Vieuxtemps.
Ouvi-lo tocar é um dos maiores prazeres (que desafiam qualificação) que a música tem a oferecer. Sua maneira de tocar é infalível tecnicamente e de grande maestria, assim como musicalmente nobre, inspirada e admirável. Eu o considero o primeiro dentre os violinistas contemporâneos. Alguns podem mencionar Joachim, que está no momento na sua melhor fase e que (dizem) ser insuperável na interpretação dos clássicos da literatura do violino. Porém, para alguém que ainda não ouviu Joachim tocar, a existência de um músico melhor do que Vieuxtemps é difícil de imaginar.
Ele é também um dos melhores compositores modernos para seu instrumento. Seus concertos são criativos, graciosos, bem acabados e criados com grande conhecimento técnico, particularmente no que diz respeito à instrumentação. Apesar disso tudo eles não estão a par com exemplos de grande composição instrumental, e um crítico local que equiparasse o Concerto de Vieuxtemps em ré menor com os concertos de Beethoven e Mendelssohn estaria exagerando um pouco. As composições de Vieuxtemps são, contudo, bastante interessantes. Aquilo que é mais impressionante em música sempre envolve um certo distanciamento da simples beleza pura, e tal distanciamento – levados às vezes ao extremo – é encontrado em suas obras.
Suas composições dão uma profunda impressão de invenção . A invenção musical é genuína porém não especialmente rica; o domínio dos meios é incomparavelmente mais notável. Na impressionante exposição do Concerto em ré menor encontramos muitas passagens imaginativas; os temas principais, por outro lado, não sugerem a mesma invenção.
O grande talento de Vieuxtemps tem tido tráfego íntimo com Beethoven, porém ser ter assimilado um grau considerável de firmeza alemã, ao mesmo tempo que é profundamente enraizado no romantismo francês para poder negar os encantos dúbios desta escola. O que distingue Vieuxtemps de seus colegas compositores é sua bem desenvolvida capacidade de pensar em termos da orquestra e sua consistência artística, o que, em obras mais longas, ele permite o desenvolvimento [desta capacidade], mesmo às custas do virtuosismo. Excetuando Spohr[2], ele pode ser considerado o melhor compositor entre os violinistas e o melhor dos violinistas entre os compositores contemporâneos.
Hanslick’s Music Criticisms, Dover 1978, tradução de Clodoaldo Leite Junior, 2006.
[1] Henri Vieuxtemps (1821-81)
[2] Louis (Ludwig) Spohr (1784-1859). Apesar de ser lembrado principalmente como um compositor para o violino, ele foi um dos maiores compositores de ópera de sua geração. Sua obra-prima é Faust (1816).
[1854]
Tão somente quanto uma única experiência iluminadora pode ter o efeito de trazer calor e claridade para períodos inteiros de monotonia diária, consideramos um período rico (na vida artística) quando uma única personalidade imponente quebra a monotonia e a mediocridade. Ele se destaca como uma bandeira da vitória fincada numa pilha de pedras. Poderíamos recordar os eventos musicais das últimas semanas com agradável satisfação, caso eles consistissem de nada além da apresentação de Vieuxtemps.
Ouvi-lo tocar é um dos maiores prazeres (que desafiam qualificação) que a música tem a oferecer. Sua maneira de tocar é infalível tecnicamente e de grande maestria, assim como musicalmente nobre, inspirada e admirável. Eu o considero o primeiro dentre os violinistas contemporâneos. Alguns podem mencionar Joachim, que está no momento na sua melhor fase e que (dizem) ser insuperável na interpretação dos clássicos da literatura do violino. Porém, para alguém que ainda não ouviu Joachim tocar, a existência de um músico melhor do que Vieuxtemps é difícil de imaginar.
Ele é também um dos melhores compositores modernos para seu instrumento. Seus concertos são criativos, graciosos, bem acabados e criados com grande conhecimento técnico, particularmente no que diz respeito à instrumentação. Apesar disso tudo eles não estão a par com exemplos de grande composição instrumental, e um crítico local que equiparasse o Concerto de Vieuxtemps em ré menor com os concertos de Beethoven e Mendelssohn estaria exagerando um pouco. As composições de Vieuxtemps são, contudo, bastante interessantes. Aquilo que é mais impressionante em música sempre envolve um certo distanciamento da simples beleza pura, e tal distanciamento – levados às vezes ao extremo – é encontrado em suas obras.
Suas composições dão uma profunda impressão de invenção . A invenção musical é genuína porém não especialmente rica; o domínio dos meios é incomparavelmente mais notável. Na impressionante exposição do Concerto em ré menor encontramos muitas passagens imaginativas; os temas principais, por outro lado, não sugerem a mesma invenção.
O grande talento de Vieuxtemps tem tido tráfego íntimo com Beethoven, porém ser ter assimilado um grau considerável de firmeza alemã, ao mesmo tempo que é profundamente enraizado no romantismo francês para poder negar os encantos dúbios desta escola. O que distingue Vieuxtemps de seus colegas compositores é sua bem desenvolvida capacidade de pensar em termos da orquestra e sua consistência artística, o que, em obras mais longas, ele permite o desenvolvimento [desta capacidade], mesmo às custas do virtuosismo. Excetuando Spohr[2], ele pode ser considerado o melhor compositor entre os violinistas e o melhor dos violinistas entre os compositores contemporâneos.
Hanslick’s Music Criticisms, Dover 1978, tradução de Clodoaldo Leite Junior, 2006.
