O concerto para viola e orquestra de Antonio Borges-Cunha : a obra e uma interpretação / The concert for viola and by Antonio Borges-Cunha : a work and an interpretation

AUTOR(ES)
DATA DE PUBLICAÇÃO

2009

RESUMO

The Concerto for Viola and Orchestra by Antônio Borges-Cunha was composed in 2007 and premiered in the same year in a concert, which featured the author as soloist and the composer as conductor. From the very beginning of the project, there was ample dialogue between composer and soloist as to the nature of the viola and as to the aesthetic concept of the work. The performer was thus able to closely accompany the work s creative process, which permitted an allencompassing vision of Borges-Cunha s compositional procedures and aesthetic ideal, and which rendered information on the organization of the musical material and the composer s expectations regarding expressive aspects. In the first chapter, the work s formal structure is investigated. This results in associations between a variety of elements which are relevant to the comprehension of the work itself and to decisive procedures in its interpretation. The subsequent chapters are dedicated to the study of aspects which relate to the creative process, focusing on the interpreter s participation during the elaboration of the compositional process for the solo viola. In the second chapter we observe the treatment of the viola s timbristic possibilities. We then discuss the manners in which the viola s potential sound qualities have been manipulated in the past, and this enables us to establish some standards of measure which are attributed to the instrument s timbristic qualities. We subsequently verify the occurrence of these sound models and their variations in the concerto. The third chapter examines musical gesture circumscribed to the context of the path chosen for the elaboration of the compositional process for the solo viola. These concepts are then applied to specific issues in the area of performance practice, by means of a process whereby the sensations of movement and direction, combined with the stylistic characteristics described above, are delineated. In the last chapter we discuss topics related to instrumental technique. An attempt is made to reconcile aspects linked to the technical demands of the compositional process in the concerto with the stylistic attributes of the work, such as the composer s intention to purposefully write some passages in a non-idiomatic manner. Examples are listed of alterations that resulted from the dialogue between the composer and performer. This investigation discusses interpretation and the queries regarding the paths which performers can choose in their quest for positive results in expressivity, which one concludes is also Borges-Cunha s objective. It is a study specifically geared to the area of performance and, in a broader sense, serves composers that are interested in the performer s contribution to the creative process of a work

ASSUNTO(S)

concertos concerts viola interpretation musica viola musica interpretação

ACESSO AO ARTIGO

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