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A música para piano de Ernesto Nazareth: contribuições para a formação e identidade da música brasileira
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A transição do século XIX para o século XX foi um período de significativa transformação para a música brasileira, marcado pelo surgimento de novos gêneros como o tango brasileiro e a polca-lundu, que surgiram de um processo de miscigenação cultural. Nesta época, o compositor e pianista Ernesto Nazareth (1863-1934) destacou-se pela criatividade e originalidade das suas composições, que alcançaram grande sucesso por representarem os ritmos de essência brasileira com influência europeia. Ao longo de sua vida, Nazareth escreveu duzentas e treze composições, interpretadas de formas distintas por renomados pianistas. Com base nisto, o presente trabalho realiza um estudo comparativo de gravações das interpretações pianísticas de Arthur Moreira Lima (AML) e Maria Teresa Madeira (MTM) acerca de seis obras emblemáticas de Nazareth: Você bem sabe! (polca-lundu), Brejeiro, Escovado, Odeon, Escorregando (tangos brasileiros) e Confidências (valsa). O estudo comparativo analisa parâmetros performáticos que definem as abordagens distintas dos dois intérpretes, examinando elementos como forma, tonalidade, textura, andamento, articulação, dinâmica, uso do pedal e tratamento agógico. A metodologia combina a análise documental das partituras originais com a escuta analítica das gravações disponíveis, estabelecendo um diálogo entre o texto musical e suas execuções sonoras. Os resultados demonstram como estas duas visões artísticas representam perspectivas complementares sobre o legado de Nazareth: a visão de AML orientada para a expansão concertística e de MTM para a preservação estilística. O estudo oferece contribuição significativa para a performance histórica da música brasileira, pois permite compreender e comparar as diferentes técnicas interpretativas que configuram a prática pianística.
The transition from the 19th to the 20th century was a period of significant transformation for Brazilian music, marked by the emergence of new genres such as the tango brasileiro and the polca-lundu, which arose from a process of cultural blending. At this time, the composer and pianist Ernesto Nazareth (1863–1934) distinguished himself through the creativity and originality of his compositions, which achieved considerable success by representing rhythms of Brazilian essence with a European influence. Throughout his life, Nazareth wrote two hundred and thirteen compositions, interpreted in different ways by renowned pianists. Based on this, the present work conducts a comparative study of recordings of the piano interpretations by Arthur Moreira Lima (AML) and Maria Teresa Madeira (MTM) of six emblematic works by Nazareth: Você bem sabe! (polca-lundu), Brejeiro, Escovado, Odeon, Escorregando (Brazilian tangos), and Confidências (waltz). The comparative analysis examines performance parameters that define the distinct approaches of the two interpreters, considering elements such as form, tonality, texture, tempo, articulation, dynamics, pedal usage, and agogic treatment. The methodology combines a documentary analysis of the original scores with analytical listening of the available recordings, establishing a dialogue between the musical text and its sonic realisations. The results demonstrate how these two artistic visions represent complementary perspectives on Nazareth’s legacy: AML’s view is oriented towards concert hall expansion, and MTM’s towards stylistic preservation. The study offers a significant contribution to the historical performance of Brazilian music, as it allows for an understanding and comparison of the different interpretative techniques that shape pianistic practice.
The transition from the 19th to the 20th century was a period of significant transformation for Brazilian music, marked by the emergence of new genres such as the tango brasileiro and the polca-lundu, which arose from a process of cultural blending. At this time, the composer and pianist Ernesto Nazareth (1863–1934) distinguished himself through the creativity and originality of his compositions, which achieved considerable success by representing rhythms of Brazilian essence with a European influence. Throughout his life, Nazareth wrote two hundred and thirteen compositions, interpreted in different ways by renowned pianists. Based on this, the present work conducts a comparative study of recordings of the piano interpretations by Arthur Moreira Lima (AML) and Maria Teresa Madeira (MTM) of six emblematic works by Nazareth: Você bem sabe! (polca-lundu), Brejeiro, Escovado, Odeon, Escorregando (Brazilian tangos), and Confidências (waltz). The comparative analysis examines performance parameters that define the distinct approaches of the two interpreters, considering elements such as form, tonality, texture, tempo, articulation, dynamics, pedal usage, and agogic treatment. The methodology combines a documentary analysis of the original scores with analytical listening of the available recordings, establishing a dialogue between the musical text and its sonic realisations. The results demonstrate how these two artistic visions represent complementary perspectives on Nazareth’s legacy: AML’s view is oriented towards concert hall expansion, and MTM’s towards stylistic preservation. The study offers a significant contribution to the historical performance of Brazilian music, as it allows for an understanding and comparison of the different interpretative techniques that shape pianistic practice.
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Ernesto Nazareth Música brasileira Géneros musicais Interpretação pianística Brazilian music Musical genres Piano performance