Serialismo (modernidade)

As contribuições de Richard Wagner, Claude Debussy e Igor Stravinsky foram decisivas para o desenvolvimento da linguagem musical no Ocidente. No entanto esses compositores não dispunham de um método composicional conciso que sustentasse suas incursões pelo âmbito da dissonância.

Coube a Arnold Schoenberg (1874-1951) a formulação de um método (sistema) composicional coerente e rigoroso, em substituição ao método de tonalidades maior-menor. A proposição de Schoenberg, sendo considerada uma das maiores revoluções em toda a história da Música no Ocidente, representa a linha divisória entre a tradição e a modernidade, assim como também a referência dos compositores das gerações que o sucederam.

Porém, o próprio Schoenberg passou por um período que, desprovido de um sistema composicional, cria obras exclusivamente atonais, sendo considerado por muitos estudiosos o pioneiro nesta modalidade de composição.

SERIALISMO: UMA NOVA PROPOSTA DE SISTEMATIZAÇÃO FORMAL, ESTRUTURAL E HARMÔNICA (A ATONALIDADE, ARNOLD SCHOENBERG E O SERIALISMO, AS PARTÍCULAS SONORAS DE ANTON WEBERN, SERIALISMO INTEGRAL)

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Serialism is most specifically defined the structural principle according to which a recurring series of ordered elements (normally a set - or 'row' - of pitches or 'pitch classes') which are used in order, or manipulated in particular ways, to give a piece unity. Serialism is often broadly applied to all music written in the what Arnold Schoenberg called "The Method of Composing with Twelve Tones related only to one another", or dodecaphony, and methods which evolved from his methods. It is sometimes used more specifically to apply only to music where at least one other element other than pitch is subjected to being treated as a row or series. The term Schoenbergian serialism is sometimes used to make the same distinction between use of pitch series only, particularly if their is an adherence to post-Romantic textures, harmonic procedures, voice-leading and other audible elements of 19th century music. In such usages post-Webernian serialism will be sued to denote works which extend serial techniques to other elements of music. Another term used to make the distinction is 12 tone serialism.

Serialism has been described by its practioners as an extension and formalisation of earlier methods of 'cellular' thematic and motivic unification in classical and romantic music. This extension and formalisation is seen as having been motivated by the intensifying drive towards chromatic saturation and the resulting need to unify without using tonality.

Most serial music is deliberately structured as such. A row may be assembled 'pre-compositionally' (perhaps to embody particular intervallic or symmetrical properties), or it may be derived from a spontaneously invented thematic or motivic idea. Composing a serial work involves continually re-rhythmicising the various reappearances of the row in its Original, Retrograde, Inverted and Retrograde-Inverted forms as these are distributed through the various elements of the texture and employed to create accompaniments and subordinate parts as well as the main themes; each of these forms may also be transposed to begin on any note of the chromatic scale.

This row or series is used in one form as the "basic set", which constitutes the "center" of gravity for the piece. Each row or series is supposed to have three other forms: retrograde, or the basic set backwards, inverted, or the basic set "upside down" and retrograde-inverted, which is the basic set upside down and backwards. The basic set is usually required to have certain properties, and may have additional restrictions, such as the requirement that it use each interval only once. The most common requirement is that first half and second half of the row not be inversions of each other. The series in itself may be regarded as pre-compositional material: in the process of composition it is manipulated by various means to produce musical material.

Serialism
History of Serial Music (Twelve Tone Music, Serialism invented and described, Serialism and high modernism, Serialism in the present, Reactions to and against serialism), Theory of Serial Music, Important Composers, Sources.
Wikipedia (GNU Free Documentation License)

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Sabine Meyer, Heinrich Schiff, Leif Ove Andsnes

Sabine Meyer, clarinete
Heinrich Schiff, violoncelo
Leif Ove Andsnes, Piano

Penha Longa Hotel & Golf Resort, 20 de Julho de 2005

Witold Lutoslawski
Prelúdios de Dança, para Clarinete e Piano
Grave: Metamorfoses, para Violoncelo e Piano

Ludwig van Beethoven
Sonata para Violoncelo e Piano nº 3, em Lá Maior, op. 69

Alban Berg
Quatro Peças para Clarinete e Piano, op. 5

Johannes Brahms
Trio para Clarinete, Violoncelo e Piano, em Lá menor, op. 114

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Witold Lutoslawski (1913-1994)

Prelúdios de Dança para Clarinete e Piano, 1954
A clear, fresh tonality related to late Bartók.

