| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 62.97 MB | Adobe PDF |
Abstract(s)
A presente dissertação procura aprofundar o conhecimento relativamente à Sonata para Violoncelo e Piano de Luís de Freitas Branco (1913) e, assim, contribuir para despertar a curiosidade interpretativa dos músicos e estimular o gosto musical dos ouvintes. Para tal, este projecto traça um paralelo com a Sonata para Violino e Piano de César Franck (1886) de forma a averiguar as possíveis semelhanças e diferenças tanto a nível formal e estilístico, como técnico e interpretativo, destacando-se enquanto característica comum e essencial nas duas obras o uso do modelo unificador da forma cíclica. Esta dissertação inclui também entrevistas realizadas a vários violoncelistas de referência nacionais e internacionais, de modo a conhecer a visão musical do intérprete relativamente às duas sonatas tratadas neste trabalho.
A importância desta sonata de Freitas Branco é enorme, uma vez que é símbolo da introdução do modernismo musical em Portugal, e uma obra de referência na música portuguesa para violoncelo.
The present dissertation aims to increase the knowledge about the Sonata for Cello and Piano by Luís de Freitas Branco (1913) and, therefore, contribute to awakening the interpretive curiosity of musicians and stimulate the listeners’ musical taste. A parallelism is drawn with César Franck’s Violin Sonata (1886) in order to explore the similarities and differences between both works regarding formal, stylistic, technical and interpretative aspects. Therefore, the use of the cyclic form unifying model is a common and essential characteristic in both works. This dissertation also includes several interviews with national and international respected cellists in order to understand the musical vision from the interpreter’s point of view. The importance of Freitas Branco’s Cello Sonata is huge as it is a symbolic work of modernism in Portugal and a milestone in Portuguese cello music.
The present dissertation aims to increase the knowledge about the Sonata for Cello and Piano by Luís de Freitas Branco (1913) and, therefore, contribute to awakening the interpretive curiosity of musicians and stimulate the listeners’ musical taste. A parallelism is drawn with César Franck’s Violin Sonata (1886) in order to explore the similarities and differences between both works regarding formal, stylistic, technical and interpretative aspects. Therefore, the use of the cyclic form unifying model is a common and essential characteristic in both works. This dissertation also includes several interviews with national and international respected cellists in order to understand the musical vision from the interpreter’s point of view. The importance of Freitas Branco’s Cello Sonata is huge as it is a symbolic work of modernism in Portugal and a milestone in Portuguese cello music.
Description
Keywords
Sonata para violoncelo e piano César Franck Século XIX Luís de Freitas Branco Século XX Forma cíclica Sonata for cello and piano 19th century 20th century Cyclic form