[1] Henri Vieuxtemps (1821-81)
[2] Louis (Ludwig) Spohr (1784-1859). Apesar de ser lembrado principalmente como um compositor para o violino, ele foi um dos maiores compositores de ópera de sua geração. Sua obra-prima é Faust (1816).
Transcrição do Vídeo
JACQUELINE DU PRÉ AND THE ELGAR CELLO CONCERTO
[Narrator] Jacqueline du Pré was one of the finest performing musicians that England has produced in the past 300 years. She had the rarest of talents, combining dazzling virtuosity with an absolute natural conviction that carried all before it. Her talent blossomed young as the following films will show, and she seemed to fit exactly the phrase that Clara Schumann once used to Johannes Brahms: “to have been sent into the world ready made”. In this film her teacher William Pleeth says that he could see her remarkable gifts on the very first day, and as the next few lessons unfolded, one could see sort of endlessness and everything was possible. But it was not to be. The girl who knew that she had within herself gifts with endless possibilities grew into the woman who watched the force of Nature robbing her slowly and mercilessly of her ability to express those very gifts. Most of the film was made in 1967, but after Jacqueline du Pré’s career was halted by multiple sclerosis she did everything she could to use her talents and her experience to the full. And so in 1981 we made a new introduction to the film which shows something of the way in which her extraordinary spirit came to terms with her illness.
It was precisely her way of doing things both in her life and in her music that penetrated so deep into the imagination with this beautiful woman, the personality and the talent was so combined, so natural and so apparently incorruptible that she seemed almost uniquely able to fulfill the promise of great music, to give us glimpses of eternity.
[02:39] On the 21st of March 1962, Jacqueline du Pré gave her first performance of the Elgar Cello Concerto at the Royal Festival Hall in London. She was just 17 years old, seemingly far too young to make the most of an autumnal work that has all the hallmarks of late maturity. But it soon it became clear to many of those present that in Jacqueline du Pré’s young hands, Elgar’s melancholy masterpiece would one day have its finest interpretation. On the following morning, Nevile Cardis, one of England’s distinguished writers on music described the work in the Guardian as “a swan song of rare and vanishing beauty”, and he concluded his review with these words: “those actually present will witness on the first day of Spring to an early blossoming in Miss du Pré’s playing, and such a beautiful blossoming as this year or any other year is likely to know for a long time to come.”
A SWAN SONG OF RARE AND VANISHING BEAUTY
[M. Welsh] You want the same in each bar on the bowing thing?
[Jacqueline du Pré] Yes, except for the last bar from the C sharp {ela canta} so with the B.
[M. Welsh] Ah, yes, I see.
[Narrator] Twenty years later, Jacqueline du Pré remains as close to Elgar’s Concerto as the circumstances permit and her passion for the work can devise. She is here working with a friend and fellow cellist Moray Welsh on the interpretation and fingering for her students. She can no longer play the cello. Her extraordinary and unforgettable talent was muted in 1973 by multiple sclerosis, but her enthusiasm for music remains undimmed and her perception, both of music and of people has actually developed with the experience and passage of time. She remains a brave and adventurous spirit, in the past ten years she has taught both privately and in master classes, she has become the focal point of a massive research project for multiple sclerosis. She has narrated Carnival of the Animals for radio and Peter and the Wolf for a gramophone recording. She’s been awarded the OBE, received honored doctors from five British universities and in 1980 she was nominated Musician of the Year by the Incorporated Society of Musicians but in all of this the Elgar Concerto has remained a constant theme in her life.
[M.Welsh] Do you want the same fingering the second time it’s repeated?
[J. du Pré] No, because I think that’s harmonically too. The more important one the second time. So it’s 1 4-4 2 1 then bow definitely moving first.
[M.Welsh] The same thing?
[Narrator] Happily we made a film on her in 1967, which traces some of the more important events in her exceptional relationships with this work and ended with a complete performance of it with the New Philarmonia Orchestra, conducted by Daniel Barenboim.
Her performance of the Elgar’s Concerto in the film is extraordinary by any standards and for many is quite unforgettable. Even when she played first at the Royal Festival Hall her interpretation focused new attention on the inherent p……….ss in the work, and watching it and hearing it as she plays it here in the film few would think that her projection of Elgar’s melancholy could actually have deepened as the years went by. [música]
[9:46] It’s Elgar’s final masterpiece and one of the world’s great cello concertos but there is more to it than that and Nevile C’s phrase could not be more appropriate. It’s indeed a lamenting farewell to beauty, which in his despairing days Elgar described as a man’s attitude to life.
What Jacqueline du Pré would make of it now it’s something that we can only guess at, but in her mind she remains as close to it as ever. And so here at her express wish is a reedited version of the film we made in 1967.
[11:22] There are just a few in any generation, musicians which unstakable qualities that make the rare but familiar figure of the internationally acclaimed artist. It’s one of the most totally absorbing of all professions that demands not only great fantasy, and the God given talent to communicate but the character and will to develop it, and the essential single-mindedness from the earliest age. The demands are high and are met by just a few. At 22, Jacqueline du Pré is already among them.
She was born in 1945, but the name du Pre comes from Jersey, where the family can be traced back to the Norman Conquest. Early talents to dancing, singing and drawing were fostered by her mother, a concert pianist known by her maiden name of Iris Kreave. But her talents took no special direction until the age of 4, when she first heard the cello.
[12-54] [JdP] Well I heard it on the radio when I was very small, when I was four and, although I don’t remember the sound at all I liked so much apparently that I asked my mother to give me the thing that made that sound, and she did! She gave me a big big cello, which I loved to play, but she ---------- more accurately about that.
