Arts, Faculty of
Music, School of
DSpace
UBCV
Freitas, Claudio Moller de
Doctor of Musical Arts - DMA
University of British Columbia
My Madness is a 14-minute composition for soprano and a small orchestra and is a setting of two excerpts from the poem The Moral Fibrature of the Ipiranga by Mário de Andrade, a “profane oratorio,” according to its author. The oratorio is the last and longest poem of Hallucinated City, a poetry book published in 1922, after the events of The Modern Art Week that took place in The Municipal Theater of São Paulo in February of that year. Composed one hundred years after the Week of 22, My Madness is a tribute to Andrade and a homage to all Brazilian modernists who promoted this event. My Madness is scored for soprano and a small orchestra consisting of four woodwind and three brass instruments, percussion, piano, and strings. The work has 2 large sections: Recitative/Ballad and Lullaby with an orchestral Prelude before the first part and a short Interlude between them. The passages that were selected from the poem are the two instances that the poet’s conscience, referred to as My Madness, is depicted in the text.
MY MADNESS for soprano and small orchestra by CLAUDIO MOLLER DE FREITAS B. M., The Harid Conservatory, 1999 M. A., The University of São Paulo, 2008 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Composition) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) May 2024 © Claudio Moller de Freitas, 2024 iiThe following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: My Madness for soprano and small orchestra submitted by Claudio Moller de Freitas in partial fulfilment of the requirements for the degree of Doctor of Musical Arts in Composition Examining Committee: Dr. Keith Hamel, Professor, School of Music, The University of British Columbia Supervisor Dr. Dorothy Chang, Professor, School of Music, The University of British Columbia Supervisory Committee Member Dr. Thomas Patrick Carrabré, Professor, School of Music, The University of British Columbia Supervisory Committee Member Dr. Robert Pritchard, Associate Professor, School of Music, The University of British Columbia University Examiner Dr. Kevin McNeilly, Associate Professor, Department of English Language and Literatures, The University of British Columbia University Examiner Dr. Christopher Paul Harman, Associate Professor, Schulich School of Music, McGill University External Examiner iii Abstract My Madness is a 14-minute composition for soprano and a small orchestra and is a setting of two excerpts from the poem The Moral Fibrature of the Ipiranga by Mário de Andrade, a “profane oratorio,” according to its author. The oratorio is the last and longest poem of Hallucinated City, a poetry book published in 1922, after the events of The Modern Art Week that took place in The Municipal Theater of São Paulo in February of that year. Composed one hundred years after the Week of 22, My Madness is a tribute to Andrade and a homage to all Brazilian modernists who promoted this event. My Madness is scored for soprano and a small orchestra consisting of four woodwind and three brass instruments, percussion, piano, and strings. The work has 2 large sections: Recitative/Ballad and Lullaby with an orchestral Prelude before the first part and a short Interlude between them. The passages that were selected from the poem are the two instances that the poet’s conscience, referred to as My Madness, is depicted in the text. ivLay Summary My Madness is a composition for soprano and a small orchestra and is a setting of two excerpts from the poem The Moral Fibrature of the Ipiranga by Mário de Andrade. The work is a tribute to Andrade and a homage to all Brazilian modernists who promoted The Modern Art Week of 1922 in São Paulo, Brazil. My Madness has two parts: Recitative/Ballad and Lullaby, which are the two instances in the poem that the character My Madness is depicted in the text. vPreface The musical composition and the thesis document are an original intellectual product by their author, Claudio Moller de Freitas. The text by Mário de Andrade is in public domain. The original text, published in São Paulo, in 1922, by Casa Mayença, is used in the composition. In the thesis document, the English translation by Jack E. Tomlins, published in Nashville, in 1968, by Vanderbilt University Press, is used. viTable of Contents Abstract .......................................................................................................................................... iii Lay Summary ................................................................................................................................. iv Preface..............................................................................................................................................v Table of Contents ........................................................................................................................... vi List of Tables ................................................................................................................................. ix List of Figures ..................................................................................................................................x Acknowledgements ....................................................................................................................... xii Dedication .................................................................................................................................... xiii CHAPTER 1 Introduction and Background ..................................................................................1 1.1 My Madness for soprano and small orchestra ..........................................................1 1.2 The Modern Art Week of 1922 ................................................................................1 1.3 Hallucinated City .....................................................................................................5 1.4 Mário de Andrade ....................................................................................................7 1.5 The Moral Fibrature of the Ipiranga .......................................................................8 1.6 My Madness ...........................................................................................................13 1.7 Compositional Influences ......................................................................................14 CHAPTER 2 Compositional Material and Method .....................................................................17 2.1 Overall Form ..........................................................................................................17 2.2 Pitch Structures ......................................................................................................20 2.2.1 Pitch Sets .......................................................................................................20 2.2.2 Interval Classes .............................................................................................24 2.3 Melodic Features ....................................................................................................25 vii 2.3.1 The Melody of the Recitative ........................................................................26 2.3.2 The Melody of the Ballad Refrains ..............................................................28 2.3.3 Three Melodies from the Lullaby .................................................................29 2.4 Harmonic Content ..................................................................................................32 2.5 Meter and Rhythm .................................................................................................39 CHAPTER 3 Particularities of each Section and Unifying Structures ........................................45 3.1 Prelude ...................................................................................................................45 3.2 Recitative................................................................................................................47 3.3 Ballad .....................................................................................................................49 3.3.1 Stanzas ..........................................................................................................49 3.3.2 Refrains .........................................................................................................53 3.4 Interlude .................................................................................................................55 3.5 Lullaby ...................................................................................................................56 3.5.1 Lullaby Section A .........................................................................................56 3.5.2 Lullaby Section B ..........................................................................................58 3.5.3 Lullaby Section C ..........................................................................................66 3.5.4 Lullaby Section D .........................................................................................68 3.6 Orchestration ..........................................................................................................72 CHAPTER 4 Conclusion .............................................................................................................78 CHAPTER 5 The Musical Score of My Madness for soprano and small orchestra ....................80 Bibliography ................................................................................................................................162 Appendix A: Pages 128-130 and 137-140 from Mário de Andrade’s Paulicea Desvairada. São Paulo: Casa Mayença, 1922. ................................................................................165 viii Appendix B: Pages 108-109 and 113-115 from Mário de Andrade’s Poesias completas. Edited by Diléa Zanotto Manfio. Vol. 2. Belo Horizonte: Itatiaia, 1987 ........................173 Appendix C : Pages 87, 89, 97, and 99 from Mário de Andrade and Jack E. Tomlins’s Paulicea Desvairada = Hallucinated City. Nashville: Vanderbilt Univ. Press, 1968 .......179 ixList of Tables Table 1 Overall form .................................................................................................................17 Table 2 The three stanzas of the Ballad ....................................................................................19 Table 3 Meter change between the three Stanzas of the Ballad ...............................................41 Table 4 Juxtaposed triadic harmony in the Ballad (measure 44) ..............................................49 Table 5 Contrary motion sonorities in the Ballad .....................................................................50 Table 6 Harmonic structure in the Interlude .............................................................................56 Table 7 Harmonic change in the Lullaby ..................................................................................61 Table 8 Harmonic progression in the Lullaby (Example 1) ......................................................66 Table 9 Harmonic progression in the Lullaby (Example 2) ......................................................67 Table 10 Contrary motion sonorities in the Lullaby ...................................................................68 xList of Figures Figure 1 Advertisement of the Week’s first day in Correio Paulistano .....................................2 Figure 2 Cover page of the Week’s Catalogue of Expositions ...................................................5 Figure 3 Partial view of São Paulo’s downtown in the 1920s ..................................................12 Figure 4 Measures 41-43 of the Ballad (Stanza 1) ...................................................................22 Figure 5 Measures 58-59 of the Ballad (Stanza 1) ...................................................................23 Figure 6 Measures 44-45 of the Ballad (Stanza 1) ...................................................................23 Figure 7 Measures 29-40 of the Recitative ...............................................................................26 Figure 8 Measures 62-70, 92-100, and 122-130 of the Ballad (Refrains) ................................28 Figure 9 Measures 194-196 of the Lullaby (Section B) ............................................................29 Figure 10 Measures 307-312 of the Lullaby (Section D) ...........................................................30 Figure 11 Measures 163-166 of the Lullaby (Section A) ...........................................................30 Figure 12 Measures 260-267 of the Lullaby (Section C) ............................................................31 Figure 13 Measures 109-111 of the Ballad (Stanza 3) ...............................................................33 Figure 14 Measures 79-81 of the Ballad (Stanza 2) ...................................................................35 Figure 15 Measures 54-57 of the Ballad (Stanza 1) ...................................................................36 Figure 16 Measures 114-117 of the Ballad (Stanza 3) ...............................................................38 Figure 17 Measures 197-216 of the Lullaby (Section B) ...........................................................39 Figure 18 Measures 41-43 and 71-73 of the Ballad (Stanzas 1 and 2) .......................................41 Figure 19 Measures 47-48, 77-78 and, 107-108 of the Ballad (Stanzas 1, 2, and 3) .................43 Figure 20 Measures 74-76 of the Ballad (Stanza 2) ...................................................................44 Figure 21 Measure 1 of the Prelude and measures 41-42 of the Ballad (Stanza 1) ...................48 Figure 22 Measure 14 of the Prelude and measure 201-202 of the Lullaby (Section B) ...........48 xiFigure 23 Measures 44-46 (winds) of the Ballad (Stanza 1) ......................................................51 Figure 24 Measures 44-46 (strings) of the Ballad (Stanza 1) .....................................................52 Figure 25 Measures 58-61 of the Ballad (Stanza 1) ...................................................................54 Figure 26 Measures 140-153 of the Lullaby (Section A) ...........................................................57 Figure 27 Measures 163-168 of the Lullaby (Section A) ...........................................................59 Figure 28 Measures 188-193 of the Lullaby (Section B) ............................................................60 Figure 29 Measures 197-201 of the Lullaby (Section B) ............................................................63 Figure 30 Measures 202-206 of the Lullaby (Section B) ............................................................64 Figure 31 Measures 228-232 of the Lullaby (Section B) ............................................................65 Figure 32 Measures 323-332 of the Lullaby (Section D) ...........................................................71 Figure 33 Measures 274-277 of the Lullaby (Section C) ............................................................73 Figure 34 Measures 29-33 of the Recitative ...............................................................................74 Figure 35 Measures 222-224 of the Lullaby (Section B) ............................................................75 Figure 36 Measures 118-121 of the Ballad ................................................................................77 xiiAcknowledgements I would like to express my sincerest thanks to my advisor, Professor Keith Hamel, for his extremely helpful ideas and suggestions, and for his patience and generosity while having to communicate with me long-distance. I would also like to thank him for all he has taught me during all years of my doctoral studies at UBC, always challenging me to broaden my musical perspectives and continually improve my thinking and writing. I extend my gratitude to Professors Dorothy Chang and T. Patrick Carrabré, Supervisory Committee Members, School of Music, UBC, for their insightful contribution to the conclusion of this document. I would also like to acknowledge Professor Hedy Law, Associate Professor, Musicology, School of Music, UBC; Amy Farahbakhsh, Academic Advisor, School of Music, UBC; and Me Ling Chu, Case Manager, Graduate and Postdoctoral Studies, UBC. I extend my gratitude to Professor Chris Paul Harman, External Examiner, Associate Professor, Composition, Schulich School of Music, McGill University, for providing me with a comprehensive and useful DMA Thesis Review. Thank you, my mom, Norma; my kids, Gustavo, and Isabel; and Nazaré Franco Santana. xiii Dedication To my father only. 1CHAPTER 1: Introduction and Background 1.1: My Madness for soprano and small orchestra My Madness is an orchestral song for soprano and a small orchestra. It is a setting of two excerpts from the poem The Moral Fibrature of the Ipiranga by Brazilian writer and musicologist Mário de Andrade (1893-1945). This composition is a homage to all Brazilian modernists who promoted, one hundred years ago, in São Paulo, The Modern Art Week, in February 1922. Especially, it is a tribute to Andrade who was one of the masterminds of the Week and a central figure in the modernist movement in Brazil. Mário de Andrade is generally considered to be one of the most important and influential voices of Brazilian culture in the last century. My Madness consists of two parts and is based on what the poet specifies in the text as Recitative and Ballad, and the final Lullaby. The musical work follows the structure of these two lyrical passages in the poem. My Madness is composed for four woodwind instruments (flute, oboe, clarinet, bassoon), three brass players (horn, trumpet, trombone), one percussionist, one pianist, and a string section of which the maximum number of players should be 7 first violins, 5 second violins, 4 violas, 3 violoncellos, and 2 contrabasses. The minimum number of players for the string section should be 5 first violins, 4 second violins, 3 violas, 2 violoncellos, and one contrabass. 