Grave para Violoncelo e Piano, 1981
In his later works he evolved a more harmonically mobile, less monumental style, in which less of the music is played with an ad libitum coordination.

Ludwig van Beethoven (1770-1827)

Sonata para Violoncelo e Piano nº 3, 1808
Dedicated to baron Gleichenstein, is the most popular and at the same time the most loved cello sonata of the composer’s work. This is explainable through the diversity of the thematic material and the improvisational character of the themes.

Alban Berg (1885-1935)

Quatro Peças para Clarinete e Piano, 1913
Schoenberg was scathing of the Altenberg Songs, and Berg's response was to attempt in the Four Pieces for Clarinet and Piano, the kind of genuine aphorisms that his teacher and Webern had explored (12-note serialism). The pieces are exceedingly short (12,9,18, and 20 bars). The technical brilliance is undoubted (the pieces correspond to a four-movement classical sonata) but the results are completely sterile, especially when set alongside Webern's similar works. They are primarily interesting as a musical example of psychological dependence.

Johannes Brahms (1833-1897)
Trio para Clarinete, Violoncelo e Piano, 1891
For Brahms, the clarinet's mellow colouring lent itself splendidly to the ruminative and sometimes melancholy nature of his music. His use of the cello, in contradistinction to the viola in Mozart's K. 498, provides an overall darker colouring that is in keeping with the "autumnal" character that one hears even in Brahms's early music and which deepened over the years. "It is as though the instruments were in love with each other."

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Serialismo (modernidade)
Witold Lutoslawski e Alban Berg (compositores século XX)

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Witold Lutoslawski e Alban Berg (compositores século XX)

Varsóvia, 1913-1994.

Prelúdios de Dança, para Clarinete e Piano
Grave: Metamorfoses, para Violoncelo e Piano
Sabine Meyer, Heinrich Schiff, Leif Ove Andsnes
Sintra, 20 de Julho de 2005


Music

Lutosławski described musical composition as a search for listeners who think and feel the same way he did — he once called it "fishing for souls".

Folk influence
Works up to Dance Preludes exhibit a marked folk influence, both harmonically and melodically. For instance, the Concerto for Orchestra contains Polish folk melodies more or less distorted, some unrecognisable except after careful analysis.

When Lutosławski discovered the techniques of his mature compositions, he simply stopped using folk material. As he said himself, "[in those days] I could not compose as I wished, so I composed as I was able", and about this change of direction he said, "I was simply not so interested in it [using folk music]".

Pitch organisation
In Muzyka żałobna, 1958 Lutosławski introduced his own brand of twelve-tone music, and this work marks his leaving behind folk influence. Lutosławski's twelve-tone technique allowed him to build harmony and melody from specific intervals (augmented fourths and semitones in Muzyka żałobna). This system also gave him the means to write the dense chords he wanted without resorting to tone clusters, and enabled him to build towards these dense chords (which often include all 12 notes of the chromatic scale) at climactic moments. Lutosławski's 12-note techniques were thus completely different in conception from Arnold Schoenberg's tone-row system, although Muzyka żałobna does happen to be based on a tone row.

His twelve-note intervallic technique was not a complete break from Lutosławski's previous music, as the use of intervals to build chords can be heard in works such as Concerto for Orchestra.

