| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 1.56 MB | Adobe PDF |
Authors
Advisor(s)
Abstract(s)
O motivo da escolha deste tema reside no meu gosto pela interpretação da música de Albéniz. Considero que Iberia é uma obra-prima para piano, nomeadamente o primeiro caderno, que é aquele que apresenta melhor coesão musical e artística.
Partindo do conceito de “Escola de Piano” defendido por Lourenço (2012), o objetivo principal do meu trabalho é refletir sobre os traços nacionalistas na interpretação pianística. Pretende, além disso, investigar as caraterísticas nacionalistas utilizadas nas peças selecionadas e estabelecer linhas analíticas entre os estudos que constam de revisão bibliográfica focados no nacionalismo espanhol, assim como analisar a partitura e as gravações sonoras e a visão sobre o primeiro caderno de Iberia dos intérpretes selecionados.
A abordagem metodológica situa-se no âmbito de uma investigação qualitativa, como estudo comparativo, usando como instrumentos de investigação e recolha de dados a análise dos elementos nacionalistas que se manifestam nas obras, assim como o estudo comparativo das interpretações dos diferentes pianistas selecionados. Tenciona-se aqui conhecer como é que abordam os traços nacionalistas na sua interpretação, averiguando se as variantes têm relação com uma determinada escola pianística, e, por consequência, com uma determinada tendência interpretativa nacionalista (Lourenço, 2012). Pretende-se igualmente continuar o estudo realizado por Alfonso Pérez (2013) incluindo agora pianistas tão relevantes como Claudio Arrau, Daniel Barenboim e Lang-Lang, e ainda analisar a minha própria gravação da obra em estudo: El primer cuaderno de Iberia de Isaac Albéniz.
Por último, concluiu-se o percurso analítico deste estudo comparativo, tendo sido cumpridos os objetivos gerais e específicos do projeto científico inicial. Uma das principais conclusões demonstra que as gravações de Larrocha e Polo poderiam ser as que mais se aproximam de uma tendência interpretativa ou escola de piano espanhola.
The reason why I have chosen this topic is that I feel especially drawn to the interpretation of Albéniz’s music. Furthermore, I believe Iberia is a masterpiece for piano, especially the first book, where one can find the expression of musical and artistic cohesion at its best. Starting from the concept of “Piano School” defended by Lourenço (2012), the aim of my work is to study the expression of nationalistic traits in piano interpretation. I intend to analyze the nationalistic characteristics that appear in works selected, map out the analytical perspectives found in the bibliography related to Spanish nationalism, and examine the scores, existing recordings and perspectives of selected interpreters in relation to the first book of Iberia. The methodology applied to this work relies on a qualitative type of research based on a comparative study. Research tools and data collection include the analysis of nationalistic elements present in the selection and a comparative study of the interpretive idiosyncrasies of the selected pianists. An important goal is to first scrutinize the particular techniques these pianists have implemented to express nationalistic traits and then to determine whether those have been chosen as part of a music school philosophy or as a result of an interpretive style (Lourenço, 2012). This work is a continuation of research pioneered by Alfonso Pérez (2013). I have included relevant pianists such as Claudio Arrau, Daniel Barenboim and Lang-Lang, and also analyzed my own recording of the first book of Iberia, by Isaac Albéniz. This comparative study has been carried out according to a plan that was designed specifically for this purpose. One of the main conclusions that can be drawn from this study is that Larrocha’s and Polo’s recordings are the closest to what we may view as a Spanish interpretative trend or school.
The reason why I have chosen this topic is that I feel especially drawn to the interpretation of Albéniz’s music. Furthermore, I believe Iberia is a masterpiece for piano, especially the first book, where one can find the expression of musical and artistic cohesion at its best. Starting from the concept of “Piano School” defended by Lourenço (2012), the aim of my work is to study the expression of nationalistic traits in piano interpretation. I intend to analyze the nationalistic characteristics that appear in works selected, map out the analytical perspectives found in the bibliography related to Spanish nationalism, and examine the scores, existing recordings and perspectives of selected interpreters in relation to the first book of Iberia. The methodology applied to this work relies on a qualitative type of research based on a comparative study. Research tools and data collection include the analysis of nationalistic elements present in the selection and a comparative study of the interpretive idiosyncrasies of the selected pianists. An important goal is to first scrutinize the particular techniques these pianists have implemented to express nationalistic traits and then to determine whether those have been chosen as part of a music school philosophy or as a result of an interpretive style (Lourenço, 2012). This work is a continuation of research pioneered by Alfonso Pérez (2013). I have included relevant pianists such as Claudio Arrau, Daniel Barenboim and Lang-Lang, and also analyzed my own recording of the first book of Iberia, by Isaac Albéniz. This comparative study has been carried out according to a plan that was designed specifically for this purpose. One of the main conclusions that can be drawn from this study is that Larrocha’s and Polo’s recordings are the closest to what we may view as a Spanish interpretative trend or school.
Description
Keywords
Interpretação musical pianística Albéniz Iberia primeiro livro Escolas pianísticas Caraterísticas espanholas do piano Piano musical performance Albéniz Iberia first book Piano schools Spanish nationalistic features of piano