1.2: The Modern Art Week of 1922 The Modern Art Week took place in The Municipal Theater of São Paulo on the 13th, 15th, and 17th of February 1922. This event was promoted by intellectuals and artists across the city and 2epitomized the growing movement toward the modernization of Brazilian culture. In the first decade of the 20th century, São Paulo was in full transformation. Whether due to the European immigration flow, derived from the need for agricultural labor, or due to the industrialization from the accumulation of capital from that sector, São Paulo stood out from the rest of the country, even from the Brazilian capital of that time, Rio de Janeiro. Its high degree of economic transformation led to an alteration of its social structure, with the advent of the industrial bourgeoisie, the proletariat linked to it, and the middle classes that rose around them. It is within this cultural, political, and social framework that the intellectuals and artists of São Paulo who promoted The Modern Art Week began to act.1 Figure 1: Advertisement of the Week’s first day in Correio Paulistano.2 1 Evandro Batista Nascimento, “A Semana de Arte Moderna de 1922 e o Modernismo Brasileiro,” Gragoatá 20, no. 39 (Dezembro 2015): 378-9. 2 Biblioteca Nacional Digital, Fundação Biblioteca Nacional, Correio Paulistano (São Paulo), Fevereiro 13, 1922, https://memoria.bn.br/docreader/DocReader.aspx?bib=090972_07&pagfis=7853. 3The Week of 22 had the goal of abolishing old artistic forms in literature, music, and the visual arts. At the same time, the modernists sought to affirm the principles of the so-called “modern art.” In a way, this happening was nothing more than an ebullition of new, totally liberated, nationalist ideas, where the writers and artists could search for their own identity and a freer way of expressing themselves. During the Week, this group of modernists demonstrated the need to abandon old aesthetic values and to adopt innovative ideas. They were committed to new ways of expressing themselves through art and the search for a national identity. Among the outcomes desired by these individuals were the rejection of old art forms, the freedom of expression, the libertarian conception of artistic creation (the abolition of norms), the incorporation of everyday life into the new aesthetics, and the creation of art focused on the prosaic, spontaneous, and colloquial. They also espoused the use of free verse, free meter, free rhyme, and the use of multiple narrative voices. Their proposal was to combine the celebrations of the centenary of Brazil's Independence with the milestone of another independence, that of Brazilian culture, paradoxically inspired by European aesthetic vanguards.3 The Modern Art Week was an important reference for aesthetic reflections and art criticism in the country. This manifestation was enhanced by the historical context in which it occurred. The emerging nationalism after the First World War and the industrialization that was established, especially in São Paulo, motivated enthusiastic young artists to review and create new cultural projects. The celebrations of the centenary of Brazil's Independence encouraged a restless group of intellectuals to seek out a freer existence, breaking free from past canons that were impeding the renewal of artistic creativity. The objectives of the Week were to renew the stagnant artistic 3 Benedito Nunes, “Mário de Andrade: As Enfibraturas do Modernismo,” Revista Iberoamericana 50, no. 126 (Janeiro-Março 1984): 69. 4and cultural environment of São Paulo and the country, to update Brazilian artistic intelligence, and to establish a national creative consciousness. The Week of 22 was received with a mixture of applause and boos. While conferences and concerts took place on the stage of The Municipal Theater, in the lobby, visual artists and architects exhibited their work. Although it had originally occurred individually,4 the Week spread the idea of renewal which was not yet consolidated in an organized movement. The achievements of the Week had developments that significantly marked the search for a new way of thinking for Brazilian culture.5 The story of 1922 in Literature is told through the lives of four key writers in The World Broke in Two: Virginia Woolf, T. S. Eliot, D. H. Lawrence, E. M. Forster, and the Year that Changed Literature, by Bill Goldstein. The annus mirabilis of literary modernism, 1922, saw the publication of James Joyce’s Ulysses and T. S. Eliot’s The Waste Land. Virginia Woolf completed Jacob’s Room, and the first English translation of the opening volume of Marcel Proust’s À la Recherche du Temps Perdu was published. Bill Goldstein’s book tells the story of 1922, “a literary apocalypse,” and unsettles our notion of a unified movement that we now call modernism.6 4 The exposition of fifty-three works by Brazilian visual artist Anita Malfatti (1889-1964), held in São Paulo, between December 12, 1917, and January 11, 1918, is considered a milestone in the history of modern art in Brazil and the ‘trigger’ of The Modern Art Week of 1922. Adapted from Enciclopédia Itaú Cultural de Arte e Cultura Brasileira, s.v. “Exposição de Pintura Moderna – Anita Malfatti,” accessed Jan 30, 2024, https://enciclopedia.itaucultural.org.br. 5 Elza Ajzenberg, “A Semana de Arte Moderna de 1922,” Revista de Cultura e Extensão USP 7 (Maio 2012): 26-27. 6 John Mullan, "The World Broke in Two by Bill Goldstein Review – Modernism’s Annus Mirabilis," The Guardian, Dec 21, 2017, https://www.theguardian.com/books/2017/dec/21/the-world-broke-in-two-bill-goldstein-review-eliot-lawrence-forster-woolf. 5Figure 2: Cover page of the Week’s Catalogue of Expositions.7 1.3: Hallucinated City Hallucinated City is a short collection of twenty-two poems preceded by a brief dedication from the poet to himself, and an Extremely Interesting Preface.8 This preface, which is more of a manifesto, constitutes the first formal poetics of the Brazilian modernist movement.9 Andrade's work is really a thesis with an introduction (poems Inspiration and The Troubadour), a 7 Di Cavalcanti, Capa do Catálogo da Exposição da Semana de Arte Moderna, 1922, ilustração, Romulo Fialdini, reprodução fotográfica, in Enciclopédia Itaú Cultural de Arte e Cultura Brasileira, accessed Jan 30, 2024, http://enciclopedia.itaucultural.org.br/obra35342/capa-do-catalogo-da-exposicao-da-semana-de-arte-moderna. 8 A digital copy of Andrade’s original book can be accessed through The University of São Paulo’s Guita and José Mindlin Brasiliana Library at https://digital.bbm.usp.br/view/?45000019565&bbm/7651#page/1/mode/2up. 9 Mário de Andrade and Jack E. Tomlins, Paulicea Desvairada = Hallucinated City (Nashville, Vanderbilt University Press: 1968), xiii. 6development (poems about the city, its inhabitants, and specifically about one inhabitant – its author), and a conclusion (The Moral Fibrature of the Ipiranga). Hallucinated City is about the everyday poet who builds his poetry from the facts of everyday life – facts that are transfigured and serve as the starting point for beautiful poetic adventures. These poems were not written “for dumb eyes to read,” but to be sung, roared, and cried, as the author states in the Extremely Interesting Preface.10 Published in 1922, after the events of the week that transformed the art scene in the country, Andrade’s book of poetry Hallucinated City laid out the aesthetic foundations of Brazilian modernism. Inspired by the analysis of the city of São Paulo and its provincialism, the book marks the author's definitive break with the norms of the past. Some associations to the European avant-garde are visible, such as Surrealism, Futurism, and Expressionism. In this book, the poet’s muse is the city of São Paulo and everything that is integral to it. The book can be read as an inventory of Andrade’s experiences, perceptions, and sensations that were triggered by the modernization of São Paulo. The language is simple, somewhat irreverent, and colloquial. Andrade revolutionized the Brazilian poetic language at the time, writing free verse and rhyme. Many of the bold and poetic procedures of the modernists were exposed and consolidated for the first time, in an urban, synthetic, fragmentary, and anti-romantic poetry.11 This collection of poems is a lyrical journey through the tense and contradictory space of São Paulo on the verge of becoming a great South American industrial city. This societal eruption, which accompanies the awareness of an aesthetic rupture with traditional literature, is expressed 10 Felipe Freitag, “Mário de Andrade: um Painel da Lírica Moderna,” Gavagai - Revista Interdisciplinar de Humanidades 5, no. 1 (Setembro 2019): 123-4. 11 Vitor Fernando Perilo Vitoy, “A Metapoesia Desvairada de Mário de Andrade” (Dissertação de Mestrado, Pontifícia Universidade Católica de Goiás, 2012). 7dramatically, in The Moral Fibrature of the Ipiranga.12 The social confrontation that this “profane oratorio” portrays exists in an ideological space, within the urban scope of the industrialized city, in which the modernist movement proliferated.13 1.4: Mário de Andrade Mário de Andrade studied music at the Conservatory of Drama and Music of São Paulo and went on to become a musicologist, piano and music history teacher, and critic. He was a pioneer in the study of ethnomusicology in Brazil, writing several books on music such as the Introduction to Musical Aesthetics, Aspects of Brazilian Music, and a compendium on the history of western music. He also published other collections of poems and novels such as Love, Intransitive Verb, and the masterpiece Macunaíma.14 In the poem The Moral Fibrature of the Ipiranga, the poet’s knowledge of music was underscored as Mário de Andrade presents the work as a libretto for an oratorio, which he refers to as a “profane oratorio.” As one of the founders of Brazilian ethnomusicology, Andrade was very influential in the assertion of musical nationalism in Brazil in the 1920s and 1930s. His lifelong investigations into Brazilian folk and popular music produced a series of outstanding essays and books, such as Witchcraft Music in Brazil and Brazilian Dramatic Dances.15 16 12 Fibrature refers to “fibers.” 13 Nunes, “Mário de Andrade: As Enfibraturas do Modernismo,” 69. 14 This novel plays out the modernist anthropophagic aesthetic in its creation of a magical Amazonian tribal figure, Macunaíma, who becomes a sort of metaphor for Brazil. Macunaíma may well represent a vibrant multiracial multiculturalism, but he is somewhat tainted after visiting the city of Rio de Janeiro, insinuating the dangers of sacrificing national identity to foreign notions of progress. Adapted from Philip Swanson, “The New Novel in Latin America (1920-1950),” in The Oxford Handbook of the Latin American Novel, Juan E. Castro, and Ignacio López-Calvo (eds.), online ed., Oxford Academic, accessed Jan 30, 2024, https://academic.oup.com. 15 Grove Music Online, s.v. "Andrade, Mário (Raul) de," by Norman Fraser and Gerard Béhague, accessed Jan 30, 2024, http://oxfordmusiconline.com. 16 The English translations of the titles of Andrade’s books are my own. 8It is difficult to judge the artistic personality of this poet, novelist, critic, and essayist, who, with the patient insight of a scholar, researched Brazilian culture with the luminous impetus of a creator.17 This poet wrote important essays on Brazilian music and laid the foundations for the country’s artistic historiography. His roles as musicologist and poet were inseparable, and he almost single-handedly laid the groundwork for Brazilian modernism. 1.5: The Moral Fibrature of the Ipiranga The Moral Fibrature of the Ipiranga depicts four choirs, a coloratura soprano (My Madness), orchestra and band accompaniment: "around five thousand instrumentalists under the batons of maestros… from abroad.” Ipiranga is the name of the stream on whose banks the prince regent of Brazil, Dom Pedro I (1798-1834), proclaimed the end of political subordination to the Kingdom of Portugal in 1822. Dom Pedro I was subsequently the first ruler of the Empire of Brazil (1822-1889).18 As the toponym Ipiranga, the title, The Moral Fibrature of the Ipiranga, ironically superimposes two occasions: the centenary of political independence, celebrated in 1922, and the artistic-literary independence achieved in the same year (see 1.2: The Modern Art Week of 1922).19 The poem portrays the cultural and social forces of São Paulo in the 1920s. These layers of the city’s society alternate their voices with the modernist group (The Green-Gilt Youths) and with the symbolic incarnation of the poet's individuality (My Madness). My Madness symbolically represents the poet's conscience and is performed by a light or coloratura soprano.20 This type of 17 Nunes, “Mário de Andrade: As Enfibraturas do Modernismo,” 64. 18 Dom Pedro I was also a musician and composed, in 1822, the Brazilian Anthem of Independence, with lyrics by poet Evaristo da Veiga (1799-1837). 19 Nunes, “Mário de Andrade: As Enfibraturas do Modernismo,” 69. 