Aleatory technique
Although Muzyka żałobna was internationally acclaimed, his new harmonic techniques led to something of a crisis for Lutosławski, during which he still could not see how to express his musical ideas. Then he happened to hear some music by John Cage. Although he was not influenced by the sound or the philosophy of Cage's music, Cage's explorations of aleatory music set off a train of thought, which resulted in Lutosławski finding a way to retain the harmonic structures he wanted while introducing the freedom he was searching for. His 3 Postludes were hastily rounded off (he originally intended to write four) and he moved on to compose works in which he explored these new ideas.

In works from Jeux vénitiens, the parts of the ensemble are not to be synchronised exactly. At cues from the conductor. instrumentalists may be instructed to move straight on to the next section, to finish their current section before moving on, or to stop. In this way the random element implied by the term aleatory is carefully directed by the composer, who controls the architecture and harmonic progression of the piece precisely. Lutosławski notates the music exactly, there is no improvisation, no choice of parts is given to any instrumentalist, and there is thus no doubt about how the musical performance is to be realised. The combination of Lutosławski's aleatory techniques and his harmonic discoveries allowed him to build up complex musical textures.

In many works of this period, aleatory style is contrasted with sections where the orchestra is asked to synchronise their parts conventionally, in passages notated with a common time signature. Good examples are the climax of Livre pour orchestre and passages leading to the climax of Symphony No. 2.

Late style
In his later works Lutosławski evolved a more harmonically mobile, less monumental style, in which less of the music is played with an ad libitum coordination. This development resulted from the demands of his late chamber works, such as Epitaph, Grave and Partita for just two instrumentalists, however it may also be seen in orchestral works such as Piano Concerto, Chantefleurs et Chantefables, and Fourth Symphony, which require mostly conventional coordination.

Lutosławski's formidable technical developments grew out of his creative imperative; that he left a lasting body of major compositions is a testament to his resolution of purpose in the face of the anti-formalist authorities under which he formulated his methods.

Wikipedia (GNU Free Documentation License)

________________

Viena, 1885-1935

Quatro Peças para Clarinete e Piano, op. 5
Sabine Meyer, Heinrich Schiff, Leif Ove Andsnes
Sintra, 20 de Julho de 2005

Berg was born in Vienna, the third of four children of Johanna and Conrad Berg. His family lived quite comfortably until the death of his father in 1900.

He was more interested in literature than music as a child, and did not begin to compose until he was fifteen, when he started to teach himself music. He had very little formal music eduction until he began a six-year period of study with Arnold Schoenberg in October 1904 to 1911, studying counterpoint, music theory, and harmony; by 1906 he concentrated on his music studies full-time, and by 1907 he began composition lessons. Among his compositions under Schoenberg were five piano sonata drafts and various songs, including his Seven Early Songs (Sieben frühe Lieder), three of which were Berg's first publicly performed work in a concert featuring the music of Schoenberg's pupils in Vienna that same year.

These early compositions would reveal Berg's progress as a composer under Schoenberg's tutelage. The early sonata sketches eventually culminated in Berg's Piano Sonata Op.1 (1907–8); while considered to be his "graduating composition", is one of the most formidable Op. 1 ever written by any composer. (See Lauder.) Schoenberg was a major influence on him throughout his lifetime; Berg not only greatly admired him as a composer and mentor, but they remained close friends for the remainder of his life. Many people believe that Berg also saw him as a surrogate father, considering Berg's young age during his father's death.

An important idea of Schoenberg is his teaching was what would later be known as developing variation, which stated that the unity of a piece is dependent on all aspects of the composition being derived from a single basic idea. Berg would then pass this idea down to one of his students, Theodor Adorno, who stated: "The main principle he conveyed was that of variation: everything was supposed to develop out of something else and yet be intrinsically different." The Sonata is a striking example of the execution of this idea — the whole composition can be derived from the opening quartal gesture and from the opening phrase.

