Da concepção e interpretação de uma obra inedita contemporânea

Abstract

The interpretation of an unpublished work by a Brazilian contemporary composer implies, for the instrument player, at least three initial difficulties. Firstly, the composition being unpublished, or rather, the inexistence of referentials or previous executions as regards to other interpretations. The musician therefore, must deduce the greatest amount of information and conclusions using the avaiable score as a starting point, and basing himself solely on these scores, execute the work. Secondly is the fact that the composer is contempory. If, on the one hand, this aspect seems advantageous allowing greater facility, on the other, it poses an obstacle. Nowadays aesthetic concepts are diverse and variable and have yet not been analysed exhaustively by musicological literature. This circumstance compels the performer to dwell on each detail so that he understands the work clearly enough to avoid serious misinterpretation. The third initial difficulty stems from the work having been written by a Brazilian composer.Similarly to what was mentioned regarding the previous cas􀄥 there are no studies or satisfactory documentation concerning our national production. This situation is agravated by the peculiarities of Brazilian culture, its its sirnilarities and differences in relation to musical productions of other na tions and whose caracteristics results from the historical and polítical development our country has experienced. In this work we are dealing with the “Tocata” for the piano, by Leonardo Sá. The structure is analysed,its forro and development commented on, and its most important compositional procedures detected and exposed. Other works by the sarne composer are mentioned and compared, so as to offer parallels and establish the organization of the compositions. With these studies as a starting point a solution for the interpretation of the “Tocata” is proposed. It must be observed that there was the opportunity of consulting the composer and discussing with him the development of this work. This contact, though undoubtedly supporting the statements recorded here has, at the same time, rendered the evolution of there studies more complex, through permitting a more accurate approach to the technical and aesthetic problems wich appear in the composition.