O repertório dos sécs. XX e XXI para o duo viola e violoncelo: um catálogo de obras e a construção da sonoridade do duo na interpretação

• Ano de defesa: 2016
• Autor(a) principal: Larissa Natalia Ferreira de Mattos
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: controle do timbre; duo viola e violoncelo; sonoridade do duo viola e violoncelo; catálogo de obras para viola e violoncelo; obras viola e violoncelo; Duetos (viola e violoncelo); Musica; Catálogos Música
• Link de acesso: http://hdl.handle.net/1843/AAGS-AHQFNM

The duo viola and cello remained since the seventeenth century to the nineteenth century with a limited number of works being Obbligato Eyeglasses WoO. 32 (1797) of the composer Ludwig van Beethoven (1770-1827) one of the most performed by interpreters to the present. However, from the twentieth century, the tonal value and trials with several unusual instruments made the repertoire for this and other less common formations increased significantly. However, through research in various online archives and libraries and contact with national and international composers via e-mail, could be located 408 works of intermediate/ advanced level for the duo viola and cello dating from the XX and XXI centuries that expanded and improved the dialogic and idiomatic possibilities of this duo. Therefore, this research proposes the development of a catalogue containing intermediate/advanced level pieces of the twentieth and twenty-first centuries for the duo viola and cello, with the main focus on the dissemination of this repertoire by providing contact the composer - publicly available, and websites addresses where you can buy or download the sheet music and recordings. In addition to that this research is not restricted only to the academic environment, this catalog can be found on a website in English, prepared by the author of this research with access on www.chordataduo.wix.com/violacello, which will give accessibility to this repertoire and disseminate this chamber music formation in larger scope. With references in Barnes (2005), Blum (1986), Dalton (1988), Faria (2012), Galamian (1985), Pleth (1986) and Wilson (2015), this research also presents technical and interpretative aspects of sound production on both instruments individually and as awareness of these aspects in the study of the performer may influence the control of the timbre of the sound, enhancing colors, similarities and differences in the duo's repertoire, as well as other chamber groups where these two instruments are present. This discussion and the technical and interpretative analysis of some of the works of this repertoire may be in support for students and music professionals who need to develop into the technical aspects on the viola and cello.