20 Typical roles for the light soprano are Despina (Mozart’s Così fan tutte), Susanna (Mozart’s Le nozze di Figaro), Norina (Donizetti’s Don Pasquale), and Nannetta (Verdi’s Falstaff), as well as Sophie (both Strauss’s Der 9soprano (soprano leggero, in Italian) reaches very high tones and, as the name suggests, can quickly emit many notes. The soprano in my composition, though, tends to be a dramatic coloratura soprano, similar to the role of Donna Anna in Mozart’s Don Giovanni, Norma in Bellini’s homonymous opera, and Violetta in Verdi’s La Traviata. The choice of this specific soprano type to represent the author's conscience, amid this turbulent society, is perfectly logical, since the sharp and high tones can easily express despair, yet, if well-shaped, can sound light and tender. In contrast to the other characters in the poem, My Madness is presented as an original and artistic spirit and is the only character to express itself through a more elaborated poetic language.21 22 My musical interest in this poem goes back almost 20 years to 2005 when I received a commission to write an original piece for a competition for conductors held by the São Paulo Symphony Orchestra. This work, a symphonic overture, was composed of four different instrument groups that represent the four socio-cultural segments of the poem. The composition includes a myriad of themes, rhythms, and instruments to represent respectively each one of these segments.23 In the score, as in the poem, the four voices debate and confront each other: the Rosenkavalier and Massenet’s Werther). The lightness in volume of such a voice is usually matched by a brightly produced, freely carrying tone, which in the Italian and French schools tends to be of a more sharply edged, which is our case. Adapted from Grove Music Online, s.v. "Light soprano," by J. B. Steane, accessed Jan 30, 2024, http://oxfordmusiconline.com. 21 Mariana Figueiró Klafke, “Literatura e Música em Mário de Andrade: As Enfibraturas do Ipiranga (Oratório Profano),” Ler e (des)construir (blog), 2009, https://leredesconstruir.blogspot.com/2009/12/literatura-e-musica-em-mario-de-andrade.html. 22 In the blog Ler e (des)construir, Mariana Figueiró Klafke mentions the performance of my composition As Enfibraturas do Ipiranga by the São Paulo Symphony Orchestra (OSESP): “In 2005, the work was set to music by Claudio Moller de Freitas as a symphonic overture, commissioned by Maestro John Neschling for the 1st OSESP Orchestral Conducting Competition, being it a tribute to the poet, an incidental music to the poem of same title, which confirms the great musical potential this poem carries” (my own translation). In the blog’s Bibliography, Klafke lists my Master’s Thesis “The Compositional Processes of the Choral Symphonic Work Fantasia after a Brazilian Lullaby and the Symphonic Overture The Moral Fibrature of the Ipiranga” (Universidade de São Paulo, 2008). 23 One can listen to a live performance of this symphonic overture by the São Paulo Symphony Orchestra at https://soundcloud.com/claudiodefreitas/as-enfibraturas-do-ipiranga. 10Conventional Orientalisms, the Parnassians, “writers and other praiseworthy artisans,” played by a "large, imposing, finely tuned chorus of sopranos, contraltos, baritones, and basses;” the Palsied Decrepitudes, the dominant class, “millionaires and bourgeoisie,” represented by a choir of castrati; the Indifferent Pallbearers, the dominated class, “workmen, poor folk,” performed by baritones and basses; and the Green-Gilt Youths, the Modernists, “we,” to be sung by "tenors, always tenors.” Andrade’s “profane oratorio” is set in the esplanade of The Municipal Theater of São Paulo, where the Week of 22 took place, although other sites of the city are contemplated: the Conventional Orientalisms “are stationed at the windows and on the terraces of the Municipal Theater;” the Palsied Decrepitudes “are variously located on the balconies of the Automobile Club, the City Hall, the Rôtisserie, the Weisflog Printing Company, the Hotel Carlton and even the Alves Book Store in the distance;” the Indifferent Pallbearers “scream from the Viaduto do Chá [Tea Viaduct];” and the Green-Gilt Youths “are below in the parks of the Anhangabaú [Anhangabaú Valley], with their feet buried in the soil.” My Madness is amid the Youths. Figure 3 is a partial view of São Paulo’s downtown in the 1920s. The Municipal Theater (at the back in the center of the photograph), the Tea Viaduct (on the left), and the Anhangabaú Valley (between both sites) are spotted. The narrative of the piece is based on escalating confrontations between the Conventional Orientalisms – whose lines are identified with uniformity, unanimity, and rules in art –, and the Green-Gilt Youths, who seek to affirm the aesthetic richness of Brazil, expressing creative dissonance, passion, and martyrdom as they strive to create a new form of art. As the debate intensifies, anger and frustration are built up until the Green-Gilt Youths collapse in a final 11delirium. The other voices recede, night falls, and My Madness sings a lullaby to celebrate the Youths’ sacrifice.24 Andrade’s “profane oratorio” demonstrates the artistic engagement of Mário de Andrade in both literature and music. The allusion to very specific musical terms, instruments, and other musical notations, such as “great glissandi from the harps,” and “long notes from the horns” (see Appendix C), demonstrate the complex construction of a work worthy of a multidisciplinary artist. The structure of this poem suggests that it could have been intended to be elaborated into a massive choral and orchestral composition.25 24 Vicky Unruh, “Constructing an Audience, Concrete and Illusory: Manifestos for Performing and Performance Manifestos,” in Latin American vanguards: The art of contentious encounters (Berkeley: University of California Press, 1995), 44-46, UC Press E-Books Collection, 1982-2004, https://publishing.cdlib.org/ucpressebooks/view?docId=ft638nb3gc&chunk.id=d0e1090&toc.depth=100&toc.id=d0e1090&brand=ucpress. 25 Klafke, “Literatura e Música em Mário de Andrade: As Enfibraturas do Ipiranga (Oratório Profano).” 12Figure 3: Partial view of São Paulo’s downtown in the 1920s.26 26 Arquivo Nacional, Vista Parcial do Centro de São Paulo, com Destaque para o Theatro Municipal, Década de 1920, ca. 1920, fotografia, Flickr, Dezembro 2017, https://www.flickr.com/photos/arquivonacionalbrasil/38846030582/in/album-72157685122808520. 131.6: My Madness Ever since completing the symphonic overture The Moral Fibrature of the Ipiranga in 2005, it had been my plan to write a musical work that instantiates the text of My Madness. One cannot fail to notice that My Madness can be understood as the voice of the poet himself. Mário de Andrade inserts himself into the poem or, at least, one can say that he creates a self-allegory. This voice appears amid the crowd, although it does not dissolve into it, characterizing itself more as a chorist, or a monodic voice that regulates the choir. It presents itself as a countermelody, which goes against the texture of all other voices. As it speaks, it asserts itself as being different and individualized, yet, at the same time, it reflects the chaotic. As much as it is out of tune with society, it sings melodious songs. This is the voice that breaks through the din of the other voices to sing with hope, as evidenced by the lines “The roses... The butterflies... The dews...” Such words symbolically suggest regeneration and characterize the rebirth of the city and its voices.27 The two passages from the text set in My Madness are rather short, Recitative and Ballad, lines 1-121, and Lullaby, lines 205-254 (see Appendix B), but both are highly lyrical, and provide a contrast to the wild and provincial characters of the choirs. The Recitative has four lines, followed by the Ballad: three stanzas of seven lines. Each stanza ends with the same refrain; thus, the refrain is repeated three times. The Lullaby has four longer stanzas and, in My Madness, has four Sections. Lines 223-233 of the Lullaby were not used in the score. 27 Luana Uchôa Torres, “Configuração da Subjetividade Lírica em As Enfibraturas do Ipiranga,” Letras Escreve 8, no. 4 (Setembro 2019): 208. 141.7: Compositional Influences My Madness is influenced by three works for soprano and orchestra from the earlier part of the 20th century, from around the year The Modern Art Week took place in São Paulo: Arnold Shoenberg’s Erwartung, Alban Berg’s Der Wein, and Edgard Varèse’s Offrandes. Aesthetically, these European works are examples of the so-called “modern art” that the Brazilian intellectuals were keen for national artists to adopt. On the other hand, the recurrent minor second melodic motif of My Madness is taken from the last movement of Gustav Mahler’s Symphony 2 in C minor, a work that has long been inspirational for me. In the alto entrance, at Rehearsal Number 39 of Movement V of Mahler’s Symphony, she sings four instances of a minor second between Gb and F, in Bb minor, during two short lines: “O glaube, mein Herz, o glaube: es geht dir nichts verloren!”28 These lines were written by Mahler himself as a continuation of two stanzas he extracted from the poem Die Auferstehung (The Resurrection) by Friedrich Gottlieb Klopstock (1724-1803). Every time I listen to this symphony, I wait for this entrance, and I find Mahler’s obsession with this interval in this passage, together with its colorful orchestration, both engaging and beautiful.29 The intervals of major seventh and minor ninth I use in My Madness and the shape and contour of some of the melodies of the work are strongly influenced by Schoenberg’s one-act 28 “O believe, my heart, O believe: Nothing is lost to you!” English translation extracted from Wikipedia, The Free Encyclopedia, s.v. "Symphony No. 2 (Mahler)", accessed Feb 18, 2024, https://en.wikipedia.org. 29 When the São Paulo Symphony Orchestra inaugurated its concert hall, Sala São Paulo, in 1999, I performed as an instrumentalist Mahler’s Symphony 2 with them. In 2015, when the Minas Gerais Philharmonic Orchestra inaugurated its concert hall in Belo Horizonte, Sala Minas Gerais, the same symphony was performed, and I was also playing. See http://www.salasaopaulo.art.br/paginadinamica.aspx?pagina=asalasaopaulo&Cultura=en-GB and https://filarmonica.art.br/en/minas-gerais-hall. Later, several of my orchestral works of mine performed by these orchestras in their respective halls. The symphonic overture The Moral Fibrature of the Ipiranga was performed at Sala São Paulo. 15monodrama Erwartung (1909). In the same sense, the horizontal and vertical segments that Berg assembles in the concert aria Der Wein (1929), mixing twelve-tone technique and tonality, are an inspiration for my composition. Note also that the text of Der Wein is a German translation by Stefan George of three poems from Charles Baudelaire's Les Fleurs du mal. Mário de Andrade made great use of the concepts of modernism formulated by the French poet and his relation to Paris to shape his own conception of vanguardism in the poems from Hallucinated City.30 Varèse’s Offrandes sets music to the text of two poets who, like Andrade, were precursors of modern art in their respective countries: Vincente Huidobro (1893-1948) in Chile and José Juan Tablada (1871-1945) in Mexico. The title of Tablada’s poem is La croix du sud (The Southern Cross). References to this same constellation are made in The Moral Fibrature of the Ipiranga. As in Varèse’s work, my composition has a strong focus on pitch and interval classes.31 The instrumentation of My Madness is very similar to the instrumentation of Offrandes, which is for five woodwinds, three brass players, percussion, harp, and strings. Another similarity in these two works is that the soprano voice has long, flowing lines that provide a contrast to the precise rhythmic intricacy of the instrumental writing.32 Lastly, I would like to mention that some melodies of My Madness make veiled references to Brazilian folk and popular music though these references remain obscured and are difficult to 30 Fabiano Rodrigo da Silva Santos, “Nas Esquinas, a Sombra da Unidade Perdida: Sublime e Modernidade em Pauliceia Desvairada, de Mário de Andrade, e ‘Tableaux Parisiens,’ de Charles Baudelaire,” Miscelânea: Revista de Literatura e Vida Social 20 (Julho-Dezembro 2016): 177-8. 31 The vocal line in La croix du sud has the A5 as its highest note and has leaps of minor sevenths and a minor ninth, all of which also occur in My Madness. The last tone the soprano sings in La croix du sud is a long-held G5 and the same tone occurs in several important passages throughout My Madness (see 3.5.1: Lullaby Section A). 32 Freya Mitchell, “Form and Expression in the Vocal Works of Edgard Varèse,” Contemporary Music Review 23, no. 2 (June 2004): 76. 16discern.33 However, the national identity sought by the intellectuals who promoted The Modern Art Week of 1922 was to integrate European vanguardism into domestic musical manifestations. 33 Brazilian composers such as Heitor Villa-Lobos (1887-1959), e.g. Bachianas Brasileiras (1932-1945), and Francisco Mignone (1897-1986), e.g. Maracatu do Chico-Rei (1933), have more comprehensively and systematically incorporated these aesthetics into their works. 17CHAPTER 2: Compositional Material and Method 2.1: Overall Form The form of My Madness (Table 1) is derived from the textual format of the two selected excerpts from the poem: the Recitative/Ballad and the Lullaby, the two instances that the My Madness character is depicted in the “profane oratorio.” The composition has two distinct sections (Part 1 and Part 2) which are separated by a short Interlude of nine measures. A Prelude of twenty-eight measures precedes the entrance of the soprano at the beginning of the Recitative. Although these two parts have contrasting structures and materials, several unifying musical elements recur to help create a cohesive composition. Table 1: Overall form PRELUDE (mm. 1-28) meter 2/4: Larghetto PART 1 (mm. 29-130) RECITATIVE (mm. 29-40, lines 91-94) meter 2/4: Molto adagio BALLAD (mm. 41-130, lines 95-121) Stanza 1 (mm. 41-61, lines 95-101) starting meter 6/8: Poco andante Refrain 1 (mm. 62-70, lines 102-103) meter 2/4: più mosso Stanza 2 (mm. 71-91, lines 104-110) starting meter 6/8: Poco andante Refrain 2 (mm. 92-100, lines 111-112) meter 2/4: più mosso Stanza 3 (mm. 101-121, lines 113-119) starting meter 6/8: Poco andante Refrain 3 (mm. 122-130, lines 120-121) meter 2/4: più mosso INTERLUDE (mm. 131-139) meter 2/4: Larghetto PART 2 (mm. 140-338) LULLABY (mm. 140-338, lines 205-222 and 234-254) meter 2/4: Lentamente Section A (mm. 140-183, lines 205-214) 18Section B (mm. 184-232, lines 215-222 and 234-237) Section C (mm. 233-280, lines 238-247) Section D (mm. 281-338, lines 247-254) Part 1 is preceded by an orchestral introduction in which some of the formative musical elements that permeate the rest of the composition are presented. Part 1 consists of the Recitative (four lines, twelve measures), and the Ballad (three stanzas of seven lines intercalated by a recurring refrain of two lines).34 Each Stanza is set in twenty-one measures of music, despite being different from one another.35 The Refrains last nine measures. The two first Refrains are repetitions of one other. The third Refrain contains a few small changes since it precedes the Interlude and prepares for its advent. The musical material of Stanza 1 is restated in the other two, although it is manipulated and varied both to fit the renewed text of each stanza and to create distinctive features. These modifications create new musical perspectives by adding unexpected nuances to the initial statement. Subtle metric, melodic, and harmonic changes enliven the previous content. In the three stanzas, there are clear similarities in the text and syntax of the poem that are set using musical repetitions. These similarities are outlined in Table 2. 34 Recitative, Ballad, and Lullaby (italicized) refer to the musical score. 35 “Stanza” (capitalized) refers to the musical score, while “stanza” refers to Andrade’s text. Same as “Refrain” and “refrain.” 19Table 2: The three stanzas of the Ballad Lines Stanza 1 Stanza 2 Stanza 3 5/14/23 These tides of white foam These clouds of the white storm These ears of corn from the white harvest 6/15/24 and the immovable omnipotence of the sea-crags! and the roofs which do not allow the rain to baptize! and the torpedo grass robbing fertility! 7/16/25 Immovably! Oh!... Purposefully! Oh!... Enmeshedly! Oh!... 8/17/26 My voice has shining fingers My eyes have green green kisses My knees have pious falls 9/18/27 which will brush against the lips of the Lord; which will fall at the feet of the Lord; which will strike the breast of the Lord; 10/19/28 but my raven-black locks but my very tremulous hands but my blond blond sighs 11/20/29 got entangled in the roots of the jacaranda tree. were sheltered on the lap of the Cubatão... got interwoven with the branches of the coffee plantations… Part 2 is longer than Part 1 and does not have such a rigid musical form. As in Part 1, there are parallel events which further reinforce the sense that this is one large composition consisting of two distinct parts. Part 2 is comprised of four Sections: A, B, C, and D.36 The Sections do have parallel textual structures and repeated musical material, but not in the same way that they appear in Part 1. While the text of Part 1 sets three stanzas with the same number of lines and includes repeated words and syntactic structures (such as “Immovably! Oh!... / Purposefully! Oh!... / Enmeshedly! Oh!...”), Part 2 contains the exact repetition of sentences such as “Weep! Weep! Then sleep!” and “Let velvet repose/come to vest your flesh!.. Rest now!” These sentences could be considered a refrain, and they are treated as such in the score. The use of musical repetition in both Part 1 and Part 2 creates a sense of unity to the entire composition. 