Berg was a part of Vienna's cultural elite during the heady period of fin de siècle. Among his circle included the musicians Alexander von Zemlinsky and Franz Schreker, painter Gustav Klimt, writer and satirist Karl Kraus, architect Adolf Loos, and poet Peter Altenberg. In 1906, Berg met Helene Nahowski, singer and daughter of a wealthy family, and despite the outward hostility of her family, married on May 3, 1911.

In 1913, Berg's Five songs on picture postcard texts by Peter Altenberg were premiered in Vienna. The piece caused a riot, and the performance had to be halted: a complete performance of the work was not given until 1952.

From 1915 to 1918, he served in the Austrian Army and it was during a period of leave in 1917 that he began work on his first opera, Wozzeck. Following World War I, he settled again in Vienna where he taught private pupils. He also helped Schoenberg run the Society for Private Musical Performances, which sought to create an ideal environment for the exploration of unappreciated and unfamiliar new music by means of open rehearsals, repeated performances, and the exclusion of all newspaper critics.

The performance in 1924 of three excerpts from Wozzeck brought him his first public success. The opera, which Berg completed in 1922, was not performed in its entireity until December 14, 1925, when Erich Kleiber directed a performance in Berlin. The opera is today seen as one of his most important works; a later opera, also critically acclaimed, Lulu, was left incomplete at his death.

Berg's best-known piece is probably his elegiac Violin Concerto. Like so much of his mature work, it employs a highly personal adaptation of Schoenberg's twelve tone technique that enables it to combine frank atonality with more traditionally tonal passages and harmonies; additionally, it uses actual quotations of pre-existing tonal music, including a Bach chorale and a Carinthian folk song. Other well known Berg compositions include the Lyric Suite (seemingly a big influence on the String Quartet No. 3 of Béla Bartók) and the Chamber Concerto for violin, piano and 13 wind instruments.

Berg died on Christmas Eve, 1935, in Vienna, apparently from blood poisoning caused by an insect bite. He was 50 years old.

Wikipedia (GNU Free Documentation License)

Espelho Meu

Espelho Meu | Portugal visto por fotógrafos da Magnum

Centro Cultural de Belém
até 28 de Agosto de 2005

Obrigatória.

Ligne de Fuite de Philippe Genty

Centro Cultural de Belém
9, 10 e 11 de Julho de 2005

Qu’y a-t-il donc au bout de ces lignes de fuite ? Un point. Un point de fuite. Un point qui grandit à l’horizon. Un point qui s’interroge ? Un point qui pourrait être vous, moi... Vous à l’extrémité de cette ligne et moi à l’autre bout. C’est en tout cas ce que se dit ce personnage qui nous entraîne le long de ces abîmes au fond de nous-mêmes, à la recherche d’une victime, vous ou moi et d’un meurtrier, pourquoi pas vous ou peut-être moi.

Lui et cinq autres cosmonautes de l’intérieur voyagent d’une énigme à l’autre, à la recherche d’une réponse dans une course éternelle jalonnée de vertiges, de culs-de-sacs, de retours impossibles, d’un infiniment petit à un infiniment grand, de vos rêves à leurs cauchemars, passant d’un naufrage à une résurrection, traversant l’océan des souvenirs, croisant un maître-nageur à mi-temps et philosophe le reste du temps, un ogre qui s’auto-dévore, un chien humain à temps partiel et informaticien pendant les week-ends, une danseuse en perte de mémoire.
Des profondeurs de l’âme de la vôtre ou peut-être de la leur se fait jour une réponse à ces énigmes, bien sûr, là où nous l’attendions le moins...

Philippe Genty

Construtor de paisagens mentais, fantasmagorias surrealistas, Philippe Genty conjuga os seus bailarinos, actores e marionetistas num puzzle vertical povoado por animalejos imaginários. Um mergulhador de escafandro, dependurado, ondula por cima de mares inesperados e abismos sem fundo. Com um apetite e um humor devastadores, um ogre autodevora-se.

