The Said and the (Re)said in the Work for Accordion by João Pedro Oliveira: a Proposal for Analysis

Abstract

João Pedro Oliveira has, in his catalog, two important works for accordion - L'Accordéon du Diable (2006) for amplified accordion and tape, and Prisma (2007, 2011). Prisma has two versions: one for tape, cimbalom, accordion, and percussion, composed in 2007, and another for flute, piano, accordion and percussion. When we asked João Pedro Oliveira about the work L'Accordéon du Diable, he makes reference to the extended fourth interval - Diabolus in Musica; Nicolas Paganini and Giuseppe Tartini . In the case of the second of the works, the composer articulates the idea contained in his designation. He shows how sounds are refracted and decomposed into their minimal elements, which are used to compose new objects, gestures, and sounds. Various refractions are also announced in the similarity between the materials and the way they move from one version to another.

Through the analysis of the works, L'Accordéon du Diable (2006) and Prisma (2007, 2011), we intend to show the evolution of the composer's writing, the discursive and compositional techniques that he exhibits in them, as well as the constructive ideas contained in his designation. In the case of Prisma, one of the versions is for acoustic instruments and the other for acoustic instruments and tape. To show how the action of the prism is expressed, and how the composer builds one and another universe of sound, is a challenge to be concluded. We also intend to show the contribution of electronics to the creation and composition of works.