[Iris] I knew she was musical because she could tap rhythms that I tapped for her from a very early age, before she was a year old. And she could also sing in tune before she could talk. So I thought it would’ve been a good idea for she to play the cello, especially as I play the piano and Hilary played the piano. And so I got an enormous cello, much much too big for her, she was completely lost behind it, and I wrote some tunes for her to play.
[Jacqueline du Pré] She was marvelous because she has a great talent for teaching small children, and, she started off by writing little tunes for me, when I could hardly play the thing at all, and she added words to these tunes, on the opposite side of the page she drew beautiful pictures illustrating the tunes, and she used to do this when I was asleep, and I could hardly wait till the morning came, because in the morning I’d wake up and find this beautiful thing waiting for me, and we dressed on and played together. That really made me very excited about the cello. [14.08] When I was 6 my mother thought it was time I went to a proper teacher, so I went to the London Cello School, and it was there that this beautiful big cello was taken away from me because I was too small, and I was given one just about this big and my pride was so hurt, I suffered quite a lot for a little while.
[15:09] [Narrator] The suffering was not too serious and may even have strengthened the exceptional determination and ability, which were already beginning to show.
[Iris] She had tremendous power of concentration right from the very beginning, and an instinctive feeling for phrasing and for the instrument itself. In fact, she often gave me a new angle on how to phrase a certain piece of music, and she was two different people, she was the ordinary happy child when she was playing with other people, other friends, but when she was playing the cello she became immediately in a world completely her own and I remember when she was very young, 7 years old, taking part in a London Festival, competitive festival, there was a long corridor leading to the room where the competition was to be held, and she was very excited at the thought of playing, and she skipped on at the corridor feeling very happy to be met by the person at the door, who said: `It’s easy to see you’ve just been played, you just had your turn!`, she said: Oh, no, I’m just going to play! And when she played she had that ability to hold the audience, she compelled people to listen to her. After 4 years at the Cello School we knew she had to have a long-term teacher, it was then that I thought of Bill Pleeth, I’ve always admired his playing.
[William Pleeth] I think the greatest impression is one of the impact of being able to give a human being a tremendous amount and seeing that amount return so that you hit back and the tremendous climb had such force and inevitability that, you can sort of see and endlessness in development. I think it was one of the most impressive things, because I’m hitting the ball against the wall and it always return, of course the more you hit the more it would return, so that you’ve never had a sort to of blank period where something got stuck for a moment.
[Narrator] Would you say now that when you first saw her that you could see the potential was there?
[William Pleeth] Yes, you could see it quite strongly on the first day and, as the nest few lessons went on, it just sort of unfolded, so like a flower, so much that you knew then that you had sort of endlessness on that, everything was possible.
[Narrator] To prove it, she became within a year the youngest contendant for the valuable Suggia Gift, the chairman of the panel was Sir John Barbirolli.
[Sir John Barbirolli] I remember vividly the day Jackie came before us and one of my chief colleagues on the panel is Lionel Tertis, the greatest of all English instrumentalists and I remember that Jackie be playing for about 2 or 3 minutes and I turned to Lionel and said: This is it! And it has been a wonderful experience for me to see this tremendous, wonderful, natural cello talent flower as it has and flower musically as well as instrumentally, you know, she is sometimes accused of excessive emotion, but I love it! Because when you’re young you should have an excess of everything, if you don’t have that excess, what are you going to pair off as the years go by?
[18:36] [Dueto: Willem de Fesch – Sonata em Do Maior]
[Jacqueline du Pré] Very Nice!
[Willam Pleeth] Do you want to do the next one?
[Jacqueline du Pré] Yes, that’s my favorite!
[WilliamPleeth] It’s your favorite.
Honestly, it’s so many …………..such a talent, her musical memory, her development, her dynamic, her personality,, they’re sort of in a burn, ……………….dramatic all these points, I mean, they’re so …………….apart for a sort of intriguing aspects of unfoldingness, or, ………….
[Narrator] Unfolding it certainly did and in the next few years she won most of the available prizes, among them all the cello prizes at the Guildhall School, the Queen’s Prize and the Gulbenkian ……… Awards. By 16 she felt ready for her London debut.
[Jacqueline du Pré] It was a big occasion for me, I never really get an important concert in London and I was beginning with a Haendel Sonata and during the first movement the A string began very very slowly to unwind and the string got flatter and flatter and I was playing higher and higher, then the whole thing went straight down and I had to start again! Which in fact was a great help because I was nervous for the big event, and after that having gained an extra ………….of sympathy from the audience it was easier, friendly to start again.
[Narrator] In the following year, 1962, she gave her first performance of the Elgar Concerto, the start of a special association with this work, when she played it at the Festival Hall in London with the BBC Symphony Orchestra, conducted by Rudolph Schwartz. Later in the same year she gave her first television recital accompanied by her mother, and there’s no mistaking in bringing authority.
[Iris] It was this time, just when she had tremendous success that she began to have serious doubts as to whether she was good enough. She just wondered if she had the ability to carry on with this tremendous career, and she became very depressed, and just was completely lost for a time, she didn’t touch the cello at all, and she had to find something else to do, do you remember?
[Jackie`s father] Very well indeed, we were both worried, but, we knew fundamentally she would get over it, she was determined eventually to be a cellist, she forced it, she did all sorts of other activities, she ………….., she fenced, she did yoga, all sorts of ……………., it wasn’t until years later she wrote us and said: now I have decided I shall become a cellist.
