Klarinet Archive - Posting 000390.txt from 2004/08

From: "Abraham Gamboa" <abraham.gamboa@-----.br>
Subj: Re: [kl] Copland concerto and "swinging"
Date: Fri, 13 Aug 2004 11:25:18 -0400


----- Original Message -----
From: Fernando Silveira <fernandounirio@-----.com>
To: <klarinet@-----.org>
Sent: Thursday, August 12, 2004 8:17 PM
Subject: Re: [kl] Copland concerto and "swinging"

> Hi Tony and all. Fernando Silveira's speaking.
> I could see that there are a discussion about play straight or not. I
don't
> want to discuss it in Copland Concerto. But, as I am finishing my
doctorate
> tesis on a subject similiar of that, I would like to expose some of I
could
> research. Below you will find the abstract of my work.
> My main subject of study was if the "swing" of Brazilian popular music
could
> be applied to "classical" music wrote under the influence of the popular
and
> folk music.
> My research appointed out that you "should" use all cultural aspects and
> informations about the popular influence for better performances.
>
> All the best
>
> Fernando Silveira
> Rio de Janeiro State Federal University
>
>
> TITLE : "Concertino para clarineta e orquestra" de Francisco Mignone: um
> estudo interpretativo sobre música brasileira. ("Concertino for clarinet
and
> orchestra" by Francisco Mignone: an interpretative study of Brazilian
> music.)
> By Fernando José Silveira
>
> This research aims to study the "Concertino para clarineta e
orquestra"
> (Concertino for clarinet and orchestra) from the Brazilian composer
> Francisco Mignone. Composed in 1957, this musical work was dedicated to
the
> Brazilian clarinetist José Botelho - its main interpreter - and was one of
> the first Brazilian concert pieces for clarinet.
>
> Historic aspects related to this piece were studied, comparing
> three original manuscripts (orchestral score, orchestral reduction for
> clarinet and piano and the clarinet part) assisted by the knowledge of
> Mignone's musical and professional practice and by the testimony of the
> clarinetist José Botelho. Musical structures were analyzed with tackling
on
> performance practice, realizing a study about the possible presence of
> cultural aspects on the Brazilian musician's interpretation that could
offer
> further interpretative ways for the performer.
>
> For that, it was analyzed performances of the third movement
> from four different eminent Brazilian clarinetists, trying to identify
those
> interpretative choices that could be related to the cultural aspects of
the
> performance practice of Brazilian popular and folk music applied to the
> classical music. As a result, could be appointed that for a rich and
strong
> interpretation of that piece, and of Brazilian music in general, is very
> important that the performer knows about the performance practice of it's
> music and culture and apply, thoughtfully, on musical works that could be
> identified relationship with the Brazilian popular or folk music. It will
> offer quality performances in agreement of the cultural aspects of the
> musical work.
>
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