36 “Section” (capitalized) refers to the subdivisions of the Lullaby, while “section’ refers to the subdivisions of the overall form. 20The Lullaby is significantly different than the Recitative/Ballad in the sense that its text is not as descriptive and evocative. It has a strophic format that is freer, full of interjections, and is more melancholic and supplicative in character. As the second part of a large structure, the Lullaby provides both contrast to Part 1 and opportunities for lyricism. 2.2: Pitch Structures 2.2.1: Pitch Sets Set Class Theory is used throughout the work to create horizontal and vertical segments.37 These horizontal lines and vertical sonorities help to bring cohesion and unity to the work as a whole. During the three Stanzas of the Ballad, trichords [012], [013],38 [014], and [026] appear frequently, as seen in Figures 4 and 5. In Figure 4 (“These tides of white foam”), set [014] is used in the formation of horizontal segments, while set [026] is used harmonically, although the low strings play a [014] chord in the second beat of m. 42. Notice that while B4 is held by the soprano in the first beat of m. 42, the flute plays a scale from B6 to B5 using most of the notes of the longer soprano phrase. In other 37 Pitch-class set theory treats the properties and relations of unordered collections of pitch classes. The basic properties of any set are its content and its cardinality, which is the number of elements it contains. A dyad is a set of two pitch classes, a trichord a set of three, and so on. Although two sets are equal only if they contain the same pitch classes, two different sets are considered ‘equivalent’ if one is a transformation of the other. According to the group structure of the mathematical model, each type of transformation – transposition, inversion, and multiplication – induces an equivalence relation among sets. Two sets belong to the same transformational equivalence class (or ‘set class’) if they are equivalent under that type of transformation, thus, for example, [A, Db, G] and [G#, E, Bb] (Figure 4, m. 41) are the same set [026]. Adapted from Grove Music Online, s.v. "Set (ii)," by John Roeder, accessed Jan 30, 2024, http://oxfordmusiconline.com. 38 Set notation such as [013] shows the interval structure of the set when reduced to its smallest intervallic span. In this instance, the set contains the intervals of a semitone (1) and minor third (3) above the base note (0). 21words, the flute anticipates the notes the soprano sings after it finishes its scale. When the flute reaches the low B, it triggers the soprano to move to A#. In Figure 5 (“got entangled in the roots of the”), [01(2)4]39 is used in the main melody, [026] is used harmonically, and [013] is a melodic response to the main melody. 39 The use of parentheses for a number in a pitch set is to isolate the interval that appears only as a complement to the main set. 22Figure 4: Measures 41-43 of the Ballad (Stanza 1) 23Figure 5: Measures 58-59 of the Ballad (Stanza 1) Observe also how set [013] is used in the melody of measure 44 (Figure 6). Figure 6: Measures 44-45 of the Ballad (Stanza 1) 242.2.2: Interval Classes Interval Classes (IC) 1 and 6 have a major importance in terms of how horizontal lines and vertical sonorities are scored in My Madness.40 The main IC1 of the piece is the dyad formed by PCs 4 and 5, E and F.41 They also serve as tonal centers across the composition. This dyad alone, not to mention its transpositions, appears in many guises throughout the work. Observe its use in m. 43 of Figure 4 as the ending of the phrase in the soprano, and in m. 58 of Figure 5, in the flute, forming a trichord [012] with F#. The trichord formed by these pitches, [E, F, F#], also appears in Figure 4, m. 42-43 (the three last tones of the soprano). Dyad E-F appears in the very first gesture of the flute in the Prelude, in the melody of the soprano in the beginning of the Lullaby (see Figure 28), in the setting of the singer’s final words (see Figure 34), and in many other places throughout the composition. These recurrences provide another way to aurally connect all sections of the work and to create a sense of continuous flow throughout them. In Figures 4, 5, and 6, IC1 is frequently used in transpositions other than dyad E-F. For example, the entire melody of Figure 4 is constructed as a series of ICs1: A-G#, C-B, B-Bb, G-F#, and F- 40 Interval class in an understanding of interval whereby the order of the notes is left unspecified. Where the two notes are considered as a pitch-class set, without order, the 12 possible ordered pitch-class intervals reduce to seven interval classes, usually numbered from 0 to 6, so that each class is denoted by the smallest ordered pitch-class interval that belongs to it. Thus, for example, the set [C#, Eb] exemplifies interval class 2. In other words, a minor second, a major seventh and a minor ninth are an IC1, a major second and a minor seventh are an IC2, a minor third and a major sixth are an IC3, a major third and a minor sixth are an IC4, a perfect fourth and a perfect fifth are an IC5, and the tritone is an IC6. Adapted from Grove Music Online, s.v. "Interval class," by John Roeder, accessed Jan 30, 2024, http://oxfordmusiconline.com. 41 Pitches belong to the same class if they have some relation – for example, the octave relation. This relation is called an ‘equivalence’ because, in the context of a particular description of musical structure, pitches in the same class are interchangeable, or equivalent. There are just 12 pitch classes, corresponding to the notes of the chromatic scale, often numbered from 0 to 11. The choice of which pitch class to call 0 is a matter of convention or expedience. The commonest conventional choice is C, in which case C# is 1, D is 2 and so on. Adapted from Grove Music Online, s.v. "Pitch class," by John Roeder, accessed Jan 30, 2024, http://oxfordmusiconline.com. 25E. A similar construction appears in the melody of Figure 2: Ab-G, A-Ab, B; A-Ab, Bb-A, C. In m. 45 of Figure 6, IC1 is also present between Gb and F. 2.3: Melodic Features Since My Madness for soprano and small orchestra is a song, the soprano melodies are significant aspects of the composition. The melodies in My Madness are also important because their pitch content forms the basis of many of the vertical sonorities of the piece. Melodies in the work are never random or gratuitous but are structured from series of pitch sets and interval classes, chromatic and diatonic settings, triadic elements, and even twelve-tone derived principles.42 42 Twelve-note composition is a method of composition in which the 12 notes of the equal-tempered chromatic scale, presented in a fixed ordering determined by the composer, form a structural basis for the music. It arose in the early years of the 20th century, when the dissolution of traditional tonal functions gave rise to several systematic attempts to derive a total musical structure from a complex of pitch classes that are not functionally differentiated. Adapted from Grove Music Online, s.v. "Twelve-note composition," by Dave Headlam, Robert Hasegawa, Paul Lansky, and George Perle, accessed Jan 30, 2024, http://oxfordmusiconline.com. 262.3.1: The Melody of the Recitative Figure 7: Measures 29-40 of the Recitative The text (Figure 7) the soprano sings in the Recitative is a setting of: “Moonlight dramas in the secrecy of the window cracks investigating the darkness... The treachery of muzzles! And oriental passion dissolved in honey!...” In the first measure of the Recitative, the IC1 between G and F# is presented, since these two pitches are also the last ones heard in the Prelude, connecting both sections. Tension and melancholy are created immediately in this first gesture: a minor second sung in a somber manner, the soprano alone, creating a sense of resigned conformism. Following this initial gesture, this languid yet tense character is maintained. One could expect that G and F# would move towards the main IC1, F and E. Instead, it moves down to F and, by IC6, moves up to B, 27its tritone.43 From B, arrived at by descending semitone steps, G and F# are again sounded, although this time the melodic line jumps a minor seventh from F#4 to E5 (the first PC of the main IC1), and resolves in the next measure on C5.44 This minor seventh between F# and E is also present in the melody of the Ballad in Figure 4. In these first four measures of the Recitative, all tones of the twelve-tone scale except Eb are sounded. That is why Eb is an important tone in mm. 33-35. The soprano holds this tone for a dotted quarter-note since this is the only time it appears in this sentence (mm. 29-35). This choice was made so that all 12 tones would be presented in these measures. This melodic answer to the first phrase (“investigating the darkness...”) starts with the same PC (C4) as the previous segment (C5),45 resting, later, on an E4. In the second phrase, the note-group 0-6 is used,46 demonstrating the composition’s commitment to chromaticism and to interval classes 1 and 6. The next musical sentence, mm. 36-40, starts with B4, a tritone away from the previous E4. ICs 1 and 6 are used to reach Gb5 in m. 37 (“muzzles”), which is a tritone away from the final tone C4 (“honey”). In contrast, the melody that follows the Gb5 is very diatonic (within an Eb minor scale), and somewhat serene and undisturbed in character (“and oriental passion dissolved in honey”). 43 In equal temperament the tritone is exactly half an octave and can therefore be perceived either as an augmented fourth or a diminished fifth. Since the beginnings of polyphony in the early Middle Ages theorists and composers have changed their attitudes to the tritone and its use more than to any other interval. Adapted from Grove Music Online, s.v. "Tritone," by William Drabkin, accessed Jan 30, 2024, http://oxfordmusiconline.com. 44 C is the final tone of this phrase (Figure 7, mm. 29-32), and since F# is held for a dotted quarter-note in mm. 29-30 and sounds again in m. 31, the tritone they depict is highlighted. 45 The use of the nomenclature “PC” versus note names varies according to their application. “PC” refers to pitch classes in theoretical terms, i.e. a pitch class that could occur in any octave or within a note-group, whereas note names refers to specific pitches in the score. 46 A note-group is formed by all chromatic tones between two separated notes. For instance, in mm. 33-35 (Figure 7), the lowest note is C, and the highest note is F#, and all chromatic tones between them are sounded, thus note group 0-6 is implied. 282.3.2: The Melody of the Ballad Refrains Figure 8: Measures 62-70, 92-100, and 122-130 of the Ballad (Refrains) Figure 8 shows the melody of the Refrains that sounds after each of the three Stanzas of the Ballad. It is a setting of: “The brains of the swirling cascades and the boon of the glorious mornings of Brazil!” Some of the features that appear in the Recitative melody also appear here. The tones of dyad E-F, the main IC1, appear in highlighted moments in this passage. The melody starts with F4, E5 occurs on the down beat of the next measure, F5 occupies both beats of m. 66, F4 is the first pitch of the next segment, and E4 is held for a dotted quarter-note in mm. 68-69. Chromaticism is present in mm. 62, 65-66, and 67. IC6 is present in mm. 67 and 69, whereas IC1 is emphasized in the last two measures, between Ab and A. Dyad G-F# (the last IC1 of the Prelude and the first IC1 of the Recitative) is sounded three times: measures 62, 65, and 68. The many similarities between Figures 7 and 8 demonstrate the preoccupation with creating pitch class and intervallic unity across the entire composition. For instance, in m. 31 of Figure 7, Ab4 moves down chromatically to F#4 and then jumps up to E5. This same melodic segment, Ab-G-F#-E, appears 29in m. 62-63 of Figure 8,47 as well as segment B-Bb-A-Ab-G-F#-E (Figure 7, mm.30-31; and Figure 8, mm. 67-68). A noticeable difference between these two passages arises from the use of perfect fourths in the melody of the Refrains. IC5, in this case, brings closure to each Stanza of the Ballad and to Part 1 of the composition. It is used three times in Figure 8: between Eb-Ab in mm. 63-64, Bb-Eb in m. 69, and, considering its longer melodic contour, between the long-held E4 in mm. 68-69 and the final A5. Figure 9 (“The vespers of the blue!...”) shows how IC5, out of a set [016], is used to bring closure to a phrase. Figure 9: Measures 194-196 of the Lullaby (Section B) 2.3.3: Three Melodies from the Lullaby Melodies are also formed by compiling a succession of intervals within a certain collection of chromatic tones. In the last Section of the Lullaby, the goal of the melody of Figure 10 (“let Invulnerable Peace make your sepulchre!”) is to rise from E4 to E5. 47 The minor seventh between F#4 and E5, as in Figures 4 and 7, is restated. 30Figure 10: Measures 307-312 of the Lullaby (Section D) To achieve it, intervals that increase in size, intercalated by minor and major seconds, are used in a sequence: E-F# (IC2), F-Ab (IC3), G-B (IC4), A-D (IC5), and Bb-E (IC6). With the exception of PC2 in m. 312, within the range of an octave, this melody uses PCs 4 through 11, i.e. note group 4-11, from E4 to B4, before it reaches E5 in m. 312.48 In Figure 11 (“for the white fecundation”), pitches are used in the construction of melodies in conjunction with chromaticism. In this short melody, set [016] should be considered as the basis of its construction. Successive transpositions of [016] yield descending chromatic scales in the upper and lower lines of a compound melody. Figure 11: Measures 163-166 of the Lullaby (Section A) 48 IC1 and IC6 are important structural elements: they can be seen in Figure 10 between F#-F, Ab-G, and Bb-E. 31In Figure 12 (“The all-day of those sacrificed without cause…”), the top pitches move down chromatically from F to Bb, and the bottom pitches, in turn, move up chromatically from E to the same Bb. All twelve chromatic pitch classes are included. This passage also features some wide interval leaps, which is a common feature in many of the melodic lines of the work (see 3.5.2: Lullaby Section B). In mm. 260-261, the same tones and intervals of the first measures of the Lullaby are presented: a minor ninth, followed by a major seventh (see Figure 28). Both passages use the main IC1, E and F. A sequence of intervals that decrease in size is then presented: a minor seventh between E and F#, a diminished seventh between F# and Eb, a minor sixth between Eb and G, a perfect fifth between G and D, a diminished fifth between D and Ab, and, finally, a perfect fourth between Ab and Db. These three examples of melodic structures should illustrate the use of interval and pitch structures to create unity in the composition. The construction of melodic lines that use diatonicism and triadic elements will be explored later in Chapter 3. Figure 12: Measures 260-267 of the Lullaby (Section C) 322.4: Harmonic Content The harmonic universe of My Madness is largely derived from the melodic lines that pervade the entire work. Vertical sonorities are also formed from the same pitch sets and interval classes previously described, and by the succession or addition of tones. Those tones are either sustained for a brief period or result from a common tone or a tone-connector in a harmonic stream. Finally, contrapuntal motion formed by melodic lines moving in contrary motion to the main line (often in minor and major seconds) are used to create vertical sonorities. When building vertical sonorities, I often use a structure that I refer to as a “musical ladder.” A musical ladder is built from tones present in a melodic line that are superposed, formed by a series of minor or major seconds in a row. In Figure 13 (“My knees have pious falls”), this concept is applied between the soprano line and the strings. In measure 110, the soprano sings PCs 11, 10, 7, and 6. In the second beat of the measure, the strings play a [0145] chord, or PC6 in the basses, PC7 in the cellos, PC10 in the violas, and PC11 in the second violins: the same PCs sung by the soprano in the same measure.49 In measure 111, dyad Bb-E, an IC6, in the low strings, provides vertical support to the top F and G, forming set [0136]. 