Canção e Dansa de Radamés Gnattali: práticas de performance em gravações, edição de performance e proposta pedagógica

Abstract

This research investigates performance practices in Canção e Dansa for double bass and piano, by Radamés Gnattali (1906–1988), based on three case studies and six primary sources: three scores (Gnattali, 1934, 1982, 1985) and three audio recordings (Santoro & Hack, 1982; Masciadri & Frazão, 2017; Frate & Bravo, 2019). The methodology comprised: (1) a literature review on the composer’s biography and compositional style; (2) a formal and stylistic analysis of the work; (3) a pilot study with quantitative and qualitative spectrographic analysis of rhythmic execution, timing, and dynamics in Santoro’s recording (Gomes & Borém, 2023), followed by a comparative analysis with the recordings by Masciadri and Frate; (4) a philological study of the scores and the preparation of a Performance Edition (EdiP) (Borém, 2015) based on elements of abôio, carnival march, jazz, and impressionist music; (5) an exploratory study to define fingerings, bowings, dynamics, and various instrumental effects, employing both traditional and extended techniques, culminating in the elaboration of the work’s EdiP; and (6) a pedagogical proposal with exercises aimed at the performance and teaching of the work. The analysis of the recordings revealed performative coincidences in the parameters of time and dynamics, as well as a mutual influence between these parameters, in which variations in tempo directly affected dynamic shaping and vice versa. The tempo parameter proved faithful to the composer’s indications, while interpretative differences were found mainly in expressive aspects such as articulation, timbre, and the use of instrumental effects. Although dynamic choices were coherent, they may be reexamined from an interpretative perspective, and expressive aspects may be further explored to enhance the work’s communicative potential. As a result of the recording analysis, a Performance Edition (EdiP) of the piece was developed, followed by pedagogical exercises designed to assist the study and performance process. This research provides original contributions to the understanding, interpretation, and teaching of Canção e Dansa, integrating musicological analysis, musical philology, and performance practice.