DSpace Collection:http://hdl.handle.net/10174/10362024-03-28T12:51:56Z2024-03-28T12:51:56ZA descoberta da particella perdida do Concerto da camera col violoncello obbligato de Fernando Lopes-GraçaMikirtumov, Yanhttp://hdl.handle.net/10174/357292023-11-24T10:01:13Z2020-01-01T00:00:00ZTitle: A descoberta da particella perdida do Concerto da camera col violoncello obbligato de Fernando Lopes-Graça
Authors: Mikirtumov, Yan
Abstract: O compositor Fernando Lopes-Graça realizou reduções para piano de todas as suas obras concertantes, normalmente em forma de particella. No entanto, até agora não tinha sido possível localizar a redução para piano da obra intitulada Concerto da camera col violoncello obbligato. Trata-se de uma obra escrita entre 1965 e 1966, a pedido do violoncelista russo Mstislav Rostropovich. O propósito deste artigo consiste na reconstrução histórica do processo de criação desta obra, através da análise da correspondência entre o compositor e o violoncelista, assim como de depoimentos e entrevistas a intervenientes próximos dos dois músicos, que levaram à descoberta, no arquivo pessoal de Mstislav Rostropovich em São Petersburgo, da particella perdida.2020-01-01T00:00:00ZEssay VIII: a key work in the piano output of Christopher BochmannTelles, Anahttp://hdl.handle.net/10174/278592020-05-11T06:36:27Z2020-04-24T23:00:00ZTitle: Essay VIII: a key work in the piano output of Christopher Bochmann
Authors: Telles, Ana
Editors: Caires, Carlos; Pinheiro, Ricardo
Abstract: Christopher Bochmann's pianistic language is based on a fairly conventional instrumental technique, inherited from the 19th century pianistic tradition, yet encompassing characteristic features developed by authors associated with the 2nd Viennese School and post-serialism, as well as significant experiences in the fields of free forms and aleatoric music. The permeability to a neoclassical sensibility, probably stimulated by contact with Nadia Boulanger in the formative years, has remained over time and manifests itself from time to time, both in the use of techniques, genres and forms of the past, but also, more comprehensively, in a constant search for balance and proportionality, across all of Bochmann’s works.
From 1991, the year he composed Essay VIII, for solo piano, Bochmann inaugurated his maturity phase, based on what he calls a “unified technique”. The significant consistency of his instrumental language from then on results, to a large extent, from the synthesis of previously explored elements that Essay VIII operates, as I intend to demonstrate throughout this essay. Furthermore, we shall see how specific traits, not always particularly idiomatic, of Bochmann’s pianistic idiom enhance the aural understanding of the compositional principles that structure the work in analysis, and how a successful performance of the work depends largely on the understanding and highlighting, through specific performance practices, of the composer’s choices.2020-04-24T23:00:00Z