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Abstract(s)
O objectivo do presente projecto artístico foi o de adquirir um maior conhecimento sobre o compositor argentino Carlos Guastavino (1912-2000) e sobre as características que este imprimiu à sua obra para clarinete e piano. Pretendeu-se ainda contribuir para a divulgação de peças raramente incluídas nos recitais de clarinete, partindo da análise das partituras e do estudo do contexto em que estas foram criadas como elementos essenciais para a sua interpretação, a qual procurou uma aproximação informada às intenções originais do compositor.
Para tal, realizou-se uma biografia de Guastavino, tentando contextualizar a sua vida e obra numa identidade nacional argentina. Realizaram-se posteriormente entrevistas a dois clarinetistas intérpretes da sua obra, Florent Héau e Luis Rossi. Finalmente realizou-se uma análise interpretativa das obras que foram apresentadas em recital, tentando realizar um conceito artístico o mais informado possível.
Verificou-se que as cinco obras apresentadas no recital (Tonada y Cueca – 1965, Sonata para Clarinete e Piano – 1971, Rosita Iglesias – 1966, Se equivocó la Paloma – 1941 e Pueblito, mi Pueblo – 1942) estão unidas pela influência da música folclórica argentina, demonstrando todas elas características simultaneamente nacionalistas e românticas, permitindo que a sonoridade do seu repertório seja facilmente identificada.
Os conceitos acima mencionados e explorados no projecto aqui descrito foram amplamente estudados e experimentados na preparação do recital, tornando-se, teoria e prática, numa unidade indivisa.
The aim of the present artistic project was to gain a better knowledge about the Argentine composer Carlos Guastavino (1912-2000) and his works for clarinet and piano. It was also intended to contribute to the promotion of pieces that usually are not included in clarinet recitals. To attain these aims, an interview protocol was designed and interviews were conducted with two experienced clarinetists of Guastavino’s works (Florent Héau and Luis Rossi). Then, an interpretative analysis of the works that were presented in the recital was carried out as well as the study of the context in which they were created, since these were considered essential elements for their subsequent interpretation. The data gathered from the study of the life and works of Guastavino, the interviews and the analysis aimed at achieving an artistic concept as informed as possible. It was clear that the five works presented in the recital (Tonada y Cueca - 1965, Sonata para Clarinete y Piano - 1971, Rosita Iglesias - 1966, Se equivocó la Paloma - 1941 and Pueblito, mi Pueblo - 1942) had a connection with argentinian folklore music and that all of them featured both nationalistic and romantic characteristics, allowing the sonority of these repertoire to be easily identified. The concepts mentioned above and explored in the project were extensively studied and practiced in the preparation of the recital, joining theory and practice in an undivided unity.
The aim of the present artistic project was to gain a better knowledge about the Argentine composer Carlos Guastavino (1912-2000) and his works for clarinet and piano. It was also intended to contribute to the promotion of pieces that usually are not included in clarinet recitals. To attain these aims, an interview protocol was designed and interviews were conducted with two experienced clarinetists of Guastavino’s works (Florent Héau and Luis Rossi). Then, an interpretative analysis of the works that were presented in the recital was carried out as well as the study of the context in which they were created, since these were considered essential elements for their subsequent interpretation. The data gathered from the study of the life and works of Guastavino, the interviews and the analysis aimed at achieving an artistic concept as informed as possible. It was clear that the five works presented in the recital (Tonada y Cueca - 1965, Sonata para Clarinete y Piano - 1971, Rosita Iglesias - 1966, Se equivocó la Paloma - 1941 and Pueblito, mi Pueblo - 1942) had a connection with argentinian folklore music and that all of them featured both nationalistic and romantic characteristics, allowing the sonority of these repertoire to be easily identified. The concepts mentioned above and explored in the project were extensively studied and practiced in the preparation of the recital, joining theory and practice in an undivided unity.
Description
Keywords
Carlos Guastavino Obras para clarinete e piano Transcrições para clarinete e piano Identidade musical argentina Works for clarinet and piano Transcriptions for clarinet and piano Argentinian musical identity