[Jacqueline du Pré] I was changing form a child into an adult and, what to call a different kind of an aspect, I didn’t have that many engagements and, I felt a little bit lost until I went to Dartington and I had a good time there and, also, had some lessons with Tortelier and subsequently went to Paris with him. In between, when I was 15, I took part in two master classes with Casals in Zermat which was very interesting, but I was a rather bulshy 15 year old, very proud of my own teacher, I didn’t want to accept what Casals had said to me, even though he was Casals. Later on I went to Moscow to have some lessons with Rostropovich, and both these stays with these two cellists were very exciting and interesting, but, I always ……………….my real teacher, my sort of Cello Daddy in fact.
[23:57] [Narrator] Under William Pleeth`s guidance her playing continued to mature in spite of her worries and the increasing demands of the profession, or perhaps even because of them.
[Narrator] After returning to London from her study with Tortelier in Paris she had formed a successful duo with the American pianist Stephen Bishop, and in 1965 she toured America for the first time with the BBC Symphony Orchestra. She was an immense success and in particular won a new and enthusiastic audience for the Elgar Cello Concerto. Just over a year later she repeated the success in Russia, once again with the BBC Orchestra and Sir John Barbirolli, with whom she had recently recorded it.
[Jacqueline du Pré] Well, I’ve been an incredible lucky person because in the course of my concert giving life I’ve been given two marvelous Strads. The first Strad I had a little while before my Wigmore recital and, about three years ago, I was given my second instrument, and it’s called the Davidoff, after a great figure in Moscow. I was called up by a fiddle dealer in London called Charles Beare and he told me that there was an instrument waiting for me to try, and if I liked it, it was going to be given to me as an anonymous gift, and I went along and saw it and fell in love with it, and…had it!
[Charles Beare] Well, we were asked by a firm of solicitors to look out for a really first class Stradivari cello, to be purchased for her use. This we did and after some time we heard that the famous Davidoff was going to be coming up for sale in New York. This is a cello that was made in 1712, it…………….about 25 years in New York and before that its history is known back in the middle of the 19th century, when it was in Russia. It belonged to one count, and it was sold to another Russian count, we’re told, for a large sum of money, another cello, and the finest horse in the stable. And the second count presented Carl Davidoff, a leading cellist in his day in St Petersburg as a birthday present. So it has not been given before. It’s one of about……………, of about 20 cellos that are accepted as being the best, it’s a glorious sounding instrument, it’s a beautiful looking instrument and, I think really, it’s probably among the three or four finest cellos in the world.
Good, it’s good to see it again. Do you want to play a few notes, have a go!
[Narrator] Living with the Davidoff has its problems, quite apart from the need for the constant professional care, particularly in a life as busy as this.
[Jacqueline du Pré] I think I first became busy after I came back from France, I think it was my first taste really of moving around the world and I enjoyed very very much, I was ............down. The only span in the works is the cello and busily cello!
[Narrator] In 1966 they traveled over 40.000 miles together for concert engagements with a dozen different orchestras and conductors and duos with Stephen Bishop, but in spite of increasing demands, she found time for a renewed interest in chamber music with Hugh Wire and Fut Song, and it was at F. Song’s home, during one of these evenings that she met Daniel Barenboim.
[Daniel Barenboim] the way we met, the way we got to know each other, I’m afraid, is a very unromantic tale, the first we had in common was glandular fever and they came to see me, I was lying in bed as good patient I was complaining that I had pains here and here, everywhere, it’s unpleasant and they all said that’s bad, you should see Jacqueline du Pré, you know. After you hear that three or four times, you know, naturally I became very curious so I phoned her agents and I asked for her telephone number, at that time we were supposed to make the record of the Haydn Boccherini Concertos so, I mean, there have been some sort of professional contact over the telephone, and I phoned her up and I said, you know, who I was, and that I knew she had glandular fever, and we started to compare notes, you know, who was more swollen under the ear, things like that. And this went on for a few days and we never met because I left and she went elsewhere, and it was not until Christmas of 67, no it must be 66 that we met at F. Song’s house who was a common friend of ours and in a sort of very musical way, instead of saying good evening we played Brahms, this is how we got to know each other.
[31:57] [Narrator] Their musical afinity and the tremendous sense of fun in their music making brought them quickly together – and they bought just about the entire cello and piano repertoire.
[JdP] This is incredibly funny: “A Frog Went a Courting” by Hindemith.
[Daniel Barenboim] This is all Hindemith.
[JdP]Yes, the whole thing?
[Daniel Barenboim] The whole thing. This is a sonata for cello and piano or two celli alone by Kraft, this was Haydn’s pupil.
[Narrator] And then, rather shyly, they played Beethoven and Brahms at short notice in Northhampton for their first public performance together. In April they gave their first orchestral concert for the Royal Philarmonic Society with the English Chamber Orchestra and then recorded both the Haydn and Boccherini concertos for EMI. By the end of April they were engaged and because of the busy Summer season, planned their wedding for September but in May the Israeli-Arab war threatened.
[JdP] Daniel and I were pretty involved with the business as it all went along and were reading the papers assiduously for as long as it went on, until we had a phone call from Israel saying that his parents thought the war was going to begin this evening, that evening, which was in fact 10 days before the war. Danny, without any thought at all, was gettiong ready to go and I wanted to go desparately too, I wanted to go, to be with him, ,because I thought my place was with him and so I went with him. We arrived on what we thought was the eve of the war but all the lights were everywhere and in fact there was no war. It was a very tense situation nevertheless; we wanted to try and do something and we started giving concerts and in fact we played every day, Danny conducting and playing the piano himself; we played Schumann and Saint-Saens, and it was in fact a marvelous atmosphere to play because one felt that music was something enormously wanted.
