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Master's Dissertation
DOI
10.11606/D.27.2014.tde-20012015-145518
Document
Author
Full name
Luis Felipe Giampaulo Sarro
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2014
Supervisor
Committee
Zani Netto, Amilcar (President)
Lima, Sonia Regina Albano de
Seincman, Eduardo
Title in Portuguese
Forma na obra pianística de Johannes Brahms: variações sobre um tema de Haendel. 2014
Keywords in Portuguese
Composição Musical
Forma
Interpretação
Piano
Romantismo
Abstract in Portuguese
Enquanto Schoenberg considerou Brahms um "progressista", parte de seus contemporâneos - por exemplo, Wagner - o classificava como conservador. A razão para tal rótulo era o apreço que Brahms tinha pelas formas clássicas e barrocas. Diferente dos outros românticos, estatisticamente o allegro de sonata é o procedimento composicional mais recorrente em todos os movimentos de sua obra. Além disso, chegou a dominar com maestria a arte de escrever fugas, cânones e outros gêneros barrocos, incorporando-os na sua linguagem musical com naturalidade. Este trabalho vem apresentar como a obra pianística de Brahms se situa perante seus contemporâneos - mais especificamente com relação à forma - e quais as motivações pessoais e sociais que o fizeram adotar essa postura estética. Um breve resumo de suas obras é apresentado seguido de uma análise das Variações sobre um tema de Haendel para demonstrar como sua obra dialoga com o arcaico e o moderno, sendo ao mesmo tempo antiga, clássica e romântica.
Title in English
Form in Johannes Brahms's piano works: Variations on a theme by Haendel.
Keywords in English
-
Abstract in English
Schoenberg once said Brahms was a "progressive", while his contemporaries - Wagner, for instance - would classify him as a conservative. The main reason for that was that Brahms enjoyed classic and baroque forms. Apart from the other romantic composers, allegro de sonata is statistically the most recurring compositional procedure in all movements of his output. Besides, he conquered how to write fugues, canons and other baroque genres, inserting them naturally in his musical language. This thesis presents how Brahms's piano works relate with those of his contemporaries - more specifically regarding form - and what was his personal and social motivation to adopt this aesthetical position. A brief about his works will be presented followed by an analysis of Variations on a theme by Haendel, in order to demonstrate how his output makes a dialogue with the old and modern, being at the same time antique, classic and romantic
 
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Publishing Date
2015-01-22
 
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