Transcrição, análise formal, retórica e esquemática das seis fantasias presentes no método de pianoforte (1821) do Padre José Maurício Nunes Garcia (1767-1830)

Abstract

José Maurício Nunes Garcia (Rio de Janeiro, 1767 - Rio de Janeiro, 1830), one of the most distinguished composers in the history of Brazilian music of the pre-independence colonial period, composed the Compêndio de Música e Método de Pianoforte, the first known keyboard method composed in Brazil (TRILHA, 2019). The method consists of 24 Lessons and 6 Fantasies, piano pieces aimed at continuing the studies of José Maurício's two sons. Considering the historical evidence of José Maurício's contact with European music, and the material record of his known musical corpus, it is understood that the 6 Fantasies present in Father José Maurício's Método de Pianoforte (1821) offer fertile ground for the musical and pedagogical study of the piano, as they contemplate numerous aspects that will corroborate the musical formation of the young instrumentalist, besides being the pieces with the greatest formal freedom present in the method. In this sense, this work aimed at analyzing the structural aspects of the 6 Fantasies present in the third part of the Método de Pianoforte by Father José Maurício Nunes Garcia, with the purpose of generating relevant data for further studies in the field of Brazilian music for keyboard instruments. To this end, the 6 Fantasias contained in the manuscript BRRem 2609 were transcribed in an updated digital format, and the analysis were based on the rhetorical concepts presented by Ruben Lopez-Cano (2011), the concepts and formal aspects discussed by William E. Caplin (1998) and Clemens Kühn (1989), as well as the concept of galant schemata presented by Robert Gjerdingen (2007). The analysis aimed at identifying and classifying the phraseology of the works, observing their melodic and harmonic structure, trying to point out conventional elements of the classical style of music for keyboard instruments, such as: use of tonalities, cadences, passing chords, strange notes and schemata, considering also the instruction, present in the Method itself, about the ornaments used by José Maurício. Furthermore, an analysis from the rhetorical perspective of the 6 Fantasias was performed, keeping in mind the infrastructure of the works contained in the musical dispositio, providing a palpable contact with them that will enable a more conscious and informed musical performance.