We played at a concert which was “Victory Concert” in fact in Jerusalem and then, because we’ve been through so much together and because it felt the right time, the right place, everybody was feeling so happy, we got married!
[Sir John Barbirolli] It very …………..lively to I remember that I was in Tel-Aviv the day they got married and it …………….to be able to propose a wedding toast to these two geniuses.
[35:36] [Daniel Barenboim] It was entirely her choice and although I was very touched that she did want to come and I think that is part of her whole make-up, she’s not only living for her career like so many lady musicians who have this sort of, almost complex about it, they have to go at it harder than a man. She doesn’t have it at all, she’s interested in being a happy person first of all, a human being and, this is actually on of the things that impressed me most about her when I first met her.
[JdP] I’ve never been the kind of musician who wants to have a concert every day of the week, and who wants to be a slave of their instrument and to their concerts. I can very happily fit them in because I have my concerts fairly well spaced out and can spend most of my time with Daniel in fact.
[Daniel Barenboim] She has her own travels and I have my own but we have planned in such a way that we don’t have to be separated for any long periods and we are doing all the long tours together but, in connection with that I can only tell that I don’t think the family ties in any way have anything to do with the musical afinity and the fact that we got married or anything like that, this was one of the first things that I felt as we were playhing in a complete improvised way at Song’s house we played some Brahms sonatas and things and I felt it straight away and this a lot of people I think mistake for something, you know, it sounded so romantic, these two people are in love therefore they play very well together; I know lots of people who play very well together they’re not in love and I know lots of people who are in love and don’t play very well together, so it’s really something completely different. [música: Brahms, 2.o movimento]
[Daniel B.] Are you comfortable sitting there...
[JdP] That was nice, it had a much friendlier…
[DB] In the Haydn I was very happy, I could see at least!
[Narrator] What’s she like to accompany?
[DB] Difficult, in the sense that, it’s so natural to her, that it doesn’t donours her sometimes that we mortals have difficulties in following her, I’m sure she feels it so natural she doesn’t even realize the difficulties that make music-making interesting and adventurous, it’s something you love when you do it.
[Narrator] Can you be more specific?
[DB] She has sometimes a rather free idea of tempi and tempi fluctuations but it all comes so much from inside with her, it’s not something that she searches for and I’m sure most of the time she doesn’t even realize she is fluctuating, you know, ,but we who have to beat, of course, find it sometimes very hard.
[Sir John Barbirolli] And all I say is, God bless her, and may she have a very great career which has already begun, because such heaven sent gifts don’t appear every day.
THE END
Word transcription: Clodoaldo Leite Junior 2006
[Narrator] Jacqueline du Pré was one of the finest performing musicians that England has produced in the past 300 years. She had the rarest of talents, combining dazzling virtuosity with an absolute natural conviction that carried all before it. Her talent blossomed young as the following films will show, and she seemed to fit exactly the phrase that Clara Schumann once used to Johannes Brahms: “to have been sent into the world ready made”. In this film her teacher William Pleeth says that he could see her remarkable gifts on the very first day, and as the next few lessons unfolded, one could see sort of endlessness and everything was possible. But it was not to be. The girl who knew that she had within herself gifts with endless possibilities grew into the woman who watched the force of Nature robbing her slowly and mercilessly of her ability to express those very gifts. Most of the film was made in 1967, but after Jacqueline du Pré’s career was halted by multiple sclerosis she did everything she could to use her talents and her experience to the full. And so in 1981 we made a new introduction to the film which shows something of the way in which her extraordinary spirit came to terms with her illness.
It was precisely her way of doing things both in her life and in her music that penetrated so deep into the imagination with this beautiful woman, the personality and the talent was so combined, so natural and so apparently incorruptible that she seemed almost uniquely able to fulfill the promise of great music, to give us glimpses of eternity.
[02:39] On the 21st of March 1962, Jacqueline du Pré gave her first performance of the Elgar Cello Concerto at the Royal Festival Hall in London. She was just 17 years old, seemingly far too young to make the most of an autumnal work that has all the hallmarks of late maturity. But it soon it became clear to many of those present that in Jacqueline du Pré’s young hands, Elgar’s melancholy masterpiece would one day have its finest interpretation. On the following morning, Nevile Cardis, one of England’s distinguished writers on music described the work in the Guardian as “a swan song of rare and vanishing beauty”, and he concluded his review with these words: “those actually present will witness on the first day of Spring to an early blossoming in Miss du Pré’s playing, and such a beautiful blossoming as this year or any other year is likely to know for a long time to come.”
A SWAN SONG OF RARE AND VANISHING BEAUTY
[M. Welsh] You want the same in each bar on the bowing thing?
[Jacqueline du Pré] Yes, except for the last bar from the C sharp {ela canta} so with the B.
[M. Welsh] Ah, yes, I see.
