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Gilberto Mendes and Music Theatre “avant la lettre”

dc.contributor.authorMagre, Fernando de Oliveira
dc.contributor.institutionCentro de Estudos em Música (CESEM - NOVA FCSH)
dc.date.accessioned2019-04-29T22:03:03Z
dc.date.available2019-04-29T22:03:03Z
dc.date.issued2018
dc.descriptionUID/EAT/00693/2013
dc.description.abstractGilberto Mendes (1922-2016) is considered one of the most important Brazilian composers of the second half of the twentieth century. He was responsible, along with his companions of the Música Nova Group, for the updating and renewal of Brazilian music from the 60's, which until then was still very much attached to nationalist aesthetics. ln 1962', Gilberto Mendes attended the lnternationale Ferienkürse fur Neue Musik in Darmstadt. Upon returning from a Darmstadt already shaken by the passage of John Cage a few years earlier, Mendes was determined to invent his own compositional language without reproducing European standards. He wanted to mat::e a vanguard music that was genuinely Brazilian, without exotism. ln response to his wishes, Gilberto Mendes found in Concrete Poetry the possibility of developing on original work. lt was from then on that he began to explore extramusical possibilities in his compositions, arriving at the work Cidade (1964) on poem homonymous of Augusto de Campos. Cidade is a paradigmatic work: in contemporary Brazilian music, because, as I say, it is the first Brazilian music theater. Moreover, considering its date of creation, it can be observed that it is contemporary to important creations of the repertoire of genre, such as Kagel's Sur Scène (1959), Sonant (1960) and Match (1962), Schnebel's Nostalgie (1962), Ligeti's Aventures (1962), among others. ln addition to being the first Brazilian composer in the genre, Mendes was one of the only ones who composed music theater throughout his entire career. ln my master's dissertation (Gilberto Mendes's music theater and its compositional processes, c017), 1 present a complete cataloging of the composer's repertoire of music theater. They are a total of 35 works, if we consider all the compositions that have some theatrical situation. Mendes was fundamental in the development of a Brazilian music theater aesthetics. He influenced directly and indirectly many composers who went through this practice, such as Gil Nuno Vaz and Roberto Martins, just to name a few. Through its Festival Música Nova, Mendes created ties with important figures of the world music theater, establishing a very prolific exchange environment. Among his personal contacts are Jorge Zulueta and Jacobo Romano (Grupo de Acción Instrumental), Juan Hidalgo and Walter Marcheti (Grupo Zaj), Jorge Peixinho, Dieter Schnebel, Caries Santos and Piotr Lachert, of which he made Brazilian and world premieres. Gilberto Mendes is a fundamental point of support for understanding music theater in Brazil and Latin America.en
dc.description.versionpublishersversion
dc.description.versionpublished
dc.format.extent1
dc.format.extent6042622
dc.identifier.otherPURE: 12192973
dc.identifier.otherPURE UUID: 375d2cdb-f48f-45ee-802d-ffca61c2b6c1
dc.identifier.urihttp://hdl.handle.net/10362/68003
dc.language.isoeng
dc.peerreviewedyes
dc.relationinfo:eu-repo/grantAgreement/FCT/5876/147237/PT
dc.subjectGilberto Mendes
dc.subjectTeatro musical
dc.titleGilberto Mendes and Music Theatre “avant la lettre”en
dc.title.subtitlea look at Brazil and Latin Americaen
dc.typeconference object
degois.publication.titleCongreso internacional: Teatro Instrumental. Música y Escena en America Latina
dspace.entity.typePublication
oaire.awardNumberUID/EAT/00693/2013
oaire.awardURIinfo:eu-repo/grantAgreement/FCT/5876/UID%2FEAT%2F00693%2F2013/PT
oaire.fundingStream5876
project.funder.identifierhttp://doi.org/10.13039/501100001871
project.funder.nameFundação para a Ciência e a Tecnologia
rcaap.rightsopenAccess
relation.isProjectOfPublicationaa98aa3a-2ca2-49e4-a18a-d41db096ad35
relation.isProjectOfPublication.latestForDiscoveryaa98aa3a-2ca2-49e4-a18a-d41db096ad35

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