49 In this musical ladder only (Figure 13, m. 110), an augmented second happens between A# and G. A# is chosen instead of Bb to have a sequence of seconds: F#, G, A#, and B. 33Figure 13: Measures 109-111 of the Ballad (Stanza 3) 34In Figure 14 (“My eyes have green green kisses”), the musical ladder F-G-A-B-C-D is built in m. 80. In this case though, tones are added in sequence to the pitches of the soprano to create the harmonic structure. To increase the chromaticism of the harmony of measure 78, comparing it to its parallel measure in Figure 13 (m. 109), a chromatic line is added in the violas from F4 down to C4, creating variation within these vertical segments. In Figure 15 (“but my raven-black locks”), the melody makes use of two sets [026] in a row: [F#, G#, C] and [C#, F, G]. These two sets, although they have the same interval structure, are unique in the sense that F# and G# go down a minor second to F and G, and C goes up a minor second to C#. These two sets [026] have a different disposition of other sets [026] previously discussed: here the major second and the major third they contain are favored instead of the tritone. In the brass, in m. 55, the three pitches of the first trichord are placed vertically to create harmony. 35Figure 14: Measures 79-81 of the Ballad (Stanza 2) 36Figure 15: Measures 54-57 of the Ballad (Stanza 1) In m. 56, there is a [027] sonority between both sets [026]. The score is written so that when the clarinet drops the C and C# appears in m. 57, the sonority becomes [026] again. When the 37trumpet ascends to G at the end of the passage, there is only a tritone as the harmonic interval.50 In m. 54, the violas are playing C; in m. 55, the soprano sings C, before the clarinet takes the same pitch in m. 56. Therefore, C is the common tone of the harmonic change between trichord [026], [F#, G#, C], in mm. 54-55, to trichord [027], [F, G, C], in m. 56. F and G are the common tones for the change between [027] back to [026], [F, G, C#], in m. 57 (until the F is dropped to reveal only the tritone between C# and G). Figure 16 (“but my blond blond sighs”) is a setting of Stanza 3 and an example of how tones are added to previous musical material to create different sonorities. This passage has the same musical structure as Figure 15. Along with the [026] sonority of m. 114-115 (F#, G#, C), notes D, E, A, and B are added in the strings.51 Together, these notes form the musical ladder F#-G#-A-B-C-D-E. The oboe plays C in m. 116 as the tone-connector of the harmonic change between mm. 114-115 and m. 116. The clarinet takes the A from the violas and the trombone takes the E from the second violins so that, in m. 116, C-E-F-G-A, a C major chord with added tones is sounded. As in m. 57 of Figure 15, the oboe drops the C in m. 117 and C# is introduced. The basses are now playing the A from the clarinet, and the cellos the E from the trombone (A and E work together with F and G as tone-connectors). The strings then play an A major chord: a very different sonority than before. On top of it, the trumpet and the bassoon are still holding F and G from the previous measure, resulting in a [02458] harmony.52 As before, the trumpet moves from F to G, and the sonority becomes less dense, a [0258] harmony. 50 Together with IC1, IC6 is a main feature in the piece. In the first measure of Figure 15, the horn outlines an IC1 between C and B on top of the melody. 51 Observe in m. 114-115 of Figure 16 the 3-repeated-note rhythmic motif in the strings which will be discussed later in Chapter 3. 52 In Figure 16, m. 117, despite the A major chord in the strings, an IC1 between E and F is sounded, as well as an IC6 between C# and G. 38Figure 16: Measures 114-117 of the Ballad (Stanza 3) 392.5: Meter and Rhythm The microrhythmic elements of the Prelude, Recitative, and Interlude, set in 2/4 meter, are rather simple and straightforward, although their actions generate the harmonic content, and colour or shade the soprano line. Like the melodic segments, the rhythmic elements are never random or gratuitous. The Lullaby is the longest section of My Madness, and even though a 2/4 meter is maintained for all its 199 measures, it has many diverse rhythmic structures. Figure 17: Measures 197-216 of the Lullaby (Section B) Figure 17 shows a setting of the following four lines of the Lullaby and provides examples of how the soprano melody is rhythmically varied: “The finest voices for your cradle song! But the Southern Cross and the recollected martyrdoms... Undulation of the ebb and flow! Cradling of the ebb and flow! 40For strength the wine of the nocturnes!...” In the first phrase (mm. 197-211), the dotted rhythm [dotted-eighth + sixteenth] is used in the first two measures, then retrograded [sixteenth + dotted-eighth]. This change creates forward motion as the melodic line moves to the A5 in the second beat of m. 201. The listener may expect the A5 to occur on the second beat, but instead it is delayed by a sixteenth-note. In the same way, the last syllable of this first line does not occur on the second beat of m. 211, instead it occurs one sixteenth-note earlier.53 The second line brings up a triplet rhythm although the simple subdivision of the quarter-note is conserved.54 In the following line (“Undulation of the ebb and flow!”), rhythm is used to create a musical movement that reflects the lyrics. In contrast, the line “Cradling of the ebb and flow!” resumes the dotted rhythm of before followed by three quarter-notes, bringing staticity to the setting.55 A triplet rhythm is then introduced and the melodic motif it shapes is repeated five times to reiterate its contour.56 This illustrates how rhythmic structures are used to diversify and bring movement to the lines of the text. While the Prelude, the Recitative, and the Interlude have less complex rhythmic elements, the Ballad explores a more multifaceted series of meters and rhythms. Table 3 shows how the metrical structures of the three parallel Stanzas are aligned. 53 In Figure 17, notice the minor seventh between PCs 1 and 3 (m. 197); and the major sevenths between PCs 3 and 2 (mm. 197-198), and PCs 5 and 4 (mm.198-199). 54 Here a major seventh between PCs 8 and 7 (mm. 202 and 204) is also sounded. 55 Notice the IC6 between E and Ab (m. 210), and set [016] comprising D, G, and C# (mm. 211-212). 56 In contrast to the angular melody of mm. 202-206, the melody in mm. 213-216 consists of tones a minor third apart, a flatter contour. 41Table 3: Meter change between the three Stanzas of the Ballad Lines 5 14 23 6 15 24 7 16 25 8 17 26 9 18 27 10 19 28 11 20 29 mm. 41-61 6 8 9 8 6 8 9 8 5 8 9 16 4 4 4 4 6 8 9 8 3 8 9 8 9 8 6 8 6 8 3 2 3 2 4 4 4 4 9 8 9 8 mm. 71-91 6 8 9 8 4 4 9 8 5 8 9 16 7 8 3 4 6 8 9 8 3 8 9 8 9 8 6 8 6 8 3 2 3 2 4 4 4 4 9 8 9 8 mm. 101-121 6 8 9 8 6 8 9 8 6 8 9 16 5 4 4 4 6 8 9 8 3 8 9 8 9 8 6 8 6 8 3 2 3 2 5 4 4 4 9 8 9 8 The metrical differences that occur between the parallel structures of the three Stanzas were written either to accommodate differences in the text (see Table 2: The three stanzas of the Ballad) or to create rhythmic variety in Stanzas 2 and 3. Figure 18: Measures 41-43 and 71-73 of the Ballad (Stanzas 1 and 2) Figure 18 shows the soprano line in the first three measures of Stanzas 1 and 2. Even though they are very similar, the rhythm was changed to fit the number of syllables being set: “Estas marés da espuma branca” versus “Estas nuvens da tempestade branca” (“These tides of white foam” versus “These clouds of the white storm”). While the first phrase has 9 syllables (including the elision “da’es”), the second one has 11. On the other hand, m. 43, which is a 6/8 measure, is 42transformed into a 4/4 measure, even though the same tones and the same word “white” are presented. In the second setting, m.73 is one quarter-note longer. Here, PC4 occurs in measure 43 on the second half of the second beat. Considering the 4/4 a 2/2 measure, it also happens on the same spot of measure 73. Thus, time is stretched but the basic rhythm remains. Figure 19 shows the parallel structures that occur in the lower strings in each of the three Stanzas in measures 47-48, 77-78, and 107-108. They all contain the same succession of pitches in the same order. Measure 47 is a regular 4/4 measure with triplet figures, while measure 77 has sixteenth-notes on the last six tones to make it one eighth-note shorter, a 7/8 measure. Measure 78 is also shorter than its first statement: while it has three beats, measure 48 has four. This rhythmic compression creates a sense of acceleration and intensification and brings added excitement and vigor to the parallel passage that occurred thirty measures later. On the other hand, measure 107 is a quarter-note longer than its parallel measure in the first statement, and a dotted quarter-note longer than the second. This reduction in speed creates a pesante character to this third occurrence.57 In the same way, Figure 20 (“and the roofs which do not allow the rain to baptize”) shows how time is shortened between successive measures to achieve a sense of acceleration: m. 74 has 18 sixteenth-notes, while m. 75 has 10, and m. 76 one less.58 59 57 In Figure 19, C, F#, and G form set [016], and Bb, A, and Db form set [014]. 58 In Figure 20, notice the minor seventh between Ab and Gb in the soprano in mm. 74-75. 59 In Figure 20, the low strings in m. 75 form the musical ladder A-B-C(#). 43Figure 19: Measures 47-48, 77-78 and, 107-108 of the Ballad (Stanzas 1, 2, and 3) 44Figure 20: Measures 74-76 of the Ballad (Stanza 2) 45CHAPTER 3: Particularities of each Section and Unifying Structures 3.1: Prelude The Prelude, which is an orchestral introduction, lasts 28 measures and sets up two of the main structural elements of the work: the interval class 1 – either the minor second, the major seventh, or the minor ninth – and the harmonic concept of musical ladder. The musical ladder of the Prelude is gradually formed starting with a simple phrase that makes use of the piece’s main IC1, constituted by PCs 4 and 5: the flute plays a minor ninth from E5 to F6 and resolves down a minor second to an E6 two measures later (mm. 2-6).60 When the flute reaches the F6, this tone triggers a doubling in the first violins. In the same way, the E6 triggers a doubling in the second violins which is held for 16 measures. This suggests that, within dyad E-F, E is more prominent. At the end of the piece, this importance is reinforced as E is the final tone sung by the soprano (see Figure 32, mm. 330-332). The F6 in the first violins and flute drops out in m. 7, until it is triggered again in the next phrase, in m. 9, by the same instrument. Doubling the flute one octave lower in this second phrase, the clarinet introduces the D in m. 11, triggering a doubling in the violas in m. 12. Progressively, throughout this section, pitches are gradually introduced to create the musical ladder F-E-D-C-B-A-G-F#. The two last pitches of this ladder create an IC1, so longer durational values are given to them (mm. 22-28), underlining this interval’s importance to the piece. Considering that the tempo is slowing down in this passage (poco rallentando), the F# is held for quite a long time, quasi una 60 As seen in Chapter 2, dyad E-F is widely used throughout the work and is an important element in both horizontal and vertical structures. It also serves as a unifying element of the work as a whole. 46fermata, as if poised to resolve onto an F and, subsequently, onto an E, to create a cyclic musical ladder. Although F and E appear in the first phrase of the Recitative, the completion of this musical ladder is only effectively achieved in the last measure of that section, when these two notes are played by the first violins and the trumpet in m. 40. At that point, a complete cyclic ladder F-E-D-C-B-A-G-F#-F-E is portrayed. Postponing the completion of the ladder to the end of the Recitative is a way of creating continuity through these two first sections and a sense of closure before the Ballad begins. There are two other important features in the Prelude: the piano line and the introduction of the 3-repeated-note rhythmic motif in measure 14. The piano’s pitches are the same as the soprano sings in the first lines of every Stanza of the Ballad: G#-A-B-C, two ICs1. They are also a musical ladder (Figure 21).61 When the second violins hold the E underneath the piano, in mm. 5-16, an E major chord with added tones is outlined. This same harmonic structure is the final chord of the piece. The importance of PC4 for this piece has already been pointed out, but the E major chord has a singular importance at the end of the Lullaby (see 3.5.4: Lullaby Section D). This major chord was planned as an important element in the composition from the initial conception of the piece. The 3-repeated-note rhythmic motif appears first in the brass in measure 14. It is used throughout the piece to bring cohesion and unity to the entire musical form. This motif appears in all sections of the piece and is heard either as a musical ladder or through the juxtaposition of the notes of a pitch set. This motif often appears in two or more voices at the same time, or through delayed entrances (see the strings in Figures 15 and 16). In Figure 22, the 3-repeated-note 61 The notes of the piano will form a 5-tone musical ladder when D is played by the violas in measure 12. 47rhythmic motif forms ladder D-E-F in m. 14 of the Prelude, and a [026] chord between A, B, and Eb in m. 201-202 of the Lullaby. Although the long-held F# at the end of the Prelude does not resolve to the F and, eventually, to the E, the connection between the Prelude and the Recitative is made through the repetition of dyad G-F#, sung by the soprano, by itself, in the first bar of the Recitative. 3.2: Recitative Andrade specifically equates the start of the Recitative with the first portrayal of My Madness. The Recitative in this composition does not follow any historical practice or 18th century conventions, although it portrays quite a unique treatment of melody, counterpoint, and harmony, different from those of other sections. What is unique about the sonority in this section is that the harmony provided by the Prelude’s musical ladder, which can be rather tonal, is omitted, and vertical sonorities that are formed by the juxtaposition of several lines in counterpoint are privileged (see Figure 34). 48Figure 21: Measure 1 of the Prelude and measures 41-42 of the Ballad (Stanza 1) Figure 22: Measure 14 of the Prelude and measures 201-202 of the Lullaby (Section B) 493.3: Ballad 3.3.1: Stanzas In the first lines of each Stanza of the Ballad, as seen in Figure 4, sets [014] and [026] are used to create horizontal and vertical segments. In the soprano line, for instance, in mm. 41-42, the first two measures of Stanza 1, the following tones are sung: A, G#, C, B, A#, G, and F#. There are then four successive sets [014], i.e. (A, G#, C), (G#, C, B), (B, A#, G), and (A#, G, F#). In m. 43, the notes of the bassoon, trumpet, and trombone (E, C, Bb) form set [026]. Along with the notes of the clarinet and horn (G and Ab), the soprano (E and F), and the D played by the oboe on the second beat, the musical ladder G-Ab-Bb-C-D-E-F is formed.62 For the phrase that follows, mm. 44-46, there is a unique harmonic construction, which is also derived from the melody. In measure 44, by vertically placing each of the four groups of notes of the melody, three major chords can be formed, as seen in Table 4. Table 4: Juxtaposed triadic harmony in the Ballad (measure 44) 1st beat rest E D Db 2nd beat Bb Ab Gb F 3rd beat Db B A Ab Resultant E major D major Db major Harmonizing the melodic line (Figure 23), the trombone plays the notes of the Db major chord, the bassoon E major, and the oboe D major. The Db major chord, which is the last chord formed, 62 This ladder in m. 43 contains two ICs1 between G and Ab, and E and F; and two ICs6 between Ab and D, and Bb and E. 50is played by the trombone on the beats, at the beginning of each rhythmic grouping, while the oboe and the bassoon are on off-beats. The notes of the bassoon octave-double the notes of the flute and the soprano. In measure 45 of Figure 24 (“and the immovable omnipotence of the sea-crags!