[Narrator] Twenty years later, Jacqueline du Pré remains as close to Elgar’s Concerto as the circumstances permit and her passion for the work can devise. She is here working with a friend and fellow cellist Moray Welsh on the interpretation and fingering for her students. She can no longer play the cello. Her extraordinary and unforgettable talent was muted in 1973 by multiple sclerosis, but her enthusiasm for music remains undimmed and her perception, both of music and of people has actually developed with the experience and passage of time. She remains a brave and adventurous spirit, in the past ten years she has taught both privately and in master classes, she has become the focal point of a massive research project for multiple sclerosis. She has narrated Carnival of the Animals for radio and Peter and the Wolf for a gramophone recording. She’s been awarded the OBE, received honored doctors from five British universities and in 1980 she was nominated Musician of the Year by the Incorporated Society of Musicians but in all of this the Elgar Concerto has remained a constant theme in her life.
[M.Welsh] Do you want the same fingering the second time it’s repeated?
[J. du Pré] No, because I think that’s harmonically too. The more important one the second time. So it’s 1 4-4 2 1 then bow definitely moving first.
[M.Welsh] The same thing?
[Narrator] Happily we made a film on her in 1967, which traces some of the more important events in her exceptional relationships with this work and ended with a complete performance of it with the New Philarmonia Orchestra, conducted by Daniel Barenboim.
Her performance of the Elgar’s Concerto in the film is extraordinary by any standards and for many is quite unforgettable. Even when she played first at the Royal Festival Hall her interpretation focused new attention on the inherent p……….ss in the work, and watching it and hearing it as she plays it here in the film few would think that her projection of Elgar’s melancholy could actually have deepened as the years went by. [música]
[9:46] It’s Elgar’s final masterpiece and one of the world’s great cello concertos but there is more to it than that and Nevile C’s phrase could not be more appropriate. It’s indeed a lamenting farewell to beauty, which in his despairing days Elgar described as a man’s attitude to life.
What Jacqueline du Pré would make of it now it’s something that we can only guess at, but in her mind she remains as close to it as ever. And so here at her express wish is a reedited version of the film we made in 1967.
[11:22] There are just a few in any generation, musicians which unstakable qualities that make the rare but familiar figure of the internationally acclaimed artist. It’s one of the most totally absorbing of all professions that demands not only great fantasy, and the God given talent to communicate but the character and will to develop it, and the essential single-mindedness from the earliest age. The demands are high and are met by just a few. At 22, Jacqueline du Pré is already among them.
She was born in 1945, but the name du Pre comes from Jersey, where the family can be traced back to the Norman Conquest. Early talents to dancing, singing and drawing were fostered by her mother, a concert pianist known by her maiden name of Iris Kreave. But her talents took no special direction until the age of 4, when she first heard the cello.
[12-54] [JdP] Well I heard it on the radio when I was very small, when I was four and, although I don’t remember the sound at all I liked so much apparently that I asked my mother to give me the thing that made that sound, and she did! She gave me a big big cello, which I loved to play, but she ---------- more accurately about that.
[Iris] I knew she was musical because she could tap rhythms that I tapped for her from a very early age, before she was a year old. And she could also sing in tune before she could talk. So I thought it would’ve been a good idea for she to play the cello, especially as I play the piano and Hilary played the piano. And so I got an enormous cello, much much too big for her, she was completely lost behind it, and I wrote some tunes for her to play.
[Jacqueline du Pré] She was marvelous because she has a great talent for teaching small children, and, she started off by writing little tunes for me, when I could hardly play the thing at all, and she added words to these tunes, on the opposite side of the page she drew beautiful pictures illustrating the tunes, and she used to do this when I was asleep, and I could hardly wait till the morning came, because in the morning I’d wake up and find this beautiful thing waiting for me, and we dressed on and played together. That really made me very excited about the cello. [14.08] When I was 6 my mother thought it was time I went to a proper teacher, so I went to the London Cello School, and it was there that this beautiful big cello was taken away from me because I was too small, and I was given one just about this big and my pride was so hurt, I suffered quite a lot for a little while.
[15:09] [Narrator] The suffering was not too serious and may even have strengthened the exceptional determination and ability, which were already beginning to show.
[Iris] She had tremendous power of concentration right from the very beginning, and an instinctive feeling for phrasing and for the instrument itself. In fact, she often gave me a new angle on how to phrase a certain piece of music, and she was two different people, she was the ordinary happy child when she was playing with other people, other friends, but when she was playing the cello she became immediately in a world completely her own and I remember when she was very young, 7 years old, taking part in a London Festival, competitive festival, there was a long corridor leading to the room where the competition was to be held, and she was very excited at the thought of playing, and she skipped on at the corridor feeling very happy to be met by the person at the door, who said: `It’s easy to see you’ve just been played, you just had your turn!`, she said: Oh, no, I’m just going to play! And when she played she had that ability to hold the audience, she compelled people to listen to her. After 4 years at the Cello School we knew she had to have a long-term teacher, it was then that I thought of Bill Pleeth, I’ve always admired his playing.
[William Pleeth] I think the greatest impression is one of the impact of being able to give a human being a tremendous amount and seeing that amount return so that you hit back and the tremendous climb had such force and inevitability that, you can sort of see and endlessness in development. I think it was one of the most impressive things, because I’m hitting the ball against the wall and it always return, of course the more you hit the more it would return, so that you’ve never had a sort to of blank period where something got stuck for a moment.
[Narrator] Would you say now that when you first saw her that you could see the potential was there?
[William Pleeth] Yes, you could see it quite strongly on the first day and, as the nest few lessons went on, it just sort of unfolded, so like a flower, so much that you knew then that you had sort of endlessness on that, everything was possible.
[Narrator] To prove it, she became within a year the youngest contendant for the valuable Suggia Gift, the chairman of the panel was Sir John Barbirolli.
