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Doctoral Thesis
DOI
10.11606/T.27.2017.tde-29082017-141507
Document
Author
Full name
Luiz Guilherme Pozzi
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2017
Supervisor
Committee
Monteiro, Eduardo Henrique Soares (President)
Fiorini, Carlos Fernando
Martin, Mauricy Matos
Moreira, Adriana Lopes da Cunha
Shimabuco, Luciana Sayure
Title in Portuguese
O concerto nº 1 para piano e orquestra de Johannes Brahms: de sua criação à construção da performance
Keywords in Portuguese
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Abstract in Portuguese
O trabalho trata do Concerto no 1 para piano e orquestra Op. 15 de Johannes Brahms, partindo dos fatos que permearam sua criação até a construção de sua performance por este autor. Na primeira parte do trabalho realizamos uma pesquisa musicológica discutindo a linguagem pianística do compositor através de testemunhos históricos, sua preferência por pianos com características específicas, relatos de sua atuação como pianista e professor, e apontamos que a flexibilidade de tempo e alterações de andamento eram caros ao seu ideal musical. A revisão de literatura para o subcapítulo sobre os pianos de Brahms remonta principalmente a Bozarth e Brady (2009), Arnone (2006), Cai (1989), Pollens (2006) e Hofmann (2006). Já para o subcapítulo que trata das particularidades de Brahms como pianista e professor foram usados principalmente os autores May (1905) e Schumann (1927). Sobre a flexibilidade de tempo citamos sobretudo Musgrave e Sherman (2003) e Kim (2012). Com o objetivo de se ter uma perspectiva prática sobre essa última questão, são apresentadas análises comparativas de duas gravações históricas do primeiro movimento do Concerto, tocadas por pianistas tiveram alguma ligação direta com o compositor. Ainda na primeira parte do trabalho, tratamos da criação do Concerto, sua estreia e as questões editoriais da obra, usando como fontes de pesquisa várias correspondências, periódicos de época, manuscritos autógrafos, as primeiras edições e publicações posteriores da obra. Na segunda parte desta tese, discutimos os procedimentos interpretativos do Concerto expondo os passos para a construção de sua performance. Também apresentamos o material musical da obra através de tabelas com os temas dos movimentos e sua estrutura formal. Discutimos dificuldades técnicas e musicais específicas, apresentando possíveis soluções e sugerindo direções interpretativas também através de exemplos em áudio e vídeo. Como anexos à tese incluímos nossa tradução do capítulo "Brahms as a pianoforte teacher", de May (1905) e produzimos um catálogo das obras para piano solo de outros compositores tocadas por Brahms, reproduzido a partir de Hofmann (2006).
Title in English
-
Keywords in English
-
Abstract in English
The theme of this doctoral thesis is the Concerto no. 1 for piano and orchestra Op. 15, by Johannes Brahms. It is based on the facts related to its creation to the construction of the work's performance by this author. In the first part we approach the musicological research in the quest to ascertain Brahms' pianistic language through his preference for pianos with specific characteristics, testimonies of how the composer was as a pianist and piano teacher, and we point out how flexibility in time and tempo alterations were part of his musical ideals. The literature review concerning the subchapter about Brahms' pianos consists of Bozarth and Brady (2009), Arnone (2006), Cai (1989), Pollens (2006) and Hofmann (2006). For the subchapter about the particularities of Brahms as a pianist and piano teacher the authors May (1905) and Schumann (1927) were adopted. The methodology for the subchapter on tempo flexibility consists mainly of Musgrave and Sherman (2003) and by Kim (2012). With the purpose of having a practical view on the subject, we present a comparative analysis of two historical recordings of the first movement of the Concerto, played by pianists whose direct lineage trace back to the composer. Yet in the first part of the thesis, we deal with the Concerto's creation, its premiere and the editorial issues concerning the work, using as sources of research several letters, periodicals, manuscript-scores, first editions and later publications of the work. In the second part of this work, we discuss the interpretative procedures of the Concerto, presenting the steps towards the construction of its performance. We also present the musical material of the work in tables with the movements themes of and their formal structure. We discuss specific technical and musical difficulties found in the work and bring possible solutions and also suggest interpretive directions also through examples in audio and video. As an appendix to this current work we have attached our translation of the chapter "Brahms as a teacher of pianoforte", found in May (1905), and we present a catalogue with works for piano solo from other composers played by Brahms in public and private concerts, reproduced from Hofmann (2006).
 
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Publishing Date
2017-08-29
 
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