A Sonorous Invention by Almeida Prado of Hilda Hilst’s Pequenos funerais cantantes ao poeta Carlos Maria de Araújo
This study attempts to analyze Pequenos funerais cantantes ao poeta Carlos Maria de Araújo for choir and orchestra written in 1969 by Almeida Prado. This piece became relevant in Prado’s career after winning the I Music Festival of Guanabara. The methodology sought to understand the relationship bet...
| Main Authors: | , , , , |
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| Format: | Article |
| Language: | Portuguese |
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Associação Nacional de Pesquisa e Pós-Graduação em Música
2016-09-01
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| Series: | Opus |
| Subjects: | |
| Online Access: | http://www.anppom.com.br/revista/index.php/opus/article/view/379 |
| Summary: | This study attempts to analyze Pequenos funerais cantantes ao poeta Carlos Maria de Araújo for choir and orchestra written in 1969 by Almeida Prado. This piece became relevant in Prado’s career after winning the I Music Festival of Guanabara. The methodology sought to understand the relationship between the homonymous poem by Hilda Hilst and the its poetic-musical reinvention composed by Almeida Prado by identifying the various compositional procedures employed in all eight parts of the piece. In conclusion, we noticed that the Pequenos funerais cantantes behaves as eight miniatures articulated mainly by differences between the various parts, possibly having, however, a relationship between some, by the use of similar or contrasting compositional procedures. With the analysis in hand, it was possible to achieve a synthesis of the compositional procedures employed in the piece and determine that they had been learned during Almeida Prado’s development as a composer, particularly the period when his main tutors were Camargo Guarnieri (1960-1965) and Gilberto Mendes (1965-1969). |
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| ISSN: | 0103-7412 1517-7017 |