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O fagote no período romântico: as transformações no instrumento e repercussões no repertório
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Advisor(s)
Abstract(s)
A presente dissertação foi concretizada no âmbito do Mestrado em Interpretação Artística ministrado pela Escola Superior de Música e das Artes do Espetáculo. O tema abordado neste trabalho é o Fagote no período romântico: as transformações no instrumento e repercussões no repertório, e visa comparar as evoluções do instrumento ocorridas durante o século XIX, relacionando-as com a escassez de repertório a solo para o mesmo.
O primeiro capítulo deste trabalho designa-se a elaborar uma breve contextualização das origens e evolução do fagote, culminando na criação do sistema Heckel. Em seguida, o capítulo intitulado “O repertório do Fagote no período romântico”, faz um enquadramento de algumas das obras que marcaram o repertório a solo para o instrumento, até à segunda década do século XIX, bem como apresentando quais as razões que podem ter levado ao desinteresse dos compositores na escrita a solo para o instrumento, durante o período romântico. Por fim, nesta secção são, ainda, referidas duas obras que marcam o ressurgimento do fagote como solista no início do século XX. Finalmente, a última parte deste trabalho consiste na recolha de dados de investigação, através da realização de entrevistas a fagotistas experientes: professor Hugues Kestemann e professor Gavin Hill.
Através da realização deste projeto de investigação, foi possível concluir que, realmente, se verificou um desinteresse por parte dos compositores do período romântico na escrita a solo para o fagote, apesar do desenvolvimento do instrumento. Ademais, foi possível averiguar algumas das razões que podem ter estado na origem desta interrupção na composição para o instrumento, como a morosa adaptação dos fagotistas aos novos instrumentos, a permanência de algumas imperfeições no fagote, e as preferências dos compositores da época por outro tipo de sonoridades e obras, entre outras.
This dissertation was conducted as part of the Master's in Artistic Interpretation, offered by the Escola Superior de Música e das Artes do Espetáculo. The subject addressed in this work is "The Bassoon in the Romantic Period: Instrument Transformations and Repercussions in the Repertoire," and it aims to compare the evolutions of the instrument that took place during the 19th century, relating them to the scarcity of solo repertoire for the bassoon. The first chapter of this work is devoted to providing a brief contextualization of the origins and evolution of the bassoon, culminating in the creation of the Heckel system. Following this, the chapter titled "The Bassoon Repertoire in the Romantic Period" provides an overview of some of the works that defined the solo repertoire for the instrument up to the second decade of the 19th century. It also explores the reasons that may have led composers to lose interest in writing solo works for the bassoon during the Romantic period. Finally, this section highlights two works that marked the resurgence of the bassoon as a solo instrument at the beginning of the 20th century. The final part of this dissertation consists of gathering research data through interviews with experienced bassoonists: Professor Hugues Kestemann and Professor Gavin Hill. Through this research project, it was possible to conclude that there was indeed a decline in composers' interest in writing solo works for the bassoon during the Romantic period, despite the instrument's development. Additionally, some of the reasons that may have contributed to this interruption in composition for the bassoon were identified, including the slow adaptation of bassoonists to the new instruments, the persistence of certain imperfections in the bassoon, and the composers' preference for other sounds and works, among other factors.
This dissertation was conducted as part of the Master's in Artistic Interpretation, offered by the Escola Superior de Música e das Artes do Espetáculo. The subject addressed in this work is "The Bassoon in the Romantic Period: Instrument Transformations and Repercussions in the Repertoire," and it aims to compare the evolutions of the instrument that took place during the 19th century, relating them to the scarcity of solo repertoire for the bassoon. The first chapter of this work is devoted to providing a brief contextualization of the origins and evolution of the bassoon, culminating in the creation of the Heckel system. Following this, the chapter titled "The Bassoon Repertoire in the Romantic Period" provides an overview of some of the works that defined the solo repertoire for the instrument up to the second decade of the 19th century. It also explores the reasons that may have led composers to lose interest in writing solo works for the bassoon during the Romantic period. Finally, this section highlights two works that marked the resurgence of the bassoon as a solo instrument at the beginning of the 20th century. The final part of this dissertation consists of gathering research data through interviews with experienced bassoonists: Professor Hugues Kestemann and Professor Gavin Hill. Through this research project, it was possible to conclude that there was indeed a decline in composers' interest in writing solo works for the bassoon during the Romantic period, despite the instrument's development. Additionally, some of the reasons that may have contributed to this interruption in composition for the bassoon were identified, including the slow adaptation of bassoonists to the new instruments, the persistence of certain imperfections in the bassoon, and the composers' preference for other sounds and works, among other factors.
Description
Keywords
Fagote Romântico Heckel Repertório Solista Evolução Bassoon Romantic Repertoire Soloist Evolution