Ouvindo a Sinfonia 3 de Henryk Górecki

Estudo da obra de Górecki me foi sugerido a partir da leitura do artigo
"The Sounds of Music in the Twenty-first Century" ( https://www.newyorker.com/magazine/2018/08/27/the-sounds-of-music-in-the-twenty-first-century) de Alex Ross que resenha o livro de Tim Rutherford-Johnson, Music After the Fall: Modern Composition and Culture Since 1989.



No artigo, Alex fala do problema Kandinsky: "Modern classical music is bedevilled by what might be called the Kandinsky Problem. Modernist painters, writers, and filmmakers had a far easier time finding a wide audience than composers did. Kandinsky creates mob scenes in museums; the mere appearance of Schoenberg’s name on a concert program can depress attendance. (...) With that inevitable question, the Kandinsky Problem resurfaces. In the art world, instinctive antagonism to the new, the weird, and the absurd is less common."



Link para o áudio:


https://www.youtube.com/watch?v=rmDuqL23gN0


Link para a partitura:

https://pt.scribd.com/doc/191404732/Gorecki-Symphony-No-3-Symphony-of-Sorrowful-Songs-Facsimile-Score



LInk para o aúdio com a partitura:

https://www.youtube.com/watch?v=k2_myiVxCqU


O primeiro movimento se vale de um Canon de 24 compassos: a cada ciclo, temos a entrada de um novo instrumento. Começa no contrabaixo.

ESCRITA 2 MINUTOS de material

Até aqui segui o seguinte roteiro:
jogos de vozes em dissonâncias a partir a imagem em espiral do centro do quadro. Para realçar esta referência, detive-me durante 47 segundos ( comp 1-20) em variações sobre uma dada melodia e seus reutilizações em diferentes timbres, seja em oitava, seja em inversões. Como eu gosto de graves e quis associar essa parte da composição com uma forma polifônica, a qual não segue todas as regras, comecei em regiões mais graves, médio-graves ( cellos e piano) e depois reintroduzo o tema nos trombones. Gostei da urgência da música, muito relacionada a um fim, a se chegar a uma conclusão.
Aliás, me vali muito dessa expectativa de fim, como se a música estive se direcionando para seu término o tempo inteiro.
Após o compasso 20 me dirijo para a imagem do barco, no canto inferior esquerdo do quadro, seguindo o roteiro já indicado.

Depois, sigo em sentido vertical, do alto para baixo, para as imagens das nuvens marrons como rostos fitando o mundo abaixo, e então chego nos céus-montanhas no canto superior esquerdo.
Os próximos motivos - o das trombetas, o do cavalo e do cavaleiro e dos amantes, vou retomar das composições anteriores.
Mas está indo bem, com esse senso de linhas que se cruzam, formas circulares, descontinuidades, sobreposições e a manutenção de um fluxo. isso é o que mais me desafia.


O tema do trompete aparece na Composição V(audiocena II).
O tema dos cavalos aparece na orquestração para a Composição IV e na Composição II (audiocena V).
O tema dos amantes aparece na orquestração para a  Composição IV (audiocena I) e depois foi retomado na Composição II (audiocena V)

Ficamos assim: trombeta, cavalos, amantes.

Material perdido

Trabalhar com programas de notação pode trazer surpresa...
Deu um bug no primeiro dia de trabalho. O fluxo estava bom. Perdi o trabalho de um turno, duas horas, algo como duas a três páginas (12 compassos).
Mas como havia trabalhado nisso ficou o planejamento.
Eu trabalho com uma relação entre planejamento e escrita de modo que quando de fato escrevro componho naquele momento, sendo que muitas das decisões são tomadas no momento da escrita mesmo.
O que lembro é o seguinte: estava nessa primeira seção, ligada ao centro do quadro, trabalhando tendo como guia o Cello 1. A primeira ideia era duplicar a linha do cello 1 pelo piano ou outros instrumentos. Testei e fui alterando isso. Então entrava com um segundo tema ou linha nas violas, duplicando com outro instrumento. E assim fui me valendo da ideia de uma estrutura de fuga pluritemática como forma, mudando o material do cello 1 a cada quatro compassos. A segunda mudança(compss 5) e a terceira mudança (compasso 9) eram muito abruptas e desligadas, já servindo como um material de background. Foi isso que perdi quando deu o bug: a experiência de ir improvisando materiais no cello e sua reinserção nas outras vozes.
Depois disso, vi que não precisa de uma forma assim tão cerrada. 

Início Composição VII

Começo pela figura central.

Uma frase nos cellos, dando um caráter contrapontístico para a obra.
A fuga indicada em vários momentos em Kandinsky aqui vai encontrar uma mais explícita exploração.

Fugue (1914)

Comp 7 (1913)

Diagramas para Composição VII

Esboço(70 em Dabrowski).

