This study analyzes the context of the composition of Symphony No. 2 "Brasília" by Brazilian composer César Guerra-Peixe (1914-1993), reporting the experience of producing performance material for a symphony orchestra and offering a complete musical analysis of the piece. The study traces the development of Brazilian classical music since 1808 until approximately 1945, highlighting the search for a national musical identity in Brazil.
Guerra-Peixe composed Symphony No. 2 "Brasília" for a composition competition in 1960 in honor of the inauguration of Brazil's newly built capitol, Brasília. There was no first prize, and the piece was awarded the second prize tied with two more works. Guerra-Peixe based substantial parts of his work on music from northeastern Brazil, where modalism dominates the harmony in its multiple variations.
The "Brasília" symphony became one the most important works of the nationalism in Brazil. It includes a four-movement structure in a programmatic fashion: the saga of immigrants from northeastern Brazil moving to the central region of the country to build Brasília, the new capitol, from scratch. The symphony is scored for a symphony orchestra with woodwinds in pairs plus piccolo, 4 horns, 3 trumpets, 3 trombones, tuba, celeste, percussion (timpani, bass drum, cymbals, tambourine, triangle, and snare drum), strings, a narrator, and mixed chorus. The revised score and parts, created as part of this dissertation project, are available for rent through the holder of Guerra-Peixe's copyrights, Jane Guerra-Peixe.
|School:||Ball State University|
|Department:||School of Music|
|School Location:||United States -- Indiana|
|Source:||DAI-A 76/04(E), Dissertation Abstracts International|
|Keywords:||Brazil, Chamber music, Guerra-Peixe, Cesar, Orchestra, Santoro, Claudio|
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