Interview with Brazilian composer Almeida Prado about his Poesilúdios collection for solo piano

Authors

  • Júnia Canton Rocha State University of Minas Gerais

DOI:

https://doi.org/10.35699/2317-6377.2005.55623

Keywords:

interview, Almeida Prado, musical aesthetics, técnicas de composição

Abstract

This interview with the São Paulo composer José Antônio Rezende de Almeida Prado, born in the city of Santos on February 8, 1943, and currently residing in São Paulo, was conducted in the Sérgio Magnani Room of the Fundação de Educação Artística (Belo Horizonte/MG) on October 25, 2003. It is a revised version of part of my Master's Thesis "Technical-Musical and Interpretative Decisions in the Second Notebook of Poesilúdios for Piano by Almeida Prado," defended in March 2004 at the School of Music of UFMG. In formulating the questions, I aimed to absorb the composer's personal view on the Poesilúdios, addressing topics such as musical aesthetics, pedaling, composition techniques, inspiring elements of his creation, timbre, and compositional resources used in this collection of 16 works for solo piano, as well as possible connections with other works by Almeida Prado.

Author Biography

  • Júnia Canton Rocha, State University of Minas Gerais

    Júnia Canton Rocha holds a Bachelor's degree in Piano from the School of Music at UFMG, a specialization in Interpretative Techniques of Brazilian Music from the ESMU of the State University of Minas Gerais, and a Master's degree in Performance from the School of Music at UFMG. As a recitalist, she has performed in the states of SP, RJ, PA, SC, MS, ES, and MG. She has won nine awards in national piano competitions. Currently, she is a piano professor at ESMU/UEMG, where she has conducted educational work with her students, who have achieved a total of fifty-five awards in national piano competitions.

References

ASSIS, Ana Cláudia de. O Timbre de Ilhas e Savanas de Almeida Prado. Uma Contribuição às Práticas Interpretativas. Rio de Janeiro, 1997. 179 f. Dissertação (Mestrado em Técnicas Interpretativas da Música Brasileira, Centro de Letras e Artes, UNIRIO).

GROSSO, Hideraldo. OsPrelúdios paraPiano deAlmeidaPrado: Fundamentos para Uma Interpretação. 1997.247f. Dissertação (Mestrado em Música) – Instituto de Artes da Universidade Federal do Rio Grande do Sul, Porto Alegre.

MOREIRA,Adriana Lopes da Cunha.APoética nos 16 Poesilúdios para Piano deAlmeida Prado: Análise Musical. Campinas, 2002. 411f. Dissertação (Mestrado em Música, UNICAMP).

ROCHA, Junia Canton. Decisões Técnico-Musicais e Interpretativas no Segundo Caderno de Poesilúdios Para Piano deAlmeida Prado. Belo Horizonte, 2004. 125f. Dissertação (Mestrado em Performance Musical, UFMG)

ROSEN, Charles. A Geração Romântica. Trad. Eduardo Seincman. São Paulo. EDUSP, 2000. 946p.

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Published

2005-01-01

Issue

No. 11 (2005): General Topics

Section

Interviews

License

Copyright (c) 2005 Per Musi

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How to Cite

“Interview With Brazilian Composer Almeida Prado about His Poesilúdios Collection for Solo Piano”. 2005. Per Musi, no. 11 (January): 130-36. https://doi.org/10.35699/2317-6377.2005.55623.