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Doctoral Thesis
DOI
https://doi.org/10.11606/T.27.2017.tde-07072017-142440
Document
Author
Full name
Fernando Luis Dissenha
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2017
Supervisor
Committee
Toni, Flávia Camargo (President)
Afonso, Luis Antonio Eugenio
Bortz, Graziela
Ikeda, Alberto Tsuyoshi
Schwebel, Heinz Karl Novaes
 
Title in Portuguese
Os trompetistas e o repertório da Osesp nas temporadas de concerto de 1977 a 1980
Keywords in Portuguese
orquestra
Osesp
repertório
temporadas
trompete
trompetistas
Abstract in Portuguese
Os primeiros anos da Orquestra Sinfônica do Estado de São Paulo (Osesp) foram marcados pela instabilidade administrativa, o que impossibilitava, à época, a existência de uma programação de concertos. Com a chegada de Eleazar de Carvalho, em 1973, a Osesp inicia a estruturação de suas temporadas regulares, e uma das iniciativas foi a implementação de ciclos com obras de um mesmo compositor. Em 1977, foi apresentado o ciclo Beethoven, seguido de outros que deram destaque a Schubert, Tchaikovsky, Brahms, Wagner, culminando, em 1980, com o ciclo de obras de Gustav Mahler. A pesquisa documental nos arquivos da orquestra revelou também que houve mudanças no conteúdo dos programas de concerto, que passaram a exibir informações detalhadas ao público da orquestra. Essa nova proposta de, progressivamente, aumentar os desafios técnicos e artísticos por meio dos repertórios, teve consequências na forma de preparação, escolha de equipamento e atuação dos músicos da Osesp. Esta tese propõe, referenciada pela teoria dos "mundos da arte", de Howard Becker, identificar os trompetistas que atuaram na Osesp, quais os processos que utilizaram para executar os repertórios e, por fim, contextualizar a importância das temporadas de 1977 a 1980, na trajetória musical da Osesp.
 
Title in English
The trumpeters and Osesp's repertoire at the concert seasons from 1977 to 1980
Keywords in English
concert seasons
orchestra
Osesp
repertory
trumpet
trumpet players
Abstract in English
The early years of the São Paulo State Symphony Orchestra (Osesp) were marked by administrative instability, which made it impossible at the time to have concert seasons. In 1973, when maestro Eleazar de Carvalho came to São Paulo, Osesp starts the structuring of its regular seasons, and one of the initiatives was the implementation of cycles of works by the same composer. In 1977, Beethoven's cycle was presented, followed by others that gave prominence to Schubert, Tchaikovsky, Brahms, Wagner, culminating in 1980, with the Gustav Mahler's cycle. The documentary research at the orchestra's archives also revealed that there were changes in the content of the concert programs, which began to show detailed information to the audience of the orchestra. This new proposal to progressively increase the technical and artistic challenges through repertoires had consequences in the way of preparation, choice of equipment and performance of Osesp's musicians. This thesis proposes, using Howard Becker's theory of the "art worlds", to identify the trumpet players who performed at Osesp, the processes they used to execute the repertoires and, finally, to contextualize the importance of the seasons from 1977 to 1980, to the Osesp's musical path.
 
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Publishing Date
2017-07-10
 
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