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Authors
Abstract(s)
O objetivo do presente projeto artĆstico foi adquirir um maior conhecimento sobre o Konzert fĆ¼r Oboe und kleines Orchester (1952) de Bernd Alois Zimmermann (1918-1970). Pretende-se tambĆ©m que este estudo possa contribuir para uma maior divulgaĆ§Ć£o do concerto, tornando-o mais apelativo Ć interpretaĆ§Ć£o e audiĆ§Ć£o, atravĆ©s de uma anĆ”lise que o permita melhor compreender. O objetivo Ćŗltimo Ć© permitir uma interpretaĆ§Ć£o mais
clara e informada da obra, assim como identificar alguns erros na Ćŗnica ediĆ§Ć£o disponĆvel da partitura.
Neste sentido, realizou-se um breve enquadramento sobre o contexto socioeconĆ³mico e artĆstico do sĆ©culo XX, por ser um perĆodo tĆ£o marcante e rico da histĆ³ria, e ser propriamente aquele em que Zimmermann viveu. Posteriormente Ć© feito um estudo sobre a vida do compositor e o seu estilo composicional. Por fim, realizou-se uma anĆ”lise ao concerto para oboĆ©, tendo em conta o uso da sĆ©rie dodecafĆ³nica e as tendĆŖncias estĆ©ticas
de Zimmermann.
Verificou-se, assim, que os trĆŖs andamentos tĆŖm um elo em comum, tornando o concerto uma unidade indivisa, trabalhada por Zimmermann das mais diversas maneiras. Outra das conclusƵes Ć© que a partitura contĆ©m bastantes erros, alguns mais fĆ”ceis de identificar do que outros.
O concerto foi amplamente estudado e explorado durante um ano, tanto a nĆvel interpretativo (fruto do trabalho com oboĆstas que detĆŖm um grande conhecimento sobre a obra), como a nĆvel analĆtico. Este concerto, para alĆ©m de ser o foco do projeto artĆstico, foi tambĆ©m a obra central do recital final de mestrado, tornando assim a teoria e a prĆ”tica uma sĆ³ unidade.
The aim of the current project has been to acquire a better knowledge about Bernd Alois Zimmermannās (1918-1970) Konzert fĆ¼r Oboe und kleines Orchester (1952). It is also intended to contribute to a greater dissemination of the concert, making it more appealing to both listening and performance through an analysis that allows for a better understanding of it. The ultimate goal is to allow a clearer and more informed interpretation of the work, as well as to identify some errors in the only available edition of the score. For this, I have made a brief contextualization of the socioeconomic and artistic context of the twentieth century, as it is such a remarkable and rich period in history, and precisely the period in which Zimmermann lived. Subsequently, I present a study on Zimmermannās life and compositional style. Lastly, I present an analysis of the oboe concerto, taking into account the use of the dodecaphonic series and Zimmermannās aesthetic trends. I have found that all three movements have a common motif, making the concert an indivisible unit, worked by Zimmermann in the most diverse ways. Also, one of the conclusions is that the published score contains many errors, some easier to identify than others. The concerto was extensively studied and explored for a year both at an interpretative level (the result of a work with oboists who have great knowledge about the work), as well as at an analytical level. This concerto, in addition to being the focus of the artistic project, was also the central work of the final master's recital, turning theory and practice into one unit.
The aim of the current project has been to acquire a better knowledge about Bernd Alois Zimmermannās (1918-1970) Konzert fĆ¼r Oboe und kleines Orchester (1952). It is also intended to contribute to a greater dissemination of the concert, making it more appealing to both listening and performance through an analysis that allows for a better understanding of it. The ultimate goal is to allow a clearer and more informed interpretation of the work, as well as to identify some errors in the only available edition of the score. For this, I have made a brief contextualization of the socioeconomic and artistic context of the twentieth century, as it is such a remarkable and rich period in history, and precisely the period in which Zimmermann lived. Subsequently, I present a study on Zimmermannās life and compositional style. Lastly, I present an analysis of the oboe concerto, taking into account the use of the dodecaphonic series and Zimmermannās aesthetic trends. I have found that all three movements have a common motif, making the concert an indivisible unit, worked by Zimmermann in the most diverse ways. Also, one of the conclusions is that the published score contains many errors, some easier to identify than others. The concerto was extensively studied and explored for a year both at an interpretative level (the result of a work with oboists who have great knowledge about the work), as well as at an analytical level. This concerto, in addition to being the focus of the artistic project, was also the central work of the final master's recital, turning theory and practice into one unit.
Description
Keywords
Bernd Alois Zimmermann Concerto para oboƩ Modernismo Serialismo Pluralismo Stravinsky Schoenberg Concert for oboe Modernism Serialism Pluralism