Resumo

O propósito deste trabalho é apresentar uma análise da Sinfonia n. 1 (“O Imprevisto”) de Heitor Villa-Lobos (1887–1959) a partir de sua estrutura formal e narrativa. A obra foi composta em 1916 e é estruturada como se fosse um poema sinfônico, com texto programático escrito pelo próprio compositor. A narrativa literária é recoberta por outra, de caráter musical, estruturada em forma cíclica segundo o método de Vincent d’Indy (1909). A análise irá buscar pontos de aproximação e afastamento entre as narrativas literária e musical, segundo teorias da forma musical, usando terminologias de Hepokoski e Darcy (2006), Vande Moortele (2009, 2013) e Stoïanova (2000); teorias de narratividade musical propostas por Eero Tarasti (1994) e Byron Almén (2003, 2008); e análises tópicas, segundo Leonard Ratner (1980), Wye Allanbrook (1983), Raymond Monelle (2000, 2006) e outros. A intertextualidade se manifesta no plano musical, com obras de Berlioz, Liszt, Wagner, Franck, Nepomuceno e Debussy, mas também no plano literário, com Dante, Camões, Drummond, Graça Aranha e Haroldo de Campos.

Intertextuality and Narrativity in Villa-Lobos’s First Symphony (“The Unforeseen”)

The purpose of this paper is to present an analysis of Symphony No. 1 (The Unforeseen) by Heitor Villa-Lobos (1887–1959), from formal and narrative perspective. The work was composed in 1916. Symphony No. 1 is based on a text written by the composer, so it was originally a symphonic poem. The literary narrative is covered by another, of a musical character, structured in a cyclic form according to the method of Vincent d’Indy (1909). The analysis search for points of closure and detachment among literary and musical narratives, according to theories of musical form, like Hepokoski and Darcy (2006), Vande Moortele (2009, 2013), and Stoïanova (2000); and theories of musical narrative advanced by Eero Tarasti (1994) and Byron Almén (2003, 2008), as well musical topic analysis, after Leonard Ratner (1980) Wye Allanbrook (1983), and Raymond Monelle (2000, 2006) among others. My goal is to interpret the musically meaningful aspects resulting from intertextuality between music and text. Intertextuality manifests itself in the musical level, in dialogue with Berlioz, Liszt, Wagner, Franck, Nepomuceno, and Debussy; but it also happens with literary sources, like Dante, Camões, Carlos Drummond de Andrade, Graça Aranha, and Haroldo de Campos.