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CROMATISMO E ESPACIALIDADE TEXTUAL EM

GIÀ PIANSI NEL DOLORE DE CARLO GESUALDO

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Chromatism and textual spatiality in Già Piansi Nel Dolore by Carlo Gesualdo

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poéticas, diferenciando em estrutura métrica das utilizadas anteriormente nas canzone e nas frottole
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ou madrigalismo LGHLDSHORXVRGHDOJXPSURFHGLPHQWRFRPSRVLFLRQDOVXJHVWLYRHPDLVHYLGHQWH
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análise descritiva frase a frase, será possível esclarecer os procedimentos composicionais ligados ao
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A segunda frase, “2U*LRLVFHLOPLRFRUH” (Agora alegro meu coração), é apresentada

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SDUDWDOSURFHGLPHQWR$GLVVRQkQFLDTXHVHHVWDEHOHFHQRFRPSDVVRFRPR6LQRTXLQWRFRQWUD'y
(segunda menor) no canto na palavra “core´SRVVLELOLWDXPDDOXVmRSRpWLFDDXPFRUDomRTXHHPERUD
DJRUDDOHJUHIRUDIHULGRHPWHPSRVSDVVDGRV192FURPDWLVPRpHPSUHJDGRVRPHQWHHPVLWXDo}HV
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FDGHQFLDOHP³5pPDLRU´

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De modo contrastante, a terceira frase “Perchè disse il bem mio”, é apresentada de modo
quasiKRPRI{QLFRGHVORFDPHQWRGRWHQRUHVLOiELFR3DUDrQIDVHHVWUXWXUDOHFRPRDUWLItFLRSDUD
a unidade musical, a frase é repetida duas vezes, porém literalmente, nos compassos 18 a 21 e 22
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apresentada em forma de stretto:DLGHLD¿JXUDWLYDQDSDODYUDardoQRTXDOSRVVLELOLWDXPDOHLWXUDj
UHSUHVHQWDomRDRr[WDVHIHPLQLQRpLQLFLDGDMXVWDPHQWHSHODVRSUDQRFRPRFRQWRUQRGHVFHQGHQWH
SDVVDQGRSRUWRGDVDVYR]HVUHDOL]DQGRXPDDOXVmRDRPRYLPHQWRGHFDtGD1RYDPHQWHRXVRGR
FURPDWLVPRpVLWXDGRQRPRYLPHQWRFDGHQFLDOHIHFKDPHQWRGHIUDVHWH[WXDOHPXVLFDO

19
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stretto na palavra fuggan FRP R FOtPD[ GD IUDVH QR VRSUDQR TXH GHVFHQGH TXDQGR GH FKHJDU QD
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1RLQtFLRGDVH[WDH~OWLPDIUDVH³Omai si cangi in dolce e lieto canto´([HPSOR

na palavra OmaiGDTXLHPGLDQWHRFRQWUDVWHUHDOL]DGRSRU*HVXDOGRpHYLGHQWHSRLVFRQWHPSOD
GRLV GLIHUHQWHV QtYHLV HVWUXWXUDLV UtWPLFR D PXGDQoD GR ULWPR KDUP{QLFR DSRLDGD VREUH XPD
KHPtROD GH SURODomR H PHOyGLFR D DFHQWXDGD PXGDQoD FURPiWLFD D SDUWLU GR SULPHLUR DFRUGH
FRPRFRQVWDMiQDLQGLFDomRQDVSULPHLUDVHGLo}HVFRPRQDHGLomRGHGH*LXVHSSH3DYRQL
$LGHLDGHUXSWXUDSRpWLFDGDLGHLDGH³GDTXLHPGLDQWH´pFRORFDGDGHPDQHLUDLQWHQVDQRWUHFKR
DOpPGDXWLOL]DomRSURHPLQHQWHGRFURPDWLVPR$SyVHVWHFRQWUDVWHpGHVHQYROYLGRXPDSROLIRQLD
imitativa iniciada com a palavra lietoIHOL]QRFRPSHPPRYLPHQWRDVFHQGHQWHHP¿JXUDV
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*HVXDOGR UHDOL]D R ~OWLPR LPSXOVR DR ¿QDO FRP RXWUD LPLWDomR H FRP QRYR PDWHULDO
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RESULTANTES HARMÔNICAS

Para a compreensão do uso do cromatismo utilizado por Gesualdo em *Lj SLDQVL QHO
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UHVXOWDQWHVKDUP{QLFDVGRVSURFHVVRVFRQWUDSRQWtVWLFRV20(VWDUHGXomRWHPSRUREMHWLYRDYLVXDOL]DomR
PDLV FODUD GR XVR GR FURPDWLVPR DWUDYpV GH XP SRVVtYHO GLUHFLRQDPHQWR KDUP{QLFR $ UHGXomR
DEDL[RHVWiGLYLGLGDVLVWHPDWLFDPHQWHSRUIUDVHWH[WXDO21 relacionando, assim como anteriormente,
FDGDOLQKDGRWH[WRDXPQ~PHURVHTXHQFLDOWRWDOL]DQGRVHLVSDUWHV
'HVWHPRGRREVHUYDVHDVHJPHQWDomRIRUPDOUHODFLRQDGDjVHVWUXWXUDVIUDVHROyJLFDV
FRQVWUXtGDV GH PDQHLUD D QmR SHUPDQHFHU QD PHVPD UHODomR WH[WXUDO SRU PXLWR WHPSR 3RU PHLR
da construção musical frase a frase, aponta-se um distanciamento pelo uso do cromatismo até o
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SRUWHUoDVPHVPRHPVLWXDo}HVHVFDODUHVHVXDVGHYLGDVDOWHUDo}HVFURPiWLFDVVHQGRTXHHVWDVMiRFRUUHPHPVLWXDo}HV
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CONSIDERAÇÕES FINAIS

$ DPSOD JDPD GH SRVVLELOLGDGHV GR PDGULJDOLVPR H R XVR GR FURPDWLVPR QD musica
reservata GH *HVXDOGR FRQIHULXR FRPR XP GRV H[SRHQWHV GR GHVHQYROYLPHQWR PXVLFDO GH VXD
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IRUPDLVXWLOL]DGDVQDP~VLFDSyVWRQDOGRVpFXOR;;22 Portanto, o estudo e compreensão de práticas
composicionais do desenvolvimento da linguagem musical no Renascimento, podem além do
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REFERÊNCIAS

$3(/:Harvard Dictionary of MusicHG&DPEULGJH+DUYDUG8QLYHUVLW\3UHVV

+$55$1 'RQ 6RPH ([DPSOHV RI 0DGULJDOH &URPDWLFR Acta Musicologica 6ZLW]HUODQG Y
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