Abstract
Inspirados no romance Le città invisibili (1972), de Italo Calvino, que apresenta a descrição de Marco Polo de várias cidades invisíveis e fictícias, os autoresembarcaram numa viagem imaginária para criar sons invisíveis com a sutileza do pianoforte. Num processo semelhante ao romance de Calvino, o artigo apresenta a troca de ideias entre o compositor e a intérprete, separados fisicamente, no Brasil e em Portugal, comunicando-se através de videoconferências e e-mails. À medida que o processo evoluiu, aspectos técnicos do pianoforte e seus sons peculiares foram entrelaçados com os ajustes na escrita criativa do compositor. A estrutura combinatória da obra de Calvino ancorou a troca de materiais musicais entre os quatro movimentos da obra. Este projeto de pesquisa artística teve início em abril de 2014 e culminou na gravação de Sons Invisíveis, incluída no CD Música Nova para Instrumentos Antigos II em 2016. Para descrever esse processo, este artigo aborda procedimentos de composição para instrumentos históricos, particularmente o pianoforte, a natureza combinatória da escrita de Calvino e a sua estrutura correspondente na obra musical final, expressando o caráter inefável da obra-prima de Calvino por meio de sons invisíveis.
Highlights
The performance of historical keyboard instruments such as the harpsichord and the fortepiano are often solely associated with period repertoire, i.e. repertoire created during these instruments’ era, stylistically connected with specific instrumental types and models
The contribution of three women performers towards the dissemination of this new repertoire should be highlighted, through their commissions and contacts with composers: Wanda Landowska (1879–1959), Sylvia Marlowe (1908–1981), and Antoinette Vischer (1909–1973). As these early 20th-century revival harpsichords were gradually superseded after the 1960s by copies of historical instruments (LO, 2004; ZUELICKE, 2017), the performance of the extant 20th-century repertoires was transferred to these models, and newly-composed works were adapted to the sonic characteristics of the harpsichord copies
We describe how the subtle sonorities of the fortepiano were addressed in order to express the ineffable character of Calvino’s masterpiece
Summary
The performance of historical keyboard instruments such as the harpsichord and the fortepiano are often solely associated with period repertoire, i.e. repertoire created during these instruments’ era, stylistically connected with specific instrumental types and models. The creation of recent repertoire is connected to the revival of these two instruments during the 20th century, but the most prominent corpus, namely considering its size and variety, was dedicated to the harpsichord, following the creation of “modern” harpsichord models These designs, namely those developed by the French firms Pleyel and Érard that were presented at the Paris Exposition of 1889 (PALMER, 2019), may have been aimed, initially, at the performance of historical repertoire, but the availability of the instruments, albeit limited, eventually led to the creation of new works. Our case study highlights how the process was developed and how we collaborated by means of e-mails and discussion mediated with video meetings, since Jônatas lives in Brazil and Helena in Portugal
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