Desenho (69 em Dabarovski)

Esboços

"Several diagrammatic drawings, with various inscriptions in Russian and German, especially illuminate Kandinsky's process of creating Composition VII. A schematic pen-and-ink drawing (pi. 69) highlights with quick, thin lines the basic outline of the general conception of the picture and more specifically identifies (in Russian) the individual colors and ideas. Its inscriptions indicate that the artist is working out some basic details of Composition VII and places what he calls the "genesis" — depicted by a red and a blue line — in the lower left corner; "abyss" at lower right, below a semi circular section marked "yellow dirt"; in upper left, "discontinuity" (probably of forms and colors); at center top, "clear and divided" (or right and resolution), marked in warm red; the central motif, placed higher than in the final oil, specifies "on white exact" and is surrounded on the left by "red (hot)." Such notes attest to Kandinsky's extremely methodical process of creation, also emphasized by a few other drawings that analyze further the structure of the compositional scheme, in terms of movement and interaction of elements (pi. 70),color (pi. 71), and organization of masses (pi. 72). Another pen-and-ink drawing, more specific in the definition of the compositional parts (pi. 73), shows

in a linear fashion the direction and placement of the pictorial components and defines the central section contained within the upper and lower semicircular line as the main field of activity. Here, the oval form intersected by the rectilinear one is situated much higher and is closer to the top section of the pictorial field than it is in the final canvas. The inscriptions relate to the disposition of colors. There is also a small sketch of a detail with a double triangle as its center (pi. 74) that might have a connection to a central motif in the oil sketch Study for Composition VII (pi. 77). It seems to disappear in the final composition."Dabrowski, 42.

Exposição todas as Compositions no MOMA

https://www.moma.org/calendar/exhibitions/448?installation_image_index=0

Composition VII. Notas a partir de Grohman.

"It shows the design: a long oval, rising from left to right, and curves surrounding the oval like orbits of satellites. The two other drawings are free studies of details. How long Kandinsky worked on the painting can be seen from a watercolor (CC 684) which he himself dated 1911, and which already shows the central forms as well as some secondary forms of Composition VII.

The main center of the painting is situated at the left below the middle point. It is a form approximating the oval, cut by a wedge and two arrows. One might think of an egg, of a development "ab ovo," as Klee titled an abstract work of his in 1917. This form lies within an area bounded by lines and extends to a second center at the left with a triangular form which frequently recurs in the painting. This second center reaches out to the lower left corner with the "oars." All the weight is situated in the lower left quarter of the composition. The lower right is similar to Painting with the White Border: it includes sailing forms, and other forms below them. The diagonal running from the lower left to the upper right divides the whole into a nervous upper half and a calmer lower one. All the smaller forms—circles, wedges, triangles, bars, and arabesques are on the left side. Associations lead to no more tangible interpretation than a feeling of dramatic action, with energies and tensions as protagonists. What we have here is one of many possible worlds; it is the artist who introduces fate into the painting, and who uses the various formal elements and connections in order to state how he experiences the world.

The colors come closest to giving us information about the "content." The fiery quality of Sketch 1 has been preserved in Composition VII, whose over-all character suggests a blazing fire, an approaching disaster, an exaggerated tempo. The red above the diagonal, the blue under it, the yellow, all are disquieting and threatening ; the black opens up like a dangerous precipice, and there is no reassuring green. If Kandinsky had previously had war on his mind, this painting may well be a foreboding of its out- break a year later. Once we engage in such speculations, further associations become possible, not with objects and memories, but with contrasting ideas, such as those of alarm and peace, flight and immobility, sharpness and bluntness. Even then the interpretation of the painting cannot be more definite than that of a symphony, the Eroica, for example."136-137 

Formas circulares Composição VII

1- Composição VII

2- Motivo central ou célula básica (A)

3- Motivo barco ou variação do centro (A1) ( canto esquerdo inferior)

4- Motivo circular, variação do Núcleo (Centro Superior)

5- Motivo circular, variação do núcleo, inversão de n.4 (Lateral direita média)

6- Motivo circular, variação do núcleo. Centro inferior.

7- Formas ovalares Motivo B

Farbtheoretische Betrachtungen und Skizzen

Farbtheoretische Betrachtungen und Skizzen ( Observações sobre Teoria da Cor e Esboços) 1913
Tirado de Kandinsky. Ulrike Becks-Malorny  Taschen,2007,96-97.

