Sonatina nº1 para clarineta e piano de Dimas Artur: relação entre intérprete e compositor

Abstract

Interpreter-composer relationships have arisen throughout the history of the clarinet, such as Wolfgang Mozart and Anton Stadler, Karl Stamitz and Joseph Beer, Johannes Brahms and Richard Muhlfeld, Carl Maria von Weber and Heinrich Baermann, Louis Spohr and Simon Hermstedt, Aaron Copland and Benny Goodman, among others. (GARBOSA, 2002). Countless pieces for the instrument have been composed from these relationships. This study aimed to verify the implications of the relationship between interpreter and composer in the composition Sonatina nº 1 for clarinet and piano by Dimas Artur. The objectives were to collaborate on the structuring of the piece, demonstrate the idiomatic aspects of the instrument and elucidate its technique. Authors such as LÔBO (2016), PINTO (2006), BRANDINO (2012), LAWSON (1995), RICE (2017), WESTON (2002) and FOSS (1963) grounded the study and a qualitative research method was developed using the Research–Action approach (FONSECA, 2002), which consisted of five meetings between the interpreter and the composer. In these meetings the structure of the composition and the use of clarinet technical resources were discussed and agreed upon. This interaction between interpreter and composer resulted in Sonatina nº 1 which has the following characteristics: three movements (Allegretto Scherzando, Adagio and Scherzando), extended techniques (frullato, glissando, multiphonics and bend), musical form (ternary, binary and unitary), idiomatic characteristics and Brazilian rhythmic elements.