Reflexões sobre o idiomatismo do piano no Trio nº 1 de Heitor Villa-Lobos e construção de uma interpretação para a performance

• Ano de defesa: 2017
• Autor(a) principal: Miriam Bastos Rocha
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Trios com piano; Música de câmara; Performance Musical; Música brasileira; Performance musical; Piano trios; Musica; Musica de Camara
• Link de acesso: http://hdl.handle.net/1843/AAGS-AVLFU9

This thesis refers to a research of Musical Performance presenting a study on Heitor Villa Lobos (1887-1959) Trio # 1 for piano violin and cello. In this review, a brief analysis on the historical, social and cultural context of the period in which this composition was produced is made. The Trio appears in the first phase of the fruitful career of Villa Lobos. The main objective of this work is to identify and analyze the idiomatic pianism of Villa Lobos. This was made through knowledge of procedures related to aspects, such as technical pianistic, sound and interpretation of the instrument, offering support for a more conscious performance. In order to accomplish the objectives proposed, methodological resources as literature review, musical analysis, listening with an analytic-appreciation, recordings of the musical composition, practical interpretative study at the piano, besides public performances of the composition, were applied during period of the research. This research presented as results, an analysis of the idiomatic pianism, besides some of the challenges that the interpreter will face while working on Trio #1, which are also registered in this thesis. Among them we should highlight the sound balance, the technical achievement, the accomplishment of the romantic virtuousic writing of the piano, the changes of pace during movements, accomplishment in bonding the tone between the three instruments, the maintenance of pulse rhythm, the rubati and the control of discrepancy in sound emission between piano and strings. Finally, technical interpretive suggestions to the pianist and the chamber ensemble are presented.