"One side of the sheet has eight squares in four rows of two columns. The top four squares each contain a concentric circle motif with color notations. Each of the two lower circles is labeled "Kochen" (boiling, as translated by Vergo and Lindsay in Kandinsky's other writings), and each suggests movement. Both squares have an additional vertical line inside of them, to the right of the circle, about a quarter of the distance from the right edge of the bounding square. In the left square, arrows point towards the circle. In the bottom right square, the circle is surrounded by three numbered ovals made of dotted lines. The general arrangement is similar to those describing orbital patterns, which could be cosmic or atomic. 290-291" 

"At the same time, the forms in the sketches more closely correspond to the concentric circles in Composition VII than earlier iterations of the circle motif. "291-292"

Em cima à direita:

1. abgegrenzt / 2. aufgelöst / 3. lasiert / 4. übergeflossen auch schäumend (weiß , od. andere Farbe)".

1. Delimitado/ 2 dissolvido 3. envernizado  4. transbordado e e espumado ( branco ou outra cor)


{"It is uncertain if this referred to the four iterations of the motif, but it seems likely."291} 

Embaixo

"Das Kochen an der Grenze, die Fermata bildet = hoffnungsvolle / Berührung [?] der Hemmung. Kann die Verzweiflung steigen?

No ponto de ebulição,  a fermata é formada = contato promissor com a inibição. Pode a agitação aumentar?


Das Kochen entfernt kann Ausstrahlungen senden: 1. über Fermata / 2. von Ferm. kraftvoll fliehend / 3. [von Ferm.] ermattet fallend". 98 Ibid.: "1. abgegrenzt / 2. aufgelöst / 3. lasiert / 4. übergeflossen auch schäumend (weiß , od. andere Farbe)".

Do ponto de ebulição remoto são enviadas transmissões 1. sobre a fermata 2. da fermata, poderoso aclive, 3. da fermata, declive extenuante.

"The other side of the page has two squares, each with a series of concentric circles

(fig. 8.5). Unlike versions of the motif in the Kochen note on the other side, which were roughly symmetrical, these are set at opposite angles, with one pointed upward to the right, and the other pointed upward to the left."294

"His description of "brown in grey-blue-matte" and "the mysterious brown" seems to be related to the central form in Composition VII, which contains gray-blue matte, and a matte green-brown circle."295  










"Die matte Farbe ist schwach, besonders wenn sie in der Umgebung zerfließt. / Schwäche neigt zum Sinken, Herunterfließen. / Wenn also ein solcher Fleck nach oben (und besonders links) gedreht ist, so entsteht Unnatürlichkeit (innere Dissonanz); / ein Kern aber (besonders kräftiger- das geheimnisvolle Braun! was lebt dort versteckt?) ist eine verborgene Kraft (inneres Kochen!!) und so glaubt man an diese Drehung des an sich schwachen Fleckes. / So bringt hier der innere Fleck Harmonie, die nur innerlich zu erklären ist- keinesfalls äußerlich (es kann äußerlich conventionell disharmonisch sein , wird aber innerlich als harmonisch empfunden- und je fremder äußerlich der innere Fleck dem schwachen ist- desto mehr!! " 

A cor opaca é fraca, especialmente quando é dissolvida no ambiente. A fraqueza tende a afundar, fluir para baixo. Então se tal ponto for virado para cima (especialmente para a esquerda), torna-se não natural (dissonância interna). Mas um núcleo central (especialmente poderoso- o marrom misterioso! O que está oculto ali?) é uma força oculta (ebulição interna!) e então passa-se a acreditar na rotação do ponto fraco. Isso traz o ponto interno de harmonia, que é somente explicado internamente, não externamente ( pode ser disarmônico de um modo convencional, mas é percebido internamente como harmônico) e quanto mais exterior a fraqueza extra do ponto interior, maior será "

Composição VI mapa de cores centro.

1- Círculos concêntricos . Dois matizes de verde próximos: intervalo de segunda menor(boland)
Tensão entre o verde e o violeta, em oposição. Verde relacionado a violino em frequências médias e o violeta ao fagote e ao corne inglês
2- motivo em círculos concêntricos, ondas, repetições, ressonância, inversões, novas aparições no quadro.
3- linhas diagonais atravessando as formas

notas de Lynn Edward Boland

A Culture of Dissonance: Wassily Kandinsky, Atonality, and Abstraction Tese. 2014.  

"Schoenberg's approach involved introducing a collection of intervals that generated additional material and propelled the piece. I would argue that this is comparable to the concentric circles at the center of Composition VII. The colors themselves might be considered dissonant within traditional color theory, where violet and green are across the color wheel. At the same time, the two shades of green in the central motif suggest a closer intervallic relationship comparable to the minor second (G- sharp–G) in the second and third notes of the opening passage of "Three Piano Pieces." 
In its central placement, the concentric circle motif suggests an opening passage

for the painting. In this way, it might serve a role similar to what Perle described as a "cell" in Schoenberg's compositions. While the overall visual effect is evident at a distance, the painting's large size necessitates viewing the composition in portions, just as he painted segments of it. Moreover, Kandinsky suggested this approach to viewing other paintings of the period. For instance, his comments addressed above where the viewer would experience "an inner sensation like a succession of waves," or his remarks about an "inner boiling" that produces an "overflow of boundaries" resulting in "overtones.

