| dc.creator | Miranda, Paulo Agenor | |
| dc.date | 2019-06-17 | |
| dc.date.accessioned | 2023-09-28T22:18:15Z | |
| dc.date.available | 2023-09-28T22:18:15Z | |
| dc.identifier | https://seer.ufu.br/index.php/ouvirouver/article/view/44579 | |
| dc.identifier | 10.14393/OUV24-v15n1a2019-12 | |
| dc.identifier.uri | https://repositorioslatinoamericanos.uchile.cl/handle/2250/9069658 | |
| dc.description | By Rendering, Berio intended to restore Schubert’s tenth symphony, based on the sketches of that symphony that kept Schubert busy in his final days. This paper examines Berio’s work on Schubertian musical text, uncovering the productive commitment of the Italian composer to the 20th century avant-garde art and, at the same time, his references to important works in music tradition. The composer avoids a fanciful intervention and follows the “lines of the modern restoration of frescoes that aims at reviving the old colours without however trying to disguise the damage that time has caused” (BERIO, 1989). Our guiding hypothesis suggests that Berio’s writing methods are implicitly committed to the principles of Cesare Brandi’s Theory of Restoration (1963), who is an icon of the Italian critical restoration. The analyses of the methods of composition of Rendering first movement reveal the work on orchestration and counterpoint on the one hand, aiming at refreshing the colors of Schubert, and, on the other, the intervention in the gaps between the fragments by means of a musical cement typical of Berio.
KEYWORDS
Luciano Berio, Rendering, musical analysis, restoration, Cesare Brandi. | en-US |
| dc.description | Em Rendering, Berio propôs-se restaurar os esboços da décima sinfonia que ocupou Schubert em suas últimas semanas de vida. Este artigo investiga sua atuação sobre o texto musical schubertiano, desvelando o profícuo engajamento do compositor italiano com as vanguardas artísticas do século XX e, ao mesmo tempo, seu diálogo com importantes realizações da tradição musical. Evitando uma intervenção fantasiosa, a obra orienta-se pelas "linhas da restauração moderna de afrescos que visam reviver as cores antigas sem, contudo, disfarçar o dano causado pelo tempo" (BERIO, 1989). A hipótese norteadora é que os procedimentos escriturais adotados por Berio são implicitamente engajados nos preceitos da Teoria da Restauração (1963) de Cesare Brandi, ícone do restauro crítico italiano. As análises das estratégias composicionais do primeiro movimento de Rendering esclarecem, de um lado, o trabalho sobre a orquestração e contraponto visando reviver as cores de Schubert e, de outro, a intervenção sobre as lacunas entre os fragmentos através de uma argamassa musical tipicamente beriana. | pt-BR |
| dc.format | application/pdf | |
| dc.language | por | |
| dc.publisher | Universidade Federal de Uberlandia | pt-BR |
| dc.relation | https://seer.ufu.br/index.php/ouvirouver/article/view/44579/26174 | |
| dc.relation | https://seer.ufu.br/index.php/ouvirouver/article/view/44579/26253 | |
| dc.rights | Copyright (c) 2019 ouvirOUver | pt-BR |
| dc.source | ouvirOUver; v. 15 n. 1 (2019); 172-190 | pt-BR |
| dc.source | 1983-1005 | |
| dc.source | 1809-290X | |
| dc.title | Luciano Berio, restaurador: análise de Rendering per orchestra (1988-90) | pt-BR |
| dc.type | info:eu-repo/semantics/article | |
| dc.type | info:eu-repo/semantics/publishedVersion | |