Os aventureiros de Linha de Fuga espalham-se no horizonte, repousam lá. Na sua odisseia cruzam-se com uma dançarina caprichosa, um mestre manipulador irrisório e patético, um cleptomaníaco controlador do tempo a meio-tempo, e outros exploradores de tamanho variável consoante o tempo e o ambiente.

Pierre Notte

Na nossa abordagem do teatro, a cena é um espaço que não se parece com nenhum outro. Não se trata do lugar da vida, mas doutro espaço. Um espaço que não se pode habitar tentando reproduzir a vida, tentando ser naturalista. Trata-se de um espaço entre parêntesis. Não se trata do espaço do sonho mas de um espaço que, tal qual como o sonho, é de uma outra natureza que não a realidade. A cena existe para nos fazer escorregar para os abismos.

Como nas nossas criações anteriores, utilizo por vezes a magia e a ilusão para fazer explodir o racional e fazer-nos resvalar para o universo do subconsciente, deixando o espectador prolongar as imagens que lhe são propostas, de forma a reenviá-lo aos seus próprios espelhos. A primeira imagem é essencial. Ao entrar na sala o espectador descobre um plano vertical. Linhas brancas sobre um fundo negro como um projecto de um arquitecto, reunindo-se num ponto, ao centro, formando um traçado em perspectiva. Ao longe, uma pequena cadeira dá a sensação de profundidade. A partir desse ponto concreto, no início do espectáculo, vai materializar-se a personagem central. De um plano em duas dimensões, entramos no tridimensional, convidando o espectador a deixar-se transportar para uma realidade de sonho.

Philippe Genty

Assistência de encenação Mary Underwood

Música René Aubry

Desenho de luzes Patrick Rioux

Figurinos Charline Bauce

Actores | manipuladores Dominique Cattani, Marjorie Currenti, Sónia Enquin, Meredith Kitchen, Scott Koehler e Lionel Ménard

Técnicos | manipuladores Didier Carlier, Franck Girodo, Pascal Laajili e Grâce Rondier

Desenho de luzes Martin Lecarme

Efeitos especiais Nick von der Borch

Concepção de objectos de cena Stéphane Puech

Compañía Nacional de Danza

Director Artístico:
Nacho Duato

Compañía Nacional de Danza

Centro Cultural Olga Cadaval
8 e 9 de Julho de 2005

Arcangelo
Coreografia Nacho Duato
Música Arcangelo Corelli, Alessandro Scarlatti

Por vos muero
Coreografia Nacho Duato
Música Antiga Espanhola dos séculos XV e XVI

Diecisiete
Coreografia Nacho Duato
Música Pedro Alcalde, Sérgio Caballero

A Compañía Nacional de Danza foi fundada em 1979 com o nome de Ballet Nacional de España Clásico, e teve Víctor Ullate como primeiro Director. Em Fevereiro de 1983 María de Ávila assumiu a Direcção dos Ballets Nacionales - Español y Clásico -, tendo encomendado coreografias a Ray Barra, bailarino e coreógrafo norte-americano residente em Espanha, oferecendo-lhe posteriormente o cargo de Director, função que desempenhou até Dezembro de 1990. Em Dezembro de 1987, Maya Plisetskaya foi nomeada Directora Artística da companhia de bailado.

O assumir de funções como Director Artístico da Compañía Nacional de Danza do prestigiado coreógrafo e bailarino Nacho Duato, em Junho de 1990, implicou uma mudança inovadora na história da companhia. Duato estava decidido a tornar o grupo numa companhia com identidade própria, em que, sem esquecer os preceitos clássicos, se traçasse um rumo para um estilo mais contemporâneo. Com este fim incluíram-se no repertório novas coreografias criadas especificamente para a companhia, assim como outras obras de qualidade reconhecida por numerosas companhias internacionais.

Nacho Duato também trouxe para a Compañía Nacional de Danza o seu trabalho como coreógrafo, elogiado e premiado pela crítica mundial da especialidade.

