{"id":5605,"date":"2013-09-19T23:20:54","date_gmt":"2013-09-20T02:20:54","guid":{"rendered":"http:\/\/scienceblogs.com.br\/hypercubic\/?p=5605"},"modified":"2013-09-19T23:20:54","modified_gmt":"2013-09-20T02:20:54","slug":"onde-essa-tolice-musical-vai-parar","status":"publish","type":"post","link":"https:\/\/www.blogs.unicamp.br\/hypercubic\/2013\/09\/onde-essa-tolice-musical-vai-parar\/","title":{"rendered":"Onde essa tolice musical vai parar?"},"content":{"rendered":"<p style=\"padding-left: 30px\" align=\"justify\"><span style=\"font-family: Georgia\">Estou at\u00f4nito diante das m\u00fasicas tolas escritas hoje em dia. S\u00e3o falsas e erradas e ningu\u00e9m mais d\u00e1 aten\u00e7\u00e3o ao que nossos velhos e amados mestres escreveram sobre composi\u00e7\u00e3o. Certamente, deve ser uma arte bastante elevada essa de jogar de qualquer jeito uma pilha de consoantes.<\/span><\/p>\n<p style=\"padding-left: 30px\" align=\"justify\"><span style=\"font-family: Georgia\">Eu permane\u00e7o fiel \u00e0 velha composi\u00e7\u00e3o pura, com suas regras puras. Tem sido comum eu sair pra fora da igreja por n\u00e3o suportar ouvir aquela cantoria montanhesa. Eu espero que essa cunhagem moderna e sem valor caia logo em desuso e que novas moedas sejam forjadas de acordo com o padr\u00e3o da boa e velha estampa.<\/span><\/p>\n<p style=\"padding-left: 30px\" align=\"justify\"><span style=\"font-family: Georgia\">\u2014 De uma carta de Samuel Scheidt a Henricus Baryphonus, datada de 26 de janeiro de 1651.<\/span><\/p>\n<p align=\"justify\">Pouco se sabe sobre Baryphonus, exceto que seu verdadeiro nome era Heinrich Pipegrop e que viveu entre 1581 e 1655 e que foi compositor da escola barroca alem\u00e3.<\/p>\n<figure style=\"width: 432px\" class=\"wp-caption aligncenter\"><img fetchpriority=\"high\" decoding=\"async\" alt=\"\" src=\"http:\/\/scienceblogs.com.br\/hypercubic\/files\/2013\/07\/Samuel_Scheidt4.jpg\" width=\"432\" height=\"408\" \/><figcaption class=\"wp-caption-text\">Samuel Scheidt.<\/figcaption><\/figure>\n<p align=\"justify\">O ranzinza <a href=\"http:\/\/en.wikipedia.org\/wiki\/Samuel_Scheidt\" target=\"_blank\" rel=\"noopener noreferrer\">Samuel Scheidt<\/a>, por\u00e9m, \u00e9 bem menos obscuro que seu correspondente. Scheidt, que nasceu em 1587, em Halle, estudou em Amsterdam e foi professor e compositor barroco. Ao contr\u00e1rio de muitos m\u00fasicos alem\u00e3es, Scheidt continuou na Alemanha durante a Guerra dos Trinta Anos (1618-1648). Seu patriotismo valeu a pena e ele foi nomeado <em>Kapellmeister<\/em> [mestre da capela] do Margrave de Brandemburgo ap\u00f3s a guerra. Al\u00e9m das aulas, durante a guerra ele sobreviveu como diretor musical das tr\u00eas igrejas de Halle.<\/p>\n<p align=\"justify\">Scheidt foi o primeiro m\u00fasico alem\u00e3o internacionalmente conhecido. Seu forte s\u00e3o as composi\u00e7\u00f5es para \u00f3rg\u00e3o, embora ele tamb\u00e9m tenha escrito pe\u00e7as para corais. Muito de sua fama, ali\u00e1s, deve-se ao contexto de divis\u00e3o religiosa da Europa seiscentista. Enquanto o mundo cat\u00f3lico prendia-se aos modelos italianos, Scheidt foi adotado como o modelo a ser seguido nos pa\u00edses protestantes.<\/p>\n<p align=\"justify\">Quando escreveu a cr\u00edtica da carta acima, Scheidt j\u00e1 estava velho \u2014 tinha 64 anos. Ele faleceu tr\u00eas anos mais tarde, em 1654. Suas obras completas somam 16 volumes.<\/p>\n<p align=\"justify\">Ainda que estivesse longe de acabar, a m\u00fasica barroca estava em transi\u00e7\u00e3o na velhice de Scheidt. Diferente dos primeiros barrocos, como o pr\u00f3prio Scheidt, as composi\u00e7\u00f5es eram mais simples e, de certo modo, mais laicas. Os corais religiosos passavam a dar lugar \u00e0 musica de c\u00e2mara t\u00edpica do per\u00edodo absolutista.