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O concerto para fagote de W. A. Mozart - uma análise comparativa da obra enquanto performance solista e prova de entrada em orquestra
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Abstract(s)
O objetivo da presente dissertação assenta na leitura do Concerto para Fagote em Si bemol Maior, KV. 191/186e de W. A. Mozart, abordando-o enquanto obra solista e enquanto requisito em provas de entrada em Orquestra.
Através de uma revisão bibliográfica centrada em tratados históricos do século XVIII e em reflexões contemporâneas sobre práticas interpretativas, procurou-se compreender de que forma a mesma obra deve ser adaptada de acordo com as espectativas associadas ao contexto em que se apresenta.
A proposta de interpretação desenvolvida demonstra que estas duas abordagens podem coexistir, defendendo-se a interpretação consciente e adaptável capaz de equilibrar o rigor histórico com a identidade artística individual.
Verificou-se que, no contexto da performance solista, o intérprete dispõe de maior liberdade expressiva, podendo explorar a ornamentação, a flexibilidade agógica e a construção narrativa; em contraste, no contexto das audições de orquestra, privilegia-se a clareza técnica, a consistência e a adequação estilística a um modelo mais normativo.
Assim, esta dissertação contribui para a construção de critérios interpretativos informados e aplicáveis ao percurso do fagotista contemporâneo.
The goal of this dissertation lies in the examination of W. A. Mozart’s Bassoon Concerto in B-flat Major, KV. 191/186e, approached both as a solo concert work and as a required piece in orchestral auditions. Through a literature review grounded in eighteenth-century historical treatises and contemporary reflections on performance practices, this study seeks to understand how the same work should be adapted according to the expectations associated with each performance context. The interpretative proposal developed demonstrates that these two approaches can coexist, advocating for a conscious and adaptable performance style, capable of balancing historical accuracy with individual artistic identity. It was observed that, within the solo performance context, the performer is granted greater expressive freedom, allowing for the exploration of ornamentation, agogic flexibility and narrative construction; in contrast, within orchestral audition settings, technical clarity, consistency and stylistic conformity to a more standardized model are prioritized. This dissertation contributes to the establishment of informed interpretative criteria which can be used in the artistic development of the modern bassoonist.
The goal of this dissertation lies in the examination of W. A. Mozart’s Bassoon Concerto in B-flat Major, KV. 191/186e, approached both as a solo concert work and as a required piece in orchestral auditions. Through a literature review grounded in eighteenth-century historical treatises and contemporary reflections on performance practices, this study seeks to understand how the same work should be adapted according to the expectations associated with each performance context. The interpretative proposal developed demonstrates that these two approaches can coexist, advocating for a conscious and adaptable performance style, capable of balancing historical accuracy with individual artistic identity. It was observed that, within the solo performance context, the performer is granted greater expressive freedom, allowing for the exploration of ornamentation, agogic flexibility and narrative construction; in contrast, within orchestral audition settings, technical clarity, consistency and stylistic conformity to a more standardized model are prioritized. This dissertation contributes to the establishment of informed interpretative criteria which can be used in the artistic development of the modern bassoonist.
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Keywords
Concerto Performance solista Audições de orquestra Diretrizes de interpretação Interpretação historicamente informada Tendências atuais Concert Solo performance Orchestral auditions Interpretative guidelines Historically informed interpretation Modern tendencies