/Immovably! Oh!...”), the soprano line features a transposition of the main IC1, E-F, one minor second above, thus F-Gb. When the soprano sings the Gb, the low strings play its tritone C, moving chromatically to D. The other strings play a [014] chord, [A, Bb, C#], on the down beat of m. 46. The cellos then take the A from the violas and move down chromatically to Gb, whereas the basses move up chromatically from D to F. The goal of this contrary motion is to close this passage with both notes of the IC1 of m. 45 played at the same time, doubled in the piano. The A of the violas serve as the tone-connector of mm. 45-46 (Table 5). Table 5: Contrary motion sonorities in the Ballad mm. 45 46 Piano F, Gb Violins 1 B C# Violins 2 B Bb Violas A A Cellos C C# D A Ab G Gb Basses C C# D D Eb E F 51Figure 23: Measures 44-46 (winds) of the Ballad (Stanza 1) 52Figure 24: Measures 44-46 (strings) of the Ballad (Stanza 1) 53Measures 58-61, 88-91, and 118-121 are the four last bars of each Stanza and bring closure to each of them before the Refrains are presented. In Figure 25, m. 59 is a transposition of m. 58, a minor second above. Measures 60-61 present another musical ladder. The difference between these two musical phrases is that the first one has a chromatic approach while the second is rather diatonic. In this case, the musical ladder of mm. 60-61 is comprised of the first five notes of an Eb major scale: Eb-F-G-Ab-Bb. This sonority within Eb major attempts to resolve the tension provided by the IC1 formed by PCs 4 and 5. Thus, F and E, devoid of any harmonic syntax, resolves chromatically down into an Eb major sonority at the end of every Stanza, that is F-E-Eb (major). 3.3.2: Refrains To provide contrast to the last phrase of each Stanza, the Refrains suddenly reintroduce the main IC1, PCs 4 and 5, and have a somewhat solemn and martial character. They resemble a patriotic anthem, not only melodically, with the use of perfect fourths, but also rhythmically, e.g. the rhythm of the trumpet, trombone, and snare drum in m. 63, and the tutti (using the 3-repeated-note rhythmic motif) of m. 66.63 As seen in Figure 8, the melody outlines a rising line by first sounding a melodic perfect fourth between Eb and Ab in mm. 63-64, and, in mm. 68-70, a minor second higher, between E and A (considering the longer melodic contour). 63 I am referring to the Brazilian National Anthem. The music of the National Anthem was composed by Francisco Manuel da Silva (1795-1865) in 1831. Epitácio Pessoa (1865-1942), president of Brazil in 1919-1922, during the First Republic (1889-1930), after several attempts and proposals from the 19th century, decreed that the lyrics written in 1909 by poet Joaquim Osório Duque-Estrada (1870-1927) become official. I have recorded as an instrumentalist both the Independence Anthem by Pedro I/Veiga (see Footnote 16) and the National Anthem by Silva/Duque-Estrada with the São Paulo Symphony Orchestra and Chorus. One can listen to these recordings at http://www.osesp.art.br/paginadinamica.aspx?pagina=CDhinosbrasileiros. 54Figure 25: Measures 58-61 of the Ballad (Stanza 1) 55The A5 of m. 70 becomes the highest tone sung by the soprano in the entire piece. Here it creates a sense of drama and heroism (“and the boon of the serene/solemn/glorious mornings of Brazil”). This tone is used a few times during the Lullaby, but, during the Ballad, it appears only at the very end of each Refrain. The tempo of each Refrain, which lasts 9 measures, is faster than the previous Stanza, and the virtuosity of the melodic and rhythmic content helps to create brightness and energy to this passage. Unlike the intricate meter of the Stanzas, the meter of the Refrains remains 2/4. 3.4: Interlude Nine measures of orchestral music without the soprano link the Recitative/Ballad to the Lullaby. This short Interlude brings back the musical material presented during the Prelude and repeats the same musical ladder sounded in that section. The last chord of each Refrain was planned to be an F major chord (with added tones) so that the scales of the woodwinds and strings would arrive on an F in the first measure of the Interlude. The 8-note ladder of the Prelude (F-E-D-C-B-A-G-F#) could then be restated. In the Interlude, the F# does resolve onto the F, and, subsequently, onto the E. The harmony created by the contrary motion between the flute and the oboe, and the violins, is worth noticing. Since the musical ladder is not progressively outlined as in the Prelude, different vertical sonorities are created depending on where the voices enter and how they move horizontally, until only the E is sounded in m. 140, the first measure of the Lullaby (Table 6). These movements, although displaying the same musical material of the Prelude, help to enliven the sonorities previously presented. The E is the tone-connector between these two sections. 56Table 6: Harmonic structure in the Interlude Measures 2/4 131 132 133 134 135 136 137 138 139 140 Flute F, E E, D C, B B, A G, F# F# F F Oboe F G G A G, F# F# F F Clarinet B B B Bassoon B C C Horn B E E E Trumpet F F F Trombone E E E Violins 1 F G G A G, F# F# F C C Violins 2 F, E E, D C, B B, A G, F# B B B Violas B B B Cellos C C Basses E E E 3.5: Lullaby The Lullaby is a longer passage which retains a 2/4 meter throughout despite slight tempo changes. The regularity of meter is purposefully chosen to create a different mood from the previous Stanzas of the Ballad. As a lullaby, it has a more serene, cantabile, and flowing character. The Lullaby divides into four smaller Sections, all starting when the soprano resumes singing “Weep!” 3.5.1: Lullaby Section A In Section A, the main IC1, PCs 4 and 5, is used both times the soprano sings “Weep:” first it is presented as a minor ninth, and, right after, as a minor seventh (Figure 26). Tetrachord [0126], 57which will be used several times during the Lullaby, concludes this verse when the soprano sings “Then Sleep!” (mm. 144-146). In the next verse (“Let velvety repose come/to vest your flesh!... Rest now!”), the melody becomes quite triadic, often mixing two different chords that have a common tone, such as in Eb minor and Bb major (mm. 148-149). Chromatic inflections of recurring notes are also a common feature of the soprano line in this Section. For instance, if G is natural in m. 147, it is flat in m. 148; if E is flat in m. 148, it is natural in m. 149; if D is natural in m. 151, it is flat in m. 152; and if A is flat in m. 152, it is natural in m. 153. In m. 153, the same A5 that happens at the end of each Refrain appears. Since “Let velvety repose come/to vest your flesh!...” is set three times during the Lullaby, the A5, as in the Refrains, is specifically chosen to bring focus to the ending of each of these lines. Figure 26: Measures 140-153 of the Lullaby (Section A) As seen in Figure 11, sets [016] and [0126] are used in the melody of mm. 163-166. In Figure 27, a [0268] chord in the strings provides harmony to this melody.64 Both melody and harmony share common tones: in m. 165, the soprano sings the same PCs of the violas and second violins, 64 This [0268] chord is important because it contains two tritones: dyads C-F# and D-G#; and creates two ICs1 against the notes the soprano is singing: dyads G#-A and D-Eb. 58and, in m. 166, the same PC of the first violins. This is done so that the music is not as dissonant when the phrase ends. In mm. 167-168 of Figure 27 (“Strew your souls upon the green!”), a childlike tonal melody in A minor in the soprano is superposed with notes Ab and Eb in the strings. This combination is justified by the fact that many ICs1 are formed between the melody and the harmony. The sustained G5 of the soprano in mm. 179-180 is important since the soprano also holds the same tone during the Ballad in measures 47, 61, 77, 91, 107, and 121. Whenever there is a high tone that is held for a long duration, it is usually the G5. This feature is another example of an attempt to bring cohesion and unity to the work as a whole. The soprano sings the G5 on the word “sol” (sun) in line 214 of the poem: “There will still be a sun on tomorrow’s gold!” In Portuguese, “sol” is both the star of the solar system and the name of PC7 in that language. This connection between language and pitch name is recurrent in my compositions. 3.5.2: Lullaby Section B Section B of the Lullaby borrows the leap-like melody of the two first instances of “Weep!” – the minor ninth and the major seventh (see Figure 26) – to be a structural component of the horizontal segments of this Section. In Figure 28 (“The tender night with her starry fingers/will close our eyes…”), C#4 will jump a minor tenth to an E5 and later a diminished eleventh to an F5. By the end of the phrase, the minor ninth between E4 and F5 is repeated, like in the first instance of “Weep!”65 65 In Figure 28, a set [014] is formed by D, C#, and F in mm. 189-190. In mm. 192-193, set [012] is formed by E, F#, and F, as in Figures 4 and 5 (mm. 42-43 and m. 58). 59Figure 27: Measures 163-168 of the Lullaby (Section A) 60Figure 28: Measures 188-193 of the Lullaby (Section B) In Figure 29 (“The finest voices of your cradle song”), these upward melodic leaps occur again when the soprano jumps from D#4 to D5 in mm. 197-198, and, in mm. 198-199, performs the second instance of “Weep!” This melody uses the note-group 1-8, thus C-Ab, to reach the A5 in m. 200. This A5 highlights the words “cradle song.” Under the A5, in m. 201, the following notes were chosen to build a harmonic structure in the strings: A, Eb, Ab, and B, forming set [0137], an all-interval set. Under the melody, in mm. 198-200, a figure derived from the 3-repeated-note rhythmic motif, using set [026], is presented in the violas and cellos. The upward movement of this figure helps to shape the contour of the main melody. The all-interval set chord of m. 201 (A, Eb, Ab, B) becomes an important harmonic structure in the melodies that follow. In mm. 202-206 and mm. 217-221, both times the soprano sings “Let the Southern Cross and the recollected martyrdoms,” this set chord is played by the strings (Figure 30). 61Table 7 shows the harmonic change between the [0137] chord and a G major chord in mm. 202-205 (see also Figure 30).66 In m. 206, the perfect fifth of the G major chord is played along with the all-interval set chord. Considering that the second violins are playing a B, a full G major chord sounds along with the [0137] chord. B is the common tone between the chords of this harmonic change. Table 7: Harmonic change in the Lullaby Measures 202 203 204 205 206 Fl., Cl. B, D B, D G (Fl.) Oboe D, G, D D D, G, D D Soprano Eb, Ab, G D, B, G D, Eb, Ab, G D, B, G D Violins 2 B B B Violas Ab Ab Ab Cellos Eb Eb Eb Basses A A A In measures 227-229, another musical ladder, using the 3-repeated-note rhythmic motif, is formed by G, A, B, C#, and D#, so that E, which would be the seventh step of the ladder, appears expressively by itself in m. 230 in the first violins and the soprano (Figure 31). The 3-repeated-note rhythmic motif resumes in mm. 231-232: the basses take the E from the first violins, the cellos play a Bb, the violas an F, and the second violins a B, forming a [0167] chord. 66 In Figure 30 and Table 7, when the oboe holds the D in m. 204 and the soprano sings Eb and Ab, set [016] is formed between them. 62The E in the first violins serves as the tone-connector between this harmonic change and between Sections B and C of the Lullaby. In Figure 31, the presentation of the 3-repeated-note rhythmic motif varies throughout this passage: the first one has delayed entrances (mm. 227-229), whereas the second one, closing the Section, is performed by all voices at the same time (mm. 231-232). 63Figure 29: Measures 197-201 of the Lullaby (Section B) 64Figure 30: Measures 202-206 of the Lullaby (Section B) 65Figure 31: Measures 228-232 of the Lullaby (Section B) 663.5.3: Lullaby Section C The first fourteen measures of Section C, mm. 233-246, are an exact repetition of mm. 140-153 of Section A (“Let velvety repose come to vest your flesh!... Rest now!”). In m. 247, a new atmosphere, which ignores the constant use of pitch sets, is created using triadic harmonies and quite a simple melody. In the first phrase (“Long shall you sing and fall.”), the melody consists of an A major triad followed by the main IC1, i.e. A, C#, E, F, and E. When the C becomes natural in m. 253, the melody in the second phrase (“The roses… The butterflies… The dews…”) changes to an A minor triad followed by an IC2 between E and F#, i.e. A, C, E, F#, and E. Although the melody is relatively simple in construction, in the first phrase, the harmony changes for every measure between F minor and A major, and, finally, a Bb major chord in mm. 252-253 (Table 8). In the second phrase, the harmony changes between A minor and B minor, and, finally, an F# major chord in mm. 258-259 (Table 9). Table 8: Harmonic progression in the Lullaby (Example 1) Measures 248 249 250 251 252 253 Soprano F E F E F F Solo Violin F E F E F F Violins 2 C C# C C# C C Violas G G G G G G Cellos Ab A Ab A D D Basses Ab A Ab A Bb Bb Chords Fm AM Fm AM BbM BbM G3 is held throughout the phrase by the violas creating added tones to the triads and serving as the common tone between the chords in the progression. 67Table 9: Harmonic progression in the Lullaby (Example 2) Measures 254 255 256 267 258 259 Horn E E Trumpet B B Trombone A# A# Soprano F# E F# E F# F# Solo Violin F# E F# E F# F# Violins 2 Am scale Am scale F#M scale Violas Am scale Am scale F#M scale Cellos D D D D C# C# Basses B C B C F# F# Chords Bm Am Bm Am F#M F#M Parallelly, in mm. 254-259, D3 in the cellos comes from the first phrase as a tone-connector and is the common tone of this second progression. The trumpet and the horn introduce B and E to the F# major chord, with E being the tone-connector to the next phrase. Before Section D of the Lullaby, in mm. 260.267, in contrast to the previous triadic phrases, a very chromatic and leap-like melody occurs (see Figure 12). It is followed by a highly cantabile and expressive passage that uses contrary motion counterpoint to create vertical sonorities in mm. 267-280. This second melody is a setting of: “Close up your breasts! Let the night come to deposit her yonder hair in the wounds of ardor of the gashed! 68And finally in the brightest mourning, (Weep!)”67 The violas and cellos start their lines with PC10 in m. 267 and in contrary motion reach another PC10 in m. 274. These two voices create 3-note vertical sonorities with the soprano line (Table 10). Table 10: Contrary motion sonorities in the Lullaby Measures 2/4 267 268 269 270 271 272 273 274 Soprano D# F# F#, G C# Ab C B, A Ab, G Violas Bb C D E F# F#, G G, A Bb Cellos Bb A G F#, F E E D, C C, Bb When both lines arrive at a Bb in m. 274, along with the G in the soprano, clarinet, bassoon, and trumpet, a strong sense of a G minor tonality is felt and confirmed in the next measure which has a fortissimo dynamic. G5 is once again the high point of a passage.68 3.5.4: Lullaby Section D The last Section of the Lullaby is quite different from the others since it does not flow along with the lyrics in such a straightforward manner. It can be divided into two longer musical sentences: from m. 281 to 313; and from m. 314, when “Let velvety repose come/to vest your flesh!... Rest now!” resumes, to the end, m. 338. 67 (“Weep!”) is in line 247 of the poem, but is the first word of Section D. All four Sections of the Lullaby begin with the word “Weep.” 68 Despite the strong sense of tonality here, there are dissonances between the notes held by the violins and the pitches sung by the soprano. 69The first fourteen measures of this Section (mm. 281-294) bring back the musical elements of the Prelude, reestablishing a more tranquil mood. They are a setting of: “(Weep!)