Heroe, Egregio for double and harpsichord

interpretive and pedagogical aspects in a transcription of a cantata from the Brazilian colonial repertory

Authors

  • Fausto Borém Federal University of Minas Gerais
  • Cecília Nazaré de Lima Federal University of Minas Gerais

DOI:

https://doi.org/10.35699/2317-6377.2008.54730

Keywords:

historically Informed performance, brazilian colonial music, cantata Heroe, egregio, music transcription, orchestral strings, harpsichord

Abstract

The still limited access to scores and concerts of the vast Brazilian music repertoire from the eighteenth and nineteenth centuries and its stereotyped instrumentation (almost always sacred vocal music with orchestral accompaniment) are obstacles for the inclusion of this repertory in the country’s instrumental music curricula and its appreciation by a wider audience. An alternative for this situation is the transcription of works and change of their instrumentation to fit smaller chamber formations, including those without singing. Moreover, these transcriptions could also allow the contact and experimentation with the so-called Historically Informed Performance (HIP), departing either from the adaptation of (aural and textual) references already consolidated in the interpretation of the European repertoire or from the analysis of historical and formal elements and rhetorical figures. This article addresses these questions in Recitativo e Aria from the academic cantata Heroe, egregio, douto, peregrino (anonymous, Salvador, 1759) for soprano, two violins and basso continuo, transcribed for a solo orchestral string instrument (violin, viola, violoncello
or double bass) and harpsichord.

Author Biographies

  • Fausto Borém , Federal University of Minas Gerais

    Fausto Borém is an Associate Professor at UFMG, where he created the Master's program and the journal Per Musi. He conceived and organized the I National Seminar on Research in Musical Performance. He coordinates the research group PPPMUS ("Pérolas" and "Pepinos" of Musical Performance) and the interdisciplinary research group ECAPMUS (Teaching, Control, and Learning in Musical Performance), supported by CNPq, FAPEMIG, and the FUNDEP/UFMG Fund. His research results include a book, three book chapters, dozens of articles on performance practices and their interfaces (composition, analysis, musicology, ethnomusicology, and music education) in national and international journals, dozens of editions of scores, and recitals at major national and international double bass events. He has received several awards in Brazil (including the Diapason D'Or in Brazil for the recording of a CD with Luis Otávio Santos and the Baroque Orchestra of Pró-Música in 2006) and abroad as a soloist, theorist, composer, and teacher.

  • Cecília Nazaré de Lima, Federal University of Minas Gerais

    Cecília Nazaré de Lima is an Assistant Professor in the Department of General Music Theory at the School of Music at UFMG. She graduated in Piano from the Fundação Universidade Mineira de Artes (FUMA), now the State University of Minas Gerais, and in Composition from the School of Music at UFMG. In 2002, she completed her Master's degree in Arts/Music at the Institute of Arts of the State University of Campinas – IA/UNICAMP – with the defense of her thesis "The Dodecaphonic Phase of Guerra-Peixe: In Light of the Composer's Impressions." She currently teaches courses related to musical structuring and has published articles in major Brazilian music journals.

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Published

2008-01-07

Issue

No. 18 (2008): General Topics

Section

Articles in Portuguese/Spanish

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How to Cite

“Heroe, Egregio for Double and Harpsichord: Interpretive and Pedagogical Aspects in a Transcription of a Cantata from the Brazilian Colonial Repertory”. 2008. Per Musi, no. 18 (January): 40-51. https://doi.org/10.35699/2317-6377.2008.54730.