Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2006 Brazilian nationalistic elements in the Brasilianas of Osvaldo Lacerda Maria Jose Bernardes Di Cavalcanti Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Di Cavalcanti, Maria Jose Bