Escolar Documentos
Profissional Documentos
Cultura Documentos
53 Texto original: I [...] admire the instrumentation of this or that chord [] and the gavotte for strings
that accompanies the chorus were highly ingenious.(SACHS, p. 164).
54 Texto original: I have always admired Stravinsky as a musician (SACHS, p. 164)
55 FIORIN, p. 46.
56 COPLAND, Aaron. Como ouvir (e entender) msica. 1974. Editora Arte Nova. Traduo de Luiz
Paulo Horta.
57 In Shakespeare I found my ideal, the greatest human richness, the greatest psychological
profundity, united with the most supple and varied poetry. I have often been asked whether, in setting
Shakespeare to music, I had been pre-occupied with historical considerations-that is to say, with com-
posing music in the Elizabethan manner. The answer is "No", because Shakespeare has seemed to
50
me the most alive and most modern, the most eternal and universal of all poets (more so even than
Dante), and I feel him to be a "contemporary". CASTELNUOVO-TEDESCO, 1944, p. 111.
58
When I added to my Shakespeare Songs two derived from Hamlet Ophelia and The Clown in
the Churchyard I constructed them both on this chord: and that, when I later began an Overture to
Hamlet, it was on this same chord that the initial theme was built, quite naturally; which would signify
that this chord is singularly Hamletesque or, at least, that is associated in my subconscious mind with
the idea of Hamlet I leave it to the psychoanalysts).Traduo nossa.
59 Num artigo escrito em 1940 intitulado Shakespere (sic) and Music, Tedesco traa um panorama
das diversas composies e compositores que foram inspirados pelas peas do dramaturgo ingls
alm de sinalizar, historicamente, como William Shakespeare se relacionava com a msica sua
poca. Neste ensaio, o compositor florentino tambm discute as melhores formas de se dialogar
musicalmente com Shakespeare. Um exemplo: No sculo 19, a tendncia dos msicos para
idealizar, romantizar, e amplificar, trouxe-os por preferncia forma Abertura, no qual, em vez de
seguir passo a passo o desenrolar de uma pea de teatro, eles expressam sua impresso pessoal
da pea em si. [...] Mas eu acredito que [...] a forma Abertura pode encontrar fontes maravilhosas de
inspirao no teatro de Shakespeare In the 19th century, the tendency of musicians to idealize,
romanticize, and amplify, brought them by preference to the Overture form, in which rather than follow
step by step the unfolding of a play, they express their "personal impression" of the play itself [...]But I
believe [...] that the Overture form can find marvelous sources of inspiration in the theatre of
Shakespeare CASTELNUOVO-TEDESCO, Mario. SHAKSPERE AND MUSIC, 1940, p. 168. Traduo
nossa.
51
Figura 36: Chaconne das Variaes atravs dos sculos de Mario Castelnuovo-Tedesco (1
movimento) (REFERNCIAS partituras TEDESCO)
Figura 37: Chaconne da Partita N 2 de J. S. Bach para violino transcrita para violo solo.
62Vale lembrar que, atravs dos sculos esse gnero, com forma livre, ganhou independncia com
os Preldios de Chopin e Debussy.
53
63 COPLAND, p. 71.
64 FIORIN, p. 47.
65 CAMPOS, p.26-27.
54