<\/p>\n<p align=\"justify\">Entre os compositores daquele estilo \u201cimpuro\u201d estava <a href=\"http:\/\/en.wikipedia.org\/wiki\/Jean-Baptiste_Lully\" target=\"_blank\" rel=\"noopener noreferrer\">Jean Baptiste Lully<\/a> (1632-1687). Eventualmente, aquela \u201cdecad\u00eancia\u201d musical acabaria em nomes como <a href=\"http:\/\/en.wikipedia.org\/wiki\/Johann_Pachelbel\" target=\"_blank\" rel=\"noopener noreferrer\">Pachelbel<\/a> (1653-1706), <a href=\"http:\/\/en.wikipedia.org\/wiki\/Antonio_Vivaldi\" target=\"_blank\" rel=\"noopener noreferrer\">Vivaldi<\/a> (1678-1741), <a href=\"http:\/\/en.wikipedia.org\/wiki\/Johann_Sebastian_Bach\" target=\"_blank\" rel=\"noopener noreferrer\">Bach<\/a> (1685-1750) e <a href=\"http:\/\/en.wikipedia.org\/wiki\/George_Frideric_Handel\" target=\"_blank\" rel=\"noopener noreferrer\">Handel<\/a> (1685-1759).<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Estou at\u00f4nito diante das m\u00fasicas tolas escritas hoje em dia. S\u00e3o falsas e erradas e ningu\u00e9m mais d\u00e1 aten\u00e7\u00e3o ao que nossos velhos e amados mestres escreveram sobre composi\u00e7\u00e3o. Certamente, deve ser uma arte bastante elevada essa de jogar de qualquer jeito uma pilha de consoantes. Eu permane\u00e7o fiel \u00e0 velha composi\u00e7\u00e3o pura, com suas [&hellip;]<\/p>\n","protected":false},"author":486,"featured_media":5802,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_eb_attr":"","_monsterinsights_skip_tracking":false,"material-hide-sections":[],"pgc_sgb_lightbox_settings":"","_vp_format_video_url":"","_vp_image_focal_point":[],"footnotes":""},"categories":[46,160,227],"tags":[713,3046],"class_list":["post-5605","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cartas","category-historia","category-musica","tag-barroco","tag-sec-xvii"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Onde essa tolice musical vai parar? - hypercubic<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.blogs.unicamp.br\/hypercubic\/2013\/09\/onde-essa-tolice-musical-vai-parar\/\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Renato Pincelli\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. tempo de leitura\" \/>\n\t<meta name=\"twitter:data2\" content=\"2 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.blogs.unicamp.br\\\/hypercubic\\\/2013\\\/09\\\/onde-essa-tolice-musical-vai-parar\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.blogs.unicamp.br\\\/hypercubic\\\/2013\\\/09\\\/onde-essa-tolice-musical-vai-parar\\\/\"},\"author\":{\"name\":\"Renato Pincelli\",\"@id\":\"https:\\\/\\\/www.blogs.unicamp.br\\\/hypercubic\\\/#\\\/schema\\\/person\\\/c7be1e2811d061a75d3b4f4960eb53bd\"},\"headline\":\"Onde essa tolice musical vai parar?\",\"datePublished\":\"2013-09-20T02:20:54+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.blogs.unicamp.br\\\/hypercubic\\\/2013\\\/09\\\/onde-essa-tolice-musical-vai-parar\\\/\"},\"wordCount\":431,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/www.blogs.unicamp.br\\\/hypercubic\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/www.blogs.unicamp.br\\\/hypercubic\\\/2013\\\/09\\\/onde-essa-tolice-musical-vai-parar\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.blogs.unicamp.br\\\/hypercubic\\\/wp-content\\\/uploads\\\/sites\\\/249\\\/2013\\\/09\\\/Samuel_Scheidt4.jpg\",\"keywords\":[\"barroco\",\"s\u00e9c. 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