[Sir John Barbirolli] I remember vividly the day Jackie came before us and one of my chief colleagues on the panel is Lionel Tertis, the greatest of all English instrumentalists and I remember that Jackie be playing for about 2 or 3 minutes and I turned to Lionel and said: This is it! And it has been a wonderful experience for me to see this tremendous, wonderful, natural cello talent flower as it has and flower musically as well as instrumentally, you know, she is sometimes accused of excessive emotion, but I love it! Because when you’re young you should have an excess of everything, if you don’t have that excess, what are you going to pair off as the years go by?
[18:36] [Dueto: Willem de Fesch – Sonata em Do Maior]
[Jacqueline du Pré] Very Nice!
[Willam Pleeth] Do you want to do the next one?
[Jacqueline du Pré] Yes, that’s my favorite!
[WilliamPleeth] It’s your favorite.
Honestly, it’s so many …………..such a talent, her musical memory, her development, her dynamic, her personality,, they’re sort of in a burn, ……………….dramatic all these points, I mean, they’re so …………….apart for a sort of intriguing aspects of unfoldingness, or, ………….
[Narrator] Unfolding it certainly did and in the next few years she won most of the available prizes, among them all the cello prizes at the Guildhall School, the Queen’s Prize and the Gulbenkian ……… Awards. By 16 she felt ready for her London debut.
[Jacqueline du Pré] It was a big occasion for me, I never really get an important concert in London and I was beginning with a Haendel Sonata and during the first movement the A string began very very slowly to unwind and the string got flatter and flatter and I was playing higher and higher, then the whole thing went straight down and I had to start again! Which in fact was a great help because I was nervous for the big event, and after that having gained an extra ………….of sympathy from the audience it was easier, friendly to start again.
[Narrator] In the following year, 1962, she gave her first performance of the Elgar Concerto, the start of a special association with this work, when she played it at the Festival Hall in London with the BBC Symphony Orchestra, conducted by Rudolph Schwartz. Later in the same year she gave her first television recital accompanied by her mother, and there’s no mistaking in bringing authority.
[Iris] It was this time, just when she had tremendous success that she began to have serious doubts as to whether she was good enough. She just wondered if she had the ability to carry on with this tremendous career, and she became very depressed, and just was completely lost for a time, she didn’t touch the cello at all, and she had to find something else to do, do you remember?
[Jackie`s father] Very well indeed, we were both worried, but, we knew fundamentally she would get over it, she was determined eventually to be a cellist, she forced it, she did all sorts of other activities, she ………….., she fenced, she did yoga, all sorts of ……………., it wasn’t until years later she wrote us and said: now I have decided I shall become a cellist.
[Jacqueline du Pré] I was changing form a child into an adult and, what to call a different kind of an aspect, I didn’t have that many engagements and, I felt a little bit lost until I went to Dartington and I had a good time there and, also, had some lessons with Tortelier and subsequently went to Paris with him. In between, when I was 15, I took part in two master classes with Casals in Zermat which was very interesting, but I was a rather bulshy 15 year old, very proud of my own teacher, I didn’t want to accept what Casals had said to me, even though he was Casals. Later on I went to Moscow to have some lessons with Rostropovich, and both these stays with these two cellists were very exciting and interesting, but, I always ……………….my real teacher, my sort of Cello Daddy in fact.
[23:57] [Narrator] Under William Pleeth`s guidance her playing continued to mature in spite of her worries and the increasing demands of the profession, or perhaps even because of them.
[Narrator] After returning to London from her study with Tortelier in Paris she had formed a successful duo with the American pianist Stephen Bishop, and in 1965 she toured America for the first time with the BBC Symphony Orchestra. She was an immense success and in particular won a new and enthusiastic audience for the Elgar Cello Concerto. Just over a year later she repeated the success in Russia, once again with the BBC Orchestra and Sir John Barbirolli, with whom she had recently recorded it.
[Jacqueline du Pré] Well, I’ve been an incredible lucky person because in the course of my concert giving life I’ve been given two marvelous Strads. The first Strad I had a little while before my Wigmore recital and, about three years ago, I was given my second instrument, and it’s called the Davidoff, after a great figure in Moscow. I was called up by a fiddle dealer in London called Charles Beare and he told me that there was an instrument waiting for me to try, and if I liked it, it was going to be given to me as an anonymous gift, and I went along and saw it and fell in love with it, and…had it!
[Charles Beare] Well, we were asked by a firm of solicitors to look out for a really first class Stradivari cello, to be purchased for her use. This we did and after some time we heard that the famous Davidoff was going to be coming up for sale in New York. This is a cello that was made in 1712, it…………….about 25 years in New York and before that its history is known back in the middle of the 19th century, when it was in Russia. It belonged to one count, and it was sold to another Russian count, we’re told, for a large sum of money, another cello, and the finest horse in the stable. And the second count presented Carl Davidoff, a leading cellist in his day in St Petersburg as a birthday present. So it has not been given before. It’s one of about……………, of about 20 cellos that are accepted as being the best, it’s a glorious sounding instrument, it’s a beautiful looking instrument and, I think really, it’s probably among the three or four finest cellos in the world.
Good, it’s good to see it again. Do you want to play a few notes, have a go!
[Narrator] Living with the Davidoff has its problems, quite apart from the need for the constant professional care, particularly in a life as busy as this.
[Jacqueline du Pré] I think I first became busy after I came back from France, I think it was my first taste really of moving around the world and I enjoyed very very much, I was ............down. The only span in the works is the cello and busily cello!
