Frevo para piano de Egberto Gismonti: uma análise de procedimentos populares e eruditos na composição e performance

Abstract

This work is a study about the recognition of classical and popular elements in Gismontis performance of his work Frevo for solo piano. It is a descriptive analysis, based on musical characteristics of the genre frevo and on composicional comparisons with classical composers. It has been used as primary sources: a) the recording of Frevo, performed by the author in the album Alma; b) the score of Frevo, from the book let of the same album; and c ) the score of Frevo from the book Egberto Gismonti, published by Édition Suisse. As a secondary source, it has been utilized a transcription of Frevos performance of the album Alma made by this researcher with the following softwares: Finale and Amazing Slow Downer. The analysis of Frevo is preceded by a historical explanation about frevo, since it s beginning untilits consolidation (SALDANHA, 2008; LIMA, 2005) , as well as by a description of the classical and popular musical path of the composer and multi - instrumentist Egberto Gismonti , based mainly on web articles and interwiews published in the newspaper Jornal Caipira. The analysis has showed that the genre frevo was used in both the compositional and improvisational aspects of the construction of Frevo. Instead of utilizing an accompanied melody , Egberto mainly makes use of a sophisticated counterpoint in two voices, based on a melodic complementarity in order to make the rhythmic over flow of the musical speech, like in frevo, continuous . A combination of elements from the Brazilian Popular Music and international music with classical elements, mainly an influence of Bach and Chopin, was observed.