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Arcangelo
Arcángelo es una reflexión sobre el paraíso y el infierno. Está basado en los maravillosos Concerti Grossi del italiano Arcangelo Corelli finalizando con una aria de la ópera de Scarlatti, Il primo Omicidio. Duato ha utilizado fundamentalmente los lentos y adagios en un orden distinto al original. El ballet nos relata la búsqueda de una liberación a través de la muerte, como vía de acceso a un paraíso que nos libere.

Por vos muero
Duato se ha inspirado en música española de los siglos de oro que junto con los bellísimos versos de Garcilaso de la Vega sirven al coreógrafo como hilo conductor entre la lógica contemporaneidad de la danza en Por Vos Muero y su referencia histórica.
En los siglos XV y XVI las danzas formaban parte de la expresión de pueblo, en todos sus estratos, lo cual redundaba en que supusieran realmente el reflejo de la cultura de su tiempo. Pos Vos Muero quiere ser un homenaje a ese papel fundamental que la danza ocupaba entonces en nuestra sociedad.

Diecisiete
Diecisiete, un ballet inspirado en el tradicional “haiku” japonés. El título de “Diecisiete” hace referencia al número de sílabas de los “haikus” japoneses, una estructura poética muy ligada a dos temas, la naturaleza y la muerte, sobre los que los orientales tienen una visión muy personal y que ahora Duato transmite a través de la danza. Aunar los sonidos de la naturaleza con la instrumentación musical ha sido trabajo de Pedro Alcalde y Sergi Caballero, al son de cuya música acompasan sus movimientos los bailarines.

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Nacho Duato

Nasceu em Valência, Espanha. Começou a sua formação profissional na Rambert School de Londres, continuando-a na Mudra de Maurice Béjart em Bruxelas e completando os seus estudos no Alvin Ailey American Dance Centre em Nova Iorque.

Em 1980 Nacho Duato assinou o seu primeiro contrato profissional com o Cullberg Ballet (Estocolmo) e um ano mais tarde, pela mão de Jirí Kylián, ingressou no Nederlands Dans Theater, tendo sido nomeado Coreógrafo Residente em 1988, ao lado de Hans van Manen e Jirí Kylián. Pelos seus êxitos como bailarino recebeu em 1987 o VSCD Gouden Dansprijs (Medalha de Ouro em Dança). A sua primeira coreografia, Jardí Tancat (1983), com música de María del Mar Bonet, ganhou o primeiro prémio do Internationaler Choreographischer Wettbewerb (Concurso Coreográfico Internacional) de Colónia.

Os seus bailados fazem parte do repertório das mais prestigiadas companhias por todo o mundo, entre as quais o Cullberg Ballet, Nederlands Dans Theater, Les Grands Ballets Canadiens, Ballet da Ópera de Berlín, Australian Ballet, Stuttgart Ballet, Ballet Gulbenkian, Finnish Opera Ballet, San Francisco Ballet, Royal Ballet e American Ballet Theatre.

Em 1995 recebeu o Grau de Cavaleiro da Ordem das Artes e Letras, concedido pela Embaixada de França em Espanha.

Em 1998 o Conselho de Ministros condecorou-o com a Medalha de Ouro de Mérito em Belas Artes.

Em Abril de 2000 recebeu na Ópera de Stuttgart um dos mais conceituados prémios internacionais, o Benois Prix de la Danse, na sua 9º edição, concedido pela International Dance Association, por Multiplicidad. Formas de Silencio y Vacío (1999).

Foi Premio Nacional de Danza 2003 na modalidade de Creación.

Nacho Duato é Director Artístico da Compañía Nacional de Danza desde Junho de 1990, a convite do Instituto Nacional de las Artes Escénicas y de la Música do Ministério da Cultura de Espanha.

Fundação Gulbenkian extingue Ballet

Dia (nacional) triste ...

A Fundação Calouste Gulbenkian anunciou hoje que vai extinguir a sua Companhia de Dança criada há 40 anos e adaptar a intervenção nesta área às novas realidades.

Público
TSF
TSF
DN
JN