Rasgos e trajetórias na obra para voz e instrumentos de Clotilde Rosa do pós 25 de Abril

Abstract

Clotilde Rosa presents in her catalog a wide range of works for voice and instruments. When going through his artistic production, we find traces that give us the aim to clarify how his writing evolves technically and stylistically. By the techniques and materials that we uncover in these works, we can reveal a new genre of composition, supported by the poems of Armando Silva Carvalho and Fernando Pessoa.

In this sense, we will analyze Cinzas de Sísifo (1986), O Fabricar da Música e do Silêncio (1987) and Quiet Fire (1999) on poems by Armando Silva Carvalho, and Sonhava de um Marinheiro (1980) and Passo Dezembros na Alma (1981) on excerpts from “O Marinheiro” by Fernando Pessoa. In the case of Sonhava de um Marinheiro, a work for three female voices, orchestra and magnetic band, the process of amplification of the voice and instruments by the tape contributes to the creation of a more monumental sound. The pre-recorded part change what is projected by voice and acoustic instruments, expanding their instrumental and performative limits.

Through the analysis of these works, we intend to reveal the evolution of the composer's writing and the various discursive and compositional techniques that are present there. Showing how she confesses, or not, as representative of a national sound, and understand how the experience and training in the context of national dictatorship become, or not, reducers of an artistic imagination, too.