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Advisor(s)
Abstract(s)
O Concerto para Violoncelo e Orquestra em Ré maior, Hob. VIIb:2, Op. 101, de Joseph Haydn foi escrito em 1783 para James Cervetto tendo em conta as suas virtudes como violoncelista. A obra foi composta durante o período no qual o compositor trabalhava para o príncipe Nikolaus Esterházy I em Eisenstadt. Atualmente, encontramos as edições de Johann André de 1804 e de Servais/Gevaert de 1890 entre as mais relevantes, bem como a Cadência de Maurice Gendron. Este projeto teve como principal objetivo a composição de duas Cadências, uma para o primeiro andamento e outra para o segundo. Para tal, aprofundaram-se questões em torno da origem e evolução da Cadência como secção de um Concerto e dos métodos a utilizar na sua composição. Paralelamente, abordaram-se temas como o período da vida do compositor no qual a obra foi composta, para quem foi escrita, bem como as principais Edições e Cadências realizadas. Como resultado deste processo, surgiram duas Cadências para o Concerto, uma para o primeiro andamento e outra para segundo.
ABSTRACT - Joseph Haydn’s Cello Concerto in D major, Hob. VIIb:2, Op. 101 was written for James Cervetto in 1783 and fashioned according to his own cellist virtues. The piece was composed whilst in Eisenstadt, during Haydn´s job composing for the prince Nikolaus Esterházy I. The Johann André’s 1804 and Servais/Gevaert’s 1890 editions are the most relevant today, as well as Maurice Gendron’s Cadence. The main goal of this project was the composition of two Cadences, one for the fist and other for the second movements. As such, questions about the origin and evolution of the Concerto’s Cadence and it’s composing methods were explored. At the same time, themes such as the Haydn’s life’s period whilst composing, to whom the piece was written, as well as its main Editions and Cadences were approached. As a result of this process, two Cadences were composed, one for the first movement and one for the second.
ABSTRACT - Joseph Haydn’s Cello Concerto in D major, Hob. VIIb:2, Op. 101 was written for James Cervetto in 1783 and fashioned according to his own cellist virtues. The piece was composed whilst in Eisenstadt, during Haydn´s job composing for the prince Nikolaus Esterházy I. The Johann André’s 1804 and Servais/Gevaert’s 1890 editions are the most relevant today, as well as Maurice Gendron’s Cadence. The main goal of this project was the composition of two Cadences, one for the fist and other for the second movements. As such, questions about the origin and evolution of the Concerto’s Cadence and it’s composing methods were explored. At the same time, themes such as the Haydn’s life’s period whilst composing, to whom the piece was written, as well as its main Editions and Cadences were approached. As a result of this process, two Cadences were composed, one for the first movement and one for the second.
Description
Relatório de Projeto Artístico apresentado à Escola Superior de Música de Lisboa, do Instituto Politécnico de Lisboa, para cumprimento dos requisitos à obtenção do grau de Mestre em Música, conforme o Decreto-Lei n.º 107/2008, de 25 de junho.
Keywords
Joseph Haydn Concerto Violoncelo Cadência Composição Cello Cadenza Composition
Citation
Publisher
Instituto Politécnico de Lisboa - Escola Superior de Música de Lisboa