Title page for ETD etd-10312005-235025

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
  • piano and orchestra
  • Brazilian nationalism
  • Camargo Guarnieri
  • Mozart Camargo Guarnieri
  • two pianos
  • concertino
  • Brazilian music
Date of Defense 2005-10-14
Availability unrestricted
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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