Transcrição orquestral de Francisco Mignone na obra Quadros de uma Exposição: um estudo comparativo
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Data
2019-07-27
Autores
Siqueira, Cássio Aparecido [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
Quadros de uma Exposição, de Modest Mussorgsky (1839–1881) é uma suíte escrita originalmente para piano, no entanto, fora transcrita para orquestra por diversos compositores, alcançando a soma superior a 600 transcrições. Diante de tal espólio, concluímos que há muito a ser pesquisado, sobretudo, no que diz respeito ao universo da transcrição orquestral. Para tanto, analisaremos as transcrições do russo Mikhail Tushmalov (1861-1896); do francês Maurice Ravel (1875-1937); e do compositor brasileiro Francisco Mignone (1897 – 1986). A transcrição orquestral de Mignone ainda é pouco conhecida nas salas de concerto e mesmo entre pesquisadores. Diante disso, o estudo minucioso de seu trabalho torna-se necessário tanto para música brasileira quanto para o estudo da orquestração, em virtude da escassez de papéis acadêmicos sobre este objeto.
Pictures at an Exhibition, by Modest Mussorgsky (1839-1881) is a suite originally written for the piano, it was transcripted to orchestras by assorted composers reaching the amount of 600 transcriptions. In face of many recreations of such piece, we conclude that, there is still a lot to research and to understand about those so distinct orchestrations and what they might bring us in the universe of orchestral transcription. For such purpose, we are going to analyse the transcriptions of the Russian Mikhail Tushmalov (1861-1896); of the French Maurice Ravel (1875-1937); adding the Brazilian composer Francisco Mignone (1897-1986). The orchestral transcription of Mignone is not enough known among concert halls and researchers. Thus, such study involving his works become quite necessary not only to the Brazilian music, but for the orchestration study as well, due to the scarcity of academic papers regarding such object.
Pictures at an Exhibition, by Modest Mussorgsky (1839-1881) is a suite originally written for the piano, it was transcripted to orchestras by assorted composers reaching the amount of 600 transcriptions. In face of many recreations of such piece, we conclude that, there is still a lot to research and to understand about those so distinct orchestrations and what they might bring us in the universe of orchestral transcription. For such purpose, we are going to analyse the transcriptions of the Russian Mikhail Tushmalov (1861-1896); of the French Maurice Ravel (1875-1937); adding the Brazilian composer Francisco Mignone (1897-1986). The orchestral transcription of Mignone is not enough known among concert halls and researchers. Thus, such study involving his works become quite necessary not only to the Brazilian music, but for the orchestration study as well, due to the scarcity of academic papers regarding such object.
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Palavras-chave
Mussorgsky, Tushmalov, Ravel, Mignone, Orchestral transcription, Mussorgsky, Tushmalov, Ravel, Mignone, Transcrição orquestral