Type of Document	Major Paper
Author	Silva, Francisco Coelho Ribeiro da
Author's Email Address	fsilva@lsu.edu, coelho333@aol.com
URN	etd-10312005-235025
Title	Concertino for Piano and Chamber Orchestra, by Mozart Camargo Guarnieri: A Performing Edition with Reduction of the Orchestra for Second Piano
Degree	Doctor of Musical Arts (D.M.A.)
Department	Music
Advisory Committee	Advisor Name Title Michael Gurt Committee Chair Herndon Spillman Committee Member Robert Peck Committee Member Victoria Johnson Committee Member Pauline Boersig Dean's Representative
Keywords	piano and orchestra Brazilian nationalism Camargo Guarnieri Mozart Camargo Guarnieri two pianos concertino Brazilian music
Date of Defense	2005-10-14
Availability	unrestricted
Abstract The Concertino for Piano and Chamber Orchestra, by Brazilian nationalist composer Mozart Camargo Guarnieri (1907-1993), is one of his ten works for piano and orchestra. The work is cast in three movements in sonata, ternary, and rondo forms respectively, and contains elements of Brazilian folk music. It is possibly the most appealing work by Guarnieri in this medium, and it has been performed by artists of the caliber of Laís de Souza Brasil, Joo Carlos Martins, Roberto Szidon, and Caio Pagano. It dates from 1961, and like most of the other works by Guarnieri in this genre, its scores have not been edited yet. The full score and the orchestral reduction remain in their original manuscript format, and, for all practical purposes, unavailable, especially outside Brazil. Although the original piano solo/orchestral reduction score uses the conventional disposition of two parallel grand staves, with the orchestral reduction written on the lower grand staff, below the solo part, the writing of the orchestral part is not suitable for performance with a second piano by a single player. It simply provides the soloist with a compressed view of the orchestral part, in which the notes are spread beyond reach for two hands. This edition addresses this issue by including a piano arrangement of the orchestral part that can be played by one person. The author also addresses editorial issues and reports inconsistencies or discrepancies encountered between the two autograph sources in a section apart from the musical score. A brief introduction provides biographical information of the composer and analytical description of the work.
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