A escrita para piano de Liduino Pitombeira e suas potenciais fases (tendências) composicionais

Abstract

In this research, I propose to investigate the peculiarities present in the musical writing of the Brazilian composer Liduino José Pitombeira de Oliveira (Liduino Pitombeira), through the analysis of the compositional structures of five works for solo piano, namely: Suíte Russana (1992) Op.11; Sertão Central (2004) Op.84; Suíte Brasileira Op.92 (2005); Trois Monuments Op.234 (2018) and Nocturne Op. 266 (2021). The selection of these works was made based on their configurations and chronological factors, covering a compositional period of about 30 years (youth, maturity, and the current phase of Pitombeira's production). Thus, the aim is to investigate the subtleties of his writing through structural and textural analysis, leading to perspectives that encompass the affects generated through his colorful (sound spectrum). Attention is given to the importance of the chronological order of the highlighted works, supporting the hypothesis of a possible synthesis comprising three distinct phases of his musical production. In this sense, it is necessary to consider parallels with his symphonic and chamber music works, as well as other traditional works from the Western repertoire. To this end, it is proposed to use various approaches to musical analysis to extract information that can substantiate these particularities, understanding two main methodological fronts: (1) through traditional (form and structure) and motivic analysis, involving approaches contained in Schoenberg (1996, 2001, 2014), Persichetti (1961), Réti (1951), Berry (1987), Caplin (1998), Rink (2002, 2007), Almada (2010), Straus (2005) and Richard Cohn (2012) in order to typify indications that point out the possible transformations of his writing over time, in addition to fostering theoretical subsidies that can be applied as tools for interpretative practices; (2) through concepts involving semiology – based on the writings of Jean-Jacques Nattiez (1990) – with the aim of refining notions that contribute to corroborate the potential inductive characteristics (affects) present in the piano repertoire in focus.