Sonata n.1 para Piano e Divertimento para Cordas de Edino Kriger: adaptações idiomáticas no processo de transcrição

Abstract

Resumo. estudo comparativo entre a Sonata n.1 para piano e sua transcrição intitulada Divertimento para cordas de edino Krieger, obras que integram o segundo período de criação do compositor, marcado pela tendência neoclássica e utilização de temas de caráter brasileiro. ao investigar as adaptações idiomáticas ocorridas no processo de transcrição, são traçados paralelos entre a escrita pianística do compositor e elementos idiomáticos dos instrumentos de cordas. Palavras-chave: análise comparativa; adaptações idiomáticas; re-composição; edino Krieger. Edino Krieger's Piano Sonata N.1 and Divertimento for Strings: idiomatic adaptations in a transcription processAbstract. Comparative study between edino Krieger´s Piano Sonata n.1 and its transcription for string orchestra entitled Divertimento para Cordas. Both works are representative of Krieger´s second stylistic period characterized by the adoption of neoclassical frames coupled with the use of materials typical of Brazilian music. Besides comparing both versions and finding modifications in the transcription for strings, the analytical procedures point out features found in his pianistic writting related to idiomatic string playing.composer's musical language.

Intertextuality, Narrativity and Tradition: 8 Brazilian Piano Sonatas

“…Such "plots" as emerge from these genres may at times suggest a more dramatic than strictly narrative structure, but there is always an implied narrative element in that events unfold through the narrative filters of the composer's persona(s) (Hatten, 1991) 39 . 37 As previously mentioned, the first movements of the following piano sonatas: CS 3, CS 4, ES, EC and EK 2 begin with statements built primarily on unison figurations showing allegiance to an international style of musical writing distanced from overt national characteristics. The unison has enjoyed the favor of composers even at the height of polyphonic writing; unison passages spaced two octaves apart mark the unity and cohesion of the argument as in J. S. Bach's E minor Fugue (WTC I, Schmieder-Verz, 855).…”

“…36 Frye, Northrop. 1957 Maus, while strongly arguing in favor of similarities and equivalences between instrumental music and storytelling, cautions: "an analogy between musical and narrative structures need not depend on an acceptance of conventional descriptions of musical formal patterns" 37 . As is well known, music is indelibly linked with emotional states primarily triggered by association with affective states 38 .…”