[Narrator] In 1966 they traveled over 40.000 miles together for concert engagements with a dozen different orchestras and conductors and duos with Stephen Bishop, but in spite of increasing demands, she found time for a renewed interest in chamber music with Hugh Wire and Fut Song, and it was at F. Song’s home, during one of these evenings that she met Daniel Barenboim.
[Daniel Barenboim] the way we met, the way we got to know each other, I’m afraid, is a very unromantic tale, the first we had in common was glandular fever and they came to see me, I was lying in bed as good patient I was complaining that I had pains here and here, everywhere, it’s unpleasant and they all said that’s bad, you should see Jacqueline du Pré, you know. After you hear that three or four times, you know, naturally I became very curious so I phoned her agents and I asked for her telephone number, at that time we were supposed to make the record of the Haydn Boccherini Concertos so, I mean, there have been some sort of professional contact over the telephone, and I phoned her up and I said, you know, who I was, and that I knew she had glandular fever, and we started to compare notes, you know, who was more swollen under the ear, things like that. And this went on for a few days and we never met because I left and she went elsewhere, and it was not until Christmas of 67, no it must be 66 that we met at F. Song’s house who was a common friend of ours and in a sort of very musical way, instead of saying good evening we played Brahms, this is how we got to know each other.
[31:57] [Narrator] Their musical afinity and the tremendous sense of fun in their music making brought them quickly together – and they bought just about the entire cello and piano repertoire.
[JdP] This is incredibly funny: “A Frog Went a Courting” by Hindemith.
[Daniel Barenboim] This is all Hindemith.
[JdP]Yes, the whole thing?
[Daniel Barenboim] The whole thing. This is a sonata for cello and piano or two celli alone by Kraft, this was Haydn’s pupil.
[Narrator] And then, rather shyly, they played Beethoven and Brahms at short notice in Northhampton for their first public performance together. In April they gave their first orchestral concert for the Royal Philarmonic Society with the English Chamber Orchestra and then recorded both the Haydn and Boccherini concertos for EMI. By the end of April they were engaged and because of the busy Summer season, planned their wedding for September but in May the Israeli-Arab war threatened.
[JdP] Daniel and I were pretty involved with the business as it all went along and were reading the papers assiduously for as long as it went on, until we had a phone call from Israel saying that his parents thought the war was going to begin this evening, that evening, which was in fact 10 days before the war. Danny, without any thought at all, was gettiong ready to go and I wanted to go desparately too, I wanted to go, to be with him, ,because I thought my place was with him and so I went with him. We arrived on what we thought was the eve of the war but all the lights were everywhere and in fact there was no war. It was a very tense situation nevertheless; we wanted to try and do something and we started giving concerts and in fact we played every day, Danny conducting and playing the piano himself; we played Schumann and Saint-Saens, and it was in fact a marvelous atmosphere to play because one felt that music was something enormously wanted.
We played at a concert which was “Victory Concert” in fact in Jerusalem and then, because we’ve been through so much together and because it felt the right time, the right place, everybody was feeling so happy, we got married!
[Sir John Barbirolli] It very …………..lively to I remember that I was in Tel-Aviv the day they got married and it …………….to be able to propose a wedding toast to these two geniuses.
[35:36] [Daniel Barenboim] It was entirely her choice and although I was very touched that she did want to come and I think that is part of her whole make-up, she’s not only living for her career like so many lady musicians who have this sort of, almost complex about it, they have to go at it harder than a man. She doesn’t have it at all, she’s interested in being a happy person first of all, a human being and, this is actually on of the things that impressed me most about her when I first met her.
[JdP] I’ve never been the kind of musician who wants to have a concert every day of the week, and who wants to be a slave of their instrument and to their concerts. I can very happily fit them in because I have my concerts fairly well spaced out and can spend most of my time with Daniel in fact.
[Daniel Barenboim] She has her own travels and I have my own but we have planned in such a way that we don’t have to be separated for any long periods and we are doing all the long tours together but, in connection with that I can only tell that I don’t think the family ties in any way have anything to do with the musical afinity and the fact that we got married or anything like that, this was one of the first things that I felt as we were playhing in a complete improvised way at Song’s house we played some Brahms sonatas and things and I felt it straight away and this a lot of people I think mistake for something, you know, it sounded so romantic, these two people are in love therefore they play very well together; I know lots of people who play very well together they’re not in love and I know lots of people who are in love and don’t play very well together, so it’s really something completely different. [música: Brahms, 2.o movimento]
[Daniel B.] Are you comfortable sitting there...
[JdP] That was nice, it had a much friendlier…
[DB] In the Haydn I was very happy, I could see at least!
[Narrator] What’s she like to accompany?
[DB] Difficult, in the sense that, it’s so natural to her, that it doesn’t donours her sometimes that we mortals have difficulties in following her, I’m sure she feels it so natural she doesn’t even realize the difficulties that make music-making interesting and adventurous, it’s something you love when you do it.
[Narrator] Can you be more specific?
[DB] She has sometimes a rather free idea of tempi and tempi fluctuations but it all comes so much from inside with her, it’s not something that she searches for and I’m sure most of the time she doesn’t even realize she is fluctuating, you know, ,but we who have to beat, of course, find it sometimes very hard.
[Sir John Barbirolli] And all I say is, God bless her, and may she have a very great career which has already begun, because such heaven sent gifts don’t appear every day.
THE END
Word transcription: Clodoaldo Leite Junior 2006
Assinar:
Postagens (Atom)