The repetition of concentric circles and semi-circles throughout Composition VII supports this reading. Both the form of the central motif and its colors are separately repeated numerous times in the painting; the motif appears in different colors while the tones of the central motif appear in different forms throughout the composition. The repetitions of the central color are usually larger and spread out, which is an expansion. For instance, most of the colors used in the boat motif repeat those in the central motif of concentric circles. Principles of inversion might also be described in Composition VII and many of its studies, where sequences of colors are reversed. Inversion is suggested by the relationship of red and blue in the top two concentric circle motifs in the "Seven Square Study," or in the ordering of teal and green in the central motif in Composition VII to their reversed appearance in the boat (fig. 8.1a and 8.1b).

Applying the structural analogy further, the red and blue concentric circle motif in Composition VII would be comparable to cell b in "Three Piano Pieces." The form is related to the central motif, yet the colors are distinct. Moreover, the musical triad of the primary colors in the Color-Overtones Study might suggest further connections, since Schoenberg's cell b is an augmented triad, formed in part from the same interval represented by blue and red, the major third. Whether a link is intended here, both interval collections represent a structural relationship where the materials, the specific notes, and colors are different, but one structural relationship between two elements in each set is the same. Both motifs contain an interval of pronounced distance, pink and green or yellow and teal in the central motif, and red and blue in the outer motif. In the central motif, like a cell , there is also a more subtle tonal relationship (shades of green, and a minor second, respectively).

If reading from the center of the canvas, the red and blue motif is introduced after the initial collection of violet, teal, and green. The red-blue motif is expanded and developed in a manner to the expansion of the central motif. The colors from both motifs are evident throughout the upper section of the canvas, and the small spot of yellow in the central motif has become especially expansive at the left of Composition VII.
More specific interpretations of directionality within Composition VII would have to refer to the analytical sketches that Kandinsky made for the painting. It will be useful to briefly note general elements of two of the compositional sketches that appear to most closely correspond to the finished painting. The oblique oval in figure 8.29 seems to suggest an orbit around a central point, indicated by a "x." In addition to this general arrangement, it is worth noting that lines suggesting waves occupy the area that includes the boat motif in the finished painting.
Figure 8.30 resembles the finished painting even more closely, with major

elements of Composition VII indicated. The boat motif is in the lower right-hand corner as in the finished painting. In the upper right, where scholars have identified Gabriel and his trumpet in Composition VII, Kandinsky drew a circle with a cross. He connected this form and the boat in a straight diagonal line across composition. Kandinsky drew the central motif as a series of roughly concentric circles with a sharply angled v-shaped wedge crossing them. The central motif is situated between the largest diagonal line connecting the bottom left and upper right, and other compositional lines indicated on the study, most of them diagonal. Diagonal compositional lines in themselves suggest dynamism. In their abundance here, they interlock to form a larger structure. It is worth noting that the red-blue concentric circle motif is also indicated on this study, among the relatively sparse yet significant elements."318 - 321
 

sobre o centro de Composição VII

Composição VII

Plano-detalhe centro composição VII

Plano-detalhe da figura no centro de Composição VII

 Rose-Carol Washton Long  comenta que "o centro dessa forma oval irregular contém um dupla curva, indicando a presença de duas cabeças."121.

Composition VII motivos, a partir de Rose-Carol Washton Long

1- motivo do barco . P. 118. Retoma imagem de Composição VI e Improvisação 26(1912)

 Composição VII e abaixo plano detalhe do canto inferior esquerdo do quadro.

Improvisação 26 (1912)

2- Motivo da Montanha, relacionado ainda com a cidade e suas muralhas.

Plano-detalhe de Composição VII, esquerda alta.

3- Trompete

Plano detalhe Composição VII, centro alto.

4- Motivo do cavalo-cavaleiro

Plano-detalhe Composição VII, direito-centro

 5- Motivo da Elias (ascensão e carruagem)

Plano-detalhe Composição VII, esquerda alta.

6- Motivo do casal

Plano-detalhe Composição VII, direita-centro

Motivos bíblicos

1- Grande Ressurreição ou Som dos Trumpetes (1911)

Anjo do Último Julgamento (1911)

2- Último Julgamento

Último Julgamento (1910)

Último Julgamento, 1912

Sobre o Tema do Último Julgamento (1913)



3- Jardim das delícias

 Tema do casal reclinado. Imagem em Sobre o Espiritual na arte (1911)

Paradies (1911-1912)

Garden of love ( Improvisation 27, 1912)


4-  Dilúvio

Improvisação. Dilúvio (1913)

Esboço para Dilúvio (1912)

Esboço para Dilúvio (1912)