| dc.description.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. | |
