Os lados da mesma moeda: compositor-regente versus regente-performer. O caso de Igor Stravinsky e Seiji Ozawa no "Balé Pássaro de Fogo" através de uma análise técnicointerpretativa

Abstract

The present work brings a discussion about de the acting of two personages whose propositions aim to the same function and condition of musical direction (maestro), these are: the Composer-conductor and the Conductor-performer. At the first part we restricted the historical research on the composer (which also are conductors) and conductor (performers). As object of study we took video recordings of performances by Igor Stravinsky (1882-1971) and by Seiji Ozawa (1935), where, respectively, we have found a case of a pseudo maestro´s dichotomy: Composerconductor and Conductor-performer. We have got support on authors such as Farberman (1997), Green (1987), Lago (2002), Rudolf (1969), Rocha (2004), Scherchen (1989), among others, regarding theoretical and technical questions of orchestral conducting. The analysis and observation of the video recordings were made on specific excerpts, which were pre-selected through a proprietary system of selection and choices of objects and topics for study. After selection o the proper material, we defined tempo and dynamics as the basic parameters. Over the process, we employed the Sonic Visualiser free software, as a technological mean for data gathering. The program resulted very useful for acquiring data from the orchestral audio, compared to the fact that its original purpose is to gather data from audio recording of solo performances. All the data acquired during the process were then confronted to the gestures of the two personages through the PatternCube tool, by Harold Farberman. The final section of our work, based on the data we obtained, revealed differences and similarities among the two renditions of the same work performed by them. We observed that in both cases there was no real fidelity regarding tempo indications nor dynamics. This can also be observed through their different gestures to deal with the same material. Among all our observations, we noticed that, in Stravinsky´s case, the apparently inexact gestures didn´t generate considerable losses to the orchestra´s rendition of the score´s excerpt. Seiji Ozawa, on the other hand, seems to detain a better-defined gesture, binging about a more precise interpretation of the musical text.