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O estilo tardio de Robert Schumann a exemplo dos Gesänge der Fruhë op. 133 : subsídios para uma interpretação informada
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Advisor(s)
Abstract(s)
O presente trabalho destina-se à análise da obra de Robert Schumann pela
perspectiva de seu estilo tardio. Ao reunirmos subsídios teóricos relativos à questão do tardio em arte, observamos a ressignificação da importância do contexto psicossocial em que o artista se insere nesta fase da produção, posto que tais circunstâncias frequentemente determinam a própria temática da obra tardia. Além disso, pode-se perceber alterações na linguagem do artista, manifestadas também através da modificação dos recursos técnicos
empregados no processo criativo, o que se justifica pelo próprio fato de o artista buscar,
nessa fase de sua produção, um tipo de expressividade diferente, caracterizando-se
dessa forma um outro estilo. Isso posto, propomo-nos a analisar a obra de Schumann
de maneira a considerar tanto o produto musical quanto o contexto em que se insere
seu produtor no momento da criação, de modo a compreendermos melhor os
mecanismos pelos quais a linguagem pessoal do compositor assume tais características
associáveis aos conceitos de obra tardia.
Para tal, partimos da coleta de dados biográficos usualmente difundidos,
Confrontando-os com a vasta quantidade de fontes primárias disponíveis. Através
desse cotejamento fomenta-se uma compreensão mais acurada do contexto em que a
obra tardia de Schumann se insere, possibilitando constatações que complementam e
até mesmo contrastam com a imagem do compositor estabelecida pelo senso comum.
A partir do arcabouço teórico e biográfico construído, exemplificamos
características do estilo tardio schumanniano através da análise dos Gesänge#der#Frühe
op. 133. A investigação em torno dos elementos que podem ter desencadeado o
processo criativo dessa composição nos possibilita o estabelecimento de diversas
conexões entre a obra e temáticas psicológicas surgidas nas experiências pessoais do
compositor, o que é claramente perceptível na música graças à abordagem
manifestamente poética de Schumann em relação à escrita instrumental.
No que tange à análise musical, chama a atenção a valorização de procedimentos
composicionais de significação ambígua, posto que apontam, ao mesmo tempo, para
escolhas estéticas arcaicas e inovadoras. Essa e outras características marcantes nas
obras do último período de produção de Schumann são reveladas através da análise
musical de seu op. 133, a qual, à luz dos dados biográficos e dos conceitos de estilo
tardio, contribui para a compreensão de sua complexa obra tardia.
Abstract: In this dissertation we aim to analyze Robert Schumann’s oeuvre from the perspective of its lateness. By presenting a theoretical background based on late style studies, we observe an increased importance of the psychoYsocial context in which the late works are conceived, as it frequently affects the very subject the artwork is concerned about. Therewithal, we usually notice alterations on the artist’s style that can be shown by means of modification of their technical features or creative methods. Since the late artist is seeking a different kind of expressivity, new solutions are needed, leading to what we may categorize as a new “style”. Thus, we proceed a bilateral analysis of Schuman’s work, considering both the musical aspects and valuable information about the composer’s personal background, in order to enable a better understanding of the evolution of the artist’s style towards the peculiarities associated to lateness. For doing so, we gather commonly spread biographical data, which we confront with many accessible primary sources. Thereby we stimulate a more accurate comprehension of the composer’s life and the connections of it and his work, outlining some contradictions to the established common sense concerning Schumann’s personality and creation. Applying the theoretical and biographical framework we have gathered, we exemplify the stylistic features of Schumann’s late works by analyzing his Gesänge der Frühe op. 133. Through the investigation of some factors which might have contributed to the general thematic of this work, we notice a series of links between the music and some psychological subjects that are grounded on the composers personal experiences. This can be clearly seen in music due to Schumann’s poetic approach to instrumental pieces. Regarding the musical analysis itself, some ambiguous compositional choices are remarkable, as they indicate both anachronism and innovation at one time. These and many other distinguishing attributes of Schumann’s late works are exemplified through our analysis of his op. 133. Along with the biographical data and the theoretical concepts of lateness, this is an effort to grasp some of the complexities of Schumann’s late style.
Abstract: In this dissertation we aim to analyze Robert Schumann’s oeuvre from the perspective of its lateness. By presenting a theoretical background based on late style studies, we observe an increased importance of the psychoYsocial context in which the late works are conceived, as it frequently affects the very subject the artwork is concerned about. Therewithal, we usually notice alterations on the artist’s style that can be shown by means of modification of their technical features or creative methods. Since the late artist is seeking a different kind of expressivity, new solutions are needed, leading to what we may categorize as a new “style”. Thus, we proceed a bilateral analysis of Schuman’s work, considering both the musical aspects and valuable information about the composer’s personal background, in order to enable a better understanding of the evolution of the artist’s style towards the peculiarities associated to lateness. For doing so, we gather commonly spread biographical data, which we confront with many accessible primary sources. Thereby we stimulate a more accurate comprehension of the composer’s life and the connections of it and his work, outlining some contradictions to the established common sense concerning Schumann’s personality and creation. Applying the theoretical and biographical framework we have gathered, we exemplify the stylistic features of Schumann’s late works by analyzing his Gesänge der Frühe op. 133. Through the investigation of some factors which might have contributed to the general thematic of this work, we notice a series of links between the music and some psychological subjects that are grounded on the composers personal experiences. This can be clearly seen in music due to Schumann’s poetic approach to instrumental pieces. Regarding the musical analysis itself, some ambiguous compositional choices are remarkable, as they indicate both anachronism and innovation at one time. These and many other distinguishing attributes of Schumann’s late works are exemplified through our analysis of his op. 133. Along with the biographical data and the theoretical concepts of lateness, this is an effort to grasp some of the complexities of Schumann’s late style.
Description
Dissertação apresentada à Escola Superior de Artes Aplicadas do Instituto Politécnico de Castelo Branco para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Música
Keywords
Schumann Estilo tardio Gesänge der Frühe Análise Late style Lateness Analysis