/of the stormless beaches, (Weep!)” The musical ladder of the Prelude is partially presented here: F-E-D-C-B. In this case, the soprano outlines these five notes and marks the entrance of the C and the B in the ladder (mm. 287-292).69 In measures 296-301, contrary motion counterpoint is used to create horizontal direction and vertical sonorities before a [0137] chord is sounded in m. 302. This chord, segment Bb-D-E-F, is an all-interval set.70 It outlines a Bb major chord, plus Bb’s tritone, E. Both notes of the main IC1 are there depicted. When all string voices reach this chord, the winds start playing the 3-repeated-note rhythmic motif adding tones to the ladder, until the 6-note musical ladder D-E-F-Gb-Ab-Bb is formed.71 In contrast, the musical phrase in mm. 308-313 is prepared horizontally and vertically so that there is a strong E major chord in m. 312 (see Figure 10). Other major chords have occurred during the piece, but this one was carefully planned to occur at this specific moment. First, the text “Let Invulnerable Peace make your sepulchre!” requires an incisive musical force. It comes after a 6-note musical ladder, thus a full major chord provides a powerful contrast. This chord also anticipates the last chord of the piece, about one minute before the end, which is also an E major chord (with added tones). The fact that the soprano finishes the text on an E, and E is one of the tones of the main IC1 also justifies the usage of this triad at this important point in the composition. 69 The C of the soprano triggers the C of the cellos in m. 289, and, in m. 301, the B is triggered in the horn. 70 The ladder in m. 303 contains set [016] between Bb, E, and F. 71 Bb is the lowest tone. 70Right after the E major chord is played, the low instruments move from E to F, G and A, creating dissonance against E major. This movement also functions as a connector to when “Let velvet repose come/to vest your flesh… Rest now!” resumes in m. 314. The initial tones of “Let velvet repose come” create a retrograde sequence of pitches with the last phrase, as in G-A-B-A-G. After these unique and dramatic passage, going back suddenly to “Let velvet repose come” (a repetition of previous settings) is a way to prepare the piece for its closure. In m. 321, while the flute, bassoon, and low strings play the main IC1, E-F, the trumpet transposes it up a fifth, to B-C, on the second beat, anticipating the B-C melody the soprano sings in mm. 323-326. This last melody is a setting of: “I… the wilderness… The Cains… the curse…” The soprano sings the first words without accompaniment in a very revealing and supplicative moment (Figure 32, mm. 323-324). With the entrance of the woodwinds, under a [016] chord (F, B, E) in the strings, the soprano rests on an F#, after stepwise motion from A and G (“the Cains”).72 When the strings play set [026] (C, D, F#) in m. 329,73 the last musical ladder is formed, C-D-E-F#; and, for the last time, the soprano sings the main IC1, E-F, in fortissimo: “the curse…” (Figure 32, mm. 330-332). 72 In Figure 32, the F# in m. 329 forms set [016] with the previous B and C (mm. 323-327). 73 The pitch set in the violins in Figure 32, m. 329, repeats the pitches and rhythm of m. 198 of Figure 29 and m. 265: the derivation of the 3-repeated-note rhythmic motif. 71Figure 32: Measures 323-332 of the Lullaby (Section D) 723.6: Orchestration A common orchestration technique employed in My Madness is to use instruments to resonate important pitches in the soprano line. In Figure 33, the violins double the G5, F5, and Eb5 of the soprano line an octave higher (first violins) and in unison (second violins). While this doubling reinforces these structurally important pitches, it also creates dissonance when the soprano line moves down a semitone below each of these notes: G-F# (m. 275/2nd beat), F-E (m. 276/1st beat), and Eb-D (m. 276/2nd beat). This alternation of moments of consonance followed by the tension created through IC1 dissonances occurs often in the work.74 In measures 275-276, all chromatic tones between D and G are presented. Despite the appearance of this note-group 2-7, G minor can still be heard. Starting in m. 275, the low G in the low strings will move up step by step to an E, and finally to an F, in m. 281, the first measure of Section D of the Lullaby.75 A similar construction can be seen in Figure 27. The oboe and the clarinet punctuate the pitches of the soprano and hold them to create dissonance. In the Recitative (Figure 34), the expressive lines outlined by the orchestral instruments are quite chromatic and help to create a less tonal atmosphere than we heard in the Prelude. In the soprano, the C-Gb tritone outlines its tessitura and its melodic contour. The atmosphere of this section of the composition is rather grim: the soprano sings very softly in the low register. This dusky mood is precipitated by the text: “Moonlight dramas in the secrecy of the window cracks/investigating the darkness...” The soprano’s lowest tone is C4, and the highest is its tritone, Gb5. Tritone C-Gb is also heard in the first measure of the Recitative, when the singer 74 In Figure 33, m. 275, G, F#, and C form set [016]. In mm. 276-277, Eb, D, and Gb form set [014]. 75 Once again, the main IC1, PCs 4 and 5, is highlighted, connecting Sections C and D of the Lullaby (mm. 280-281). 73moves from G to F#, and a C is played by the oboe. The same thing happens in measure 5: after the flute moves an octave up from C5, the oboe plays an F#4. Figure 33: Measures 274-277 of the Lullaby (Section C) In the Recitative, the soprano is always doubled by an orchestral instrument although the doublings are somewhat obscure since the doubling instrument is constantly changing. In measures 30-31 (Figure 34), F and B are played by the clarinet, and Bb and A by the horn. The flute then doubles segment G-F#-E highlighting the major seventh between F# and E. The violas complete this first phrase doubling segment D-C#-C in mm. 31-32. This orchestration technique continues through the Recitative and is also used in other sections of the work. The line of the violas in mm. 32-33 outlines an octave so that the soprano may start the second phrase, in m. 33, one octave lower than the note on which the previous phrase ended. 74 Figure 34: Measures 29-33 of the Recitative 75In some places, such as in the Refrains, the soprano line is doubled by only one instrument or by a group of instruments depending on the dramaticism required at that point in the composition. Doublings are also used when the soprano sings repeated tones. See, for example, Figure 31. In this case, the instruments hold a single tone (a unison or an octave) providing support to the soprano line’s repeated notes. In some places in My Madness, the orchestral instruments are used to colour or elaborate the solo line. In Figure 35 (“be planted at the tomb of the night in which you dream…”), the sixteenth-notes of the solo violin are used to elaborate the soprano line. The pitches of the violins double and ornament the pitches of the soprano to echo its melodic contour. Figure 35: Measures 222-224 of the Lullaby (Section B) Instruments are also used to fill the gaps in the soprano line in order to connect musical segments. In Figure 36, the flute and the oboe answer and complement the soprano line in m. 118 linking it to the segment in m. 119. In the same way, in m. 119, the flute anticipates the F the soprano sings in m. 120, and in doing so, connects both phrases. The flute doubles the soprano in m. 120 and holds that note until the oboe plays the G in the last eight-note of the measure. At that point, the flute changes to the C in m. 121 and is reinforced by the glockenspiel. 76These instrumental connections to the phrases of the soprano occur often in My Madness. When “Weep! Weep! Then sleep!/Let velvety repose come” is sung, the oboe is used to connect “Then sleep!” to “Let velvety repose come” (mm. 145 and 238). The same technique is used to connect “your interior fireflies” to “There will still be a sun on tomorrow’s gold!” in mm. 176-177, and “Weep! Weep! Then sleep” to “The tender night with her starry fingers” in mm. 187-188. In My Madness, the strings work as a section, despite a few instances where there is a solo violin. The woodwinds and brass instruments, since there is only one of each (flute, oboe, clarinet, bassoon, horn, trumpet, and trombone) may work individually or may be grouped within their families to enhance the orchestration. In Figure 32, the woodwinds work as a group in opposition to the string section. Figure 22 shows the brass as a group (performing the 3-repeated-note rhythmic motif), while Figures 15 and 16 show the horn used as an individual instrumental voice. Doubling across different families may occur if instruments share a similar tessitura, e.g. flute and violins or bassoon, trombone, cellos, and basses. Percussion is mostly used to colour or give support to other instruments or families of instruments. In Figure 30, m. 206, the notes of the glockenspiel reinforce the end of the phrase by doubling the pitches of the flute and the oboe, the fifth of the G major chord. The same technique can be seen in Figure 34, m.31: the glockenspiel emphasizes the IC6 formed by E and Bb in the violins. Similarly, the piano, in mm. 30-31, highlights the dyads of the violins, and, in m. 33, gives support to the pitches of the trombone. In the Stanzas of the Ballad, these instruments are also used to modify and vary the orchestration of passages that portray the same musical material. Finally, moments of full orchestration are often alternated with less dense instrumental content, such as in the Stanzas and Refrains, and in the transition between Sections C and D of the Lullaby. 77Figure 36: Measures 118-121 of the Ballad 78CHAPTER 4: Conclusion In writing this musical work, I had a few goals in mind. First, I have a great fondness for Brazilian literature. Out of 20 compositions written since 2005, seven are based on or are settings of prose and poetry by Brazilian writers: an orchestral overture and a suite, two symphonic poems, two works for choir and orchestra, and a song for bass-baritone and orchestra. It is with great love and admiration for Mário de Andrade that this composition was written. It is also a personal homage to all modernists who revolutionized Brazilian culture in the 1920s. From an aesthetical perspective, this work refers to the musical languages espoused by intellectuals and artists striving to create a Brazilian national identity during The Modern Art Week of 1922. I feel honored and privileged to have the opportunity to set Andrade’s paradigmatic text to music, in view of its archetypal significance. The Moral Fibrature of the Ipiranga was an innovative and fertile text to work with and setting this text to music was a demanding and challenging task. It was also an undertaking that I took on with a great sense of responsibility and respectfulness. I can only hope that its outcome is worthy of this great artist. Lastly, I would like to say that Chapter 1 is not a comprehensive account of Mário de Andrade’s life nor of his contributions to Brazilian culture. It is my humble hope though that my musical work helps to bring greater awareness to this innovative poet and to his extraordinary work. In writing this thesis document, it was my goal to demonstrate how much care, devotion, and thoroughness I put into composing music that would be worthy of Andrade’s text. I endeavored to avoid uncalled-for passages, and I have tried to ensure that the formative elements of the composition create effectiveness and completeness in each musical phrase and in longer sections of the work. This approach also applies to the work’s melodic, harmonic, and rhythmic material, 79to the sculpting of the phrases, and to the work as a whole. In creating this composition, I was challenged to select material for each passage and section so that they would not only be musically effective, but also suitable to, and supportive of the text. It is my sincere hope that I have achieved these goals. 80CHAPTER 5: The Musical Score of My Madness for soprano and small orchestra Claudio de FreitasMy Madnesspara soprano and small orquestra (2022)transposing scorefrom The Moral Fibrature of the Ipiranga by Mário de AndradeHallucinated City, 1922, public domainduration: 14 minutesOrchestra:FluteOboeBb ClarinetBassoonF HornC TrumpetTrombonePercussion*PianoStrings*Percussion (1):small suspended cymbalcymbalssnare drumbass drumtam-tamtambourineglockenspielxylophonewind-chimes81FlautoOboeClarinetto in B FagottoCorno in FTromba in CTrombonePercussione (1)SopranoViolini IViolini IIVioleVioloncelliContrabassiPianoforte        legato Larghetto  = 50Piatto piccolo sospeso (feltro)                 MY MADNESSfor soprano and small orchestra (2022)from Mário de Andrade's The Moral Fibrature of the Ipiranga (1922) Claudio de Freitas82Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.4                        83Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.7                          84Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.10                         85Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.13                      con sord.con sord.con sord.                   86Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.16                senza sord.           senza sord.senza sord.Gran cassa        87Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.22  poco rallentandoPiatto piccolo sospeso (feltro) 88Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.29     Dra mas  Recitative: Molto adagio (76)pizz.                da luz do lu                                   ar no se gre do das          Campanelli        33           6     6  fres tas- - - - -89Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.33         Per qui                6rin do                   arcopoco               as es cu ri dões...                                        A tra i ção das mor- - - - - - - - - - -90Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.37        6                   da ças! E'a pai                 6               xão o ri en                      3            3       tal dis sol vi da no    decresc. mel!...    - - - - - - - -91Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.41  Es tas ma         Ballad: Poco andante ( = 54)                              rés da'es pu ma                     Tambourinesolo            bran ca  -- - - -92Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.44                                                      E'a'o ni po tên cia'in tras po ní vel dos rocresc.     che dos!              tutti                                In trans po ni vel men te!              - - - - - - - - - - - - - - - -            (2+2+2+3)(3+2)93Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.47Oh!...        3333        3333            3 3            3 3Tam-tam94Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.49                A mi nha                                                   voz tem de dos                     Tambourinesolo                  mui to cla ros      - - - -95Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.52                                                                        Que vão ro çar nos lá bios do Secresc.                                              nhor;                                 - - -          96Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.54         Mas as mi nhas          tutti tran ças              mui to      Piatto piccolo sospeso (legno)     ne gras  - - - -97Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.58            E ma ra nham se                   nas ra í zes do           ja ca ran                    non trem.non trem.  dá...                    Campanelli- - - - - - - - -(2+2+2+3)98Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.62           3        3Os cé re bros         6         6   più mosso ( = 63)                      das cas           Tamburo       6 6        6 6   ca tas              6 6       6 6       6 6             66           66 ma ru             - - - - - -           99Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.66                                                                     lhan tes           Gran cassa                     E'o be ne fí cio                    das ma nhãs                         se re nas do Bra        Tam-tam                             sil!- - - - - - - -                                             100Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.71                Es tas nu vens                  pizz.pizz.pizz.Poco andante ( = 54)                        da tem pes ta de                                     Tambourinearcoarcoarco    bran ca        pizz.pizz.pizz.- - - - - -  101Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.74                                               E os te lha dos que não dei xam a          cresc.                      chu va ba ti sar!                    arcoarcoarcoTamburo                                             Pro po si ta da men te!                - - - - - - - - - - --               (3+2) (2+2+2+3)102Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.77       Oh!...        3 3        3 3            6            6              Tam-tam(2+2+3)103Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.79              Os meus                                                           o lhos têm bei jos      solo              mui to ver des        Tambourine- - - - - -  104Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.82                                             Que vão ca ir às plan tas do Se                                                    cresc. tutti           nhor;                                             - - -        105Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.84                  Mas as mi nhas               mãos                         mui to      Piatto piccolo sospeso (legno)      trê mu las  - -- - - - - -106Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.88              A poi a ram se                     nas fal das do             Cu ba                    non trem.non trem.  tão...                    Campanelli- - - - - - -(2+2+2+3)107Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.92           3       3Os cé re bros         6         6   più mosso ( = 63)                      das cas           Tamburo       6 6        6 6   ca tas              6 6       6 6       6 6             66           66 ma ru             - - - - - -           108Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.96                                                                     lhan tes           Gran cassa                     E'o be ne fí cio                    das ma nhãs                         se re nas do Bra        Tam-tam                             sil!- - - - - - - -                                             109Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.101           Es tas es         Poco andante ( = 54)                                                                pi gas da co lhei ta                          Xilofonosolo           bran ca   - - - - - -        110Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.104                                                E'os es cal ra chos rou ban do'a u bercresc.                      da de!                 tuttiGran cassa                                                En re da da men te!              - - - - - - - - - - - - -             (2+2+2+3)111Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.107             Oh!...        3 3        3 3            3 3            3 3                Tam-tam112Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.109                      Os meus jo                                                   e lhos têm que das                          Tambourinesolo            mui to cren tes        - - - - -113Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.112                                                                        Que vão ba ter no pei to do Secresc.                                              nhor;                                 - - -          114Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.114            Mas os meus sus           tutti          pi ros                   mui to       Piatto piccolo sospeso (legno)     lou ros  - - - 115Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.118                   En tre te ce ram se                      com a ra ma dos               ca fe                    non trem.non trem.  zais...                    Campanelli-- - - - - - - - -(2+2+2+3)116Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.122           3       3Os cé re bros         6         6   più mosso ( = 63)                      das cas           Tamburo       6 6        6 6   ca tas              6 6       6 6       6 6             66           66  ma ru             - - - - - -           117Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.126                                                                     lhan tes                                 Gran cassa                     E'o be ne fí cio                   das ma nhãs                         glo ri'o sas do Bra        Tam-tam                            sil!                        Campane a ventol. v.- - - - -- -                                             118Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.131   Larghetto  = 50    Piatto piccolo sospeso (feltro)            Gran cassa         119Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.140   3ChoLullaby: Lentamente  = 52         rai!      Campanelli                3Cho                         rai!                   - -120Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.144               De pois dor                  mi!                                66              Ve nham os            Gran cassa            6    des can sos ve lu         - - - - - - -  121Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.149           do sos          Ves        tir os              vos sos mem bros... Des can                3         3  sai!    - - - - - -122Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.154       Pon    3   3         3de'os lá bios na       soloun poco più mosso             ter ra!             Xilofono        Pon de'os      - - - - - -123Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.158          3         3o lhos na ter ra!      3      3      3    3Vos sos bei jos fiCampanelli         3   nais,poco rallentando            vos sas lá gri mas pripizz.     mei ras- - - - - - - - - -124Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.163   Pa ra'aGran cassatuttia tempo bran ca     fe cun da ção!           Es pa lhai vos saspizz.pizz.pizz.pizz.- - - - - - - -     125Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.168              al mas so bre'o ver de!                pizz.Tam-tam    3Guar dai nos man tos de    3som bra dos ma na cás       - - - - - - - -126Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.173  3 3Os vos sospizz.arcoarco 3   3va ga lu mes      in te ri           o res!          3In da se       3 arcoarco- - - - - - - - - -   127Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.178                 rão um     cresc.Tambourine                                        Solmeno mosso, commodo                                                  nos                                       ou ros do-128Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.182                                                a ma nhâ!                              3Choa tempo             rai!                  arcoCampanelli- - -129Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.186                 De pois dor                    mi!   3  3 33 3A man sa 3 33poco animatoXilofono 3  3  33  3noi te com seus 3 3  3 3  3 33   3de dos es te 3 3  3- - - - -- -130Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.191 3   3  3   3la res Fe cha 3  3 3  3rá nos saspocopocopocopoco      pál pe bras...   3As vés pe ras              do aTamburocon sord.- - - - - - - - -  131Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.196                   zul...   As mi        lho res      pizz.pizz.cresc.          vo zes pa ra            vos so a    senza sord.- - - - -  132Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.201                                     dor men tar!     arcoarcoGran cassa                     3Que o Cru  3   3zei ro doa tempo 3Sul e a sau  3   3da de dos mar- - - - - - -133Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.206   3tí rios...    Campanelli    On                         6 6         6 3du lar   pizz.                         6 6   6do vai vem!   6- - - - - - - -134Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.210       Em ba lar     arcodo vai  vem!   3 3   3Pa ra'a respizz. cresc.   3 3 3 3   3 3tau ra ção o   3 3 3 3   3 3vin nho dos noc- - - - - - - - -135Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.216        tur nos!...       3Que o Cru   3   3zei ro do 3Sul e a sauarco  3   3da de dos mar 3tí riosCampanelli- - - - - -136Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.222                    Plan tem se na              solo                  3    3tum ba da noi te'em                     que so nhais...     tutti- - - - -137Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.225             Im por ta?!...       ben sostenuto il tempo  3Di go vos               - - - -    138Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.229   eu nos man sos                         Oh! Ju ve ni li       da des Au ri ver des, meus ir      3 3     3 3     3 3     3 3mãos:    3   3   3   3- - - - - - - - - -    139Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.233   3Choa tempo         rai!      Campanelli                3Cho                         rai!                   --140Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.237               De pois dor                  mi!                                66              Ve nham os            Gran cassa            6    des can sos ve lu         - - - - - - -  141Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.242           do sos          Ves        tir os              vos sos mem bros... Des can                3         3  sai!    - - - - - -142Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.247     Diu tur na     molto più calmosolo                                     men                                          te can taXilofono                                     reis- - - - - - - - - -143Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.251                                          e tom ba                                                  reis.                                                  As  - -144Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.254                                                  ro  sas... As bor bo                                                                              le- - - - - - - - - - - -145Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.257   tas... Os or                                                                              vaTam-tamtutti                                                  lhos...                            - - - - - -146Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.260  O to do    largamenteCampanelli    di a  dos i mo    la dos       sem razão...    pizz.pizz.- - - - - -     147Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.266      Feanimando poco a poco   chai   cresc.      vos sos       pei tos!   - - -  148Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.271    Que'aGran cassa   noi te  cresc.    3     3ve nha de por        3   3    3seus ca be los a    3   3    3lém Nas fe arcoarco- - - - - - -   149Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.276   3  3  3ri das de'ar dor dos       cu ti la dos!           E en     fim noritardando molto     3  3  3lu to em  3    - - - - - - -     150Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.281         3luz, (Cho legato molto sostenuto (como il cominciò)Piatto piccolo sospeso (feltro)dim.          rai!)    3  3  3-151Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.287    Das        prai as        sem bor         3ras cas, (Cho- - - - - -152Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.291   3  3   rai!)            Das flo    res tas Campanelli- -153Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.297     sem trai ções     de gua ra  niscresc.      (De pois dor             mi!)- - - - -154Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.303                                                                             Que            Gran cassa155Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.308     vos secresc.     pul te'a     Paz            In vul ne      rá vel!    - - - - - -   156Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.314               66        Ve nham os              a tempo            6    des can sos ve lu                    do sos         Ves  - - - - - --157Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.318      tir os              vos sos mem bros... Des can                3         3  sai!           - - - -158Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.322        largamente al fine  Eu...  os de   ser   tos...- - - -159Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.328  os Ca íns...        pizz.pizz.pizz.pizz.pizz.amal di         ção...    arcoarcoarcoCampanelli- - - 160Fl.Ob.Cl. (B )Fg.Cor. (F)Tr. (C)Tb.Perc.S.1. Vl.2. Vl.VioleCelliBassiPf.333          arcoarco                                                                  Piatti 161 162Bibliography Ajzenberg, Elza. “A Semana de Arte Moderna de 1922.” Revista de Cultura e Extensão USP 7 (Maio 2012): 25-29. https://doi.org/10.11606/issn.2316-9060.v7i0p25-29. Andrade, Mário de. Paulicea Desvairada. São Paulo: Casa Mayença, 1922. https://digital.bbm.usp.br/view/?45000019565&bbm/7651#page/1/mode/2up. Andrade, Mário de, and Jack E. Tomlins. Paulicea Desvairada = Hallucinated City. Nashville: Vanderbilt University Press, 1968. Andrade, Mário de. Poesias completas. Edited by Diléa Zanotto Manfio. Vol. 2. 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Acervo do Instituto de Estudos Brasileiros, Universidade de São Paulo, Arquivo Anita Malfatti. Romulo Fialdini, Reprodução Fotográfica. In Enciclopédia Itaú Cultural de Arte e Cultura Brasileira. 2024; Accessed 30 Jan. 2024. http://enciclopedia.itaucultural.org.br/obra35342/capa-do-catalogo-da-exposicao-da-semana-de-arte-moderna. Drabkin, William. "Tritone." Grove Music Online. 2001; Accessed 30 Jan. 2024. https://doi.org/10.1093/gmo/9781561592630.article.28403. Editores da Enciclopédia Itaú Cultural de Arte e Cultura Brasileira. “Exposição de Pintura Moderna – Anita Malfatti.” Enciclopédia Itaú Cultural de Arte e Cultura Brasileira. 2024; Accessed 30 Jan. 2024. http://enciclopedia.itaucultural.org.br/evento238102/exposicao-de-pintura-moderna-anita-malfatti. Fraser, Norman, and Gerard Béhague. "Andrade, Mário (Raul) de." Grove Music Online. 2001; Accessed 30 Jan. 2024. https://doi.org/10.1093/gmo/9781561592630.article.00871. 163Freitag, Felipe. “Mário de Andrade: um Painel da Lírica Moderna através do ‘Olhar Arlequinal’ de Pauliceia Desvairada.” Gavagai - Revista Interdisciplinar de Humanidades 5, no. 1 (Setembro 2019): 119–32. https://doi.org/10.36661/2358-0666.2018n1.11052. Freitas, Claudio Moller de. “As Enfibraturas do Ipiranga.” Symphonic Overture. São Paulo Symphony Orchestra. Recorded February 2005. Soundcloud audio, 5:29, August 25, 2012. https://soundcloud.com/claudiodefreitas/as-enfibraturas-do-ipiranga. Freitas, Claudio Moller de. “Processos Composicionais da Obra Coral-Sinfônica Fantasia sobre uma Cantiga de Ninar e da Abertura Sinfônica As Enfibraturas do Ipiranga.” Dissertação de Mestrado, Universidade de São Paulo, 2008. https://doi.org/10.11606/D.27.2008.tde-05072009-225536. Headlam, Dave, Robert Hasegawa, Paul Lansky, and George Perle. "Twelve-note composition." 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São Paulo: Casa Mayença, 1922. 166 167 168 169 170 171 172 173Appendix B: Pages 108-109 and 113-115 from Mário de Andrade’s Poesias completas. Edited by Diléa Zanotto Manfio. Vol. 2. Belo Horizonte: Itatiaia, 1987. 174 175 176 177 178 179Appendix C: Pages 87, 89, 97, and 99 from Mário de Andrade and Jack E. Tomlins’s Paulicea Desvairada = Hallucinated City. Nashville: Vanderbilt University Press, 1968. 180 181 182 183
Thesis/Dissertation
eng
Music - Composition
Vancouver : University of British Columbia Library
Attribution-NonCommercial-NoDerivatives 4.0 International
Graduate
Hamel, Keith, 1956-
My Madness for soprano and small orchestra
Text
Still Image