A intertextualidade nas Três Sátiras para Piano de José Alberto Kaplan: estudo para a construção de uma performance musical

Abstract

The study proposes the analysis of José Alberto Kaplan's Three Satires for Piano, with an emphasis on intertextuality present in the work, given the importance of understanding the underlying creative processes in its construction. The discussion is guided by authors such as Klein (2005), Kaplan (2006), Fonseca (2005), Gomes (1985), and Hatten (1985). Characterized as documentary research, this work adopts an analytical-comparative approach. The investigative process includes the search for associative terms through sheet music and listening to multimedia files. The works of composers referenced in the Three Satires, such as Dmitri Shostakovich, Igor Stravinsky, Sergei Prokofiev, and Francisco Mignone, are also investigated, examining their polkas, waltzes, and marches. The research aims to explore analytically the connections of musical intertexts, references to stylistic and aesthetic contrasts used by the composer, pointing out interpretative suggestions that may contribute to the enrichment of performance. The analysis resulted in the identification of reference works for each movement of the Three Satires for Piano (SCHOSTA-POLKA-KOVICH, ValStravinskysa da Esquina, and MarPROchaKOFIEV), and in the extraction of intertextual meaning elements, such as melodic passages, harmonic elements, and timbre textures. Thus, by highlighting these interrelations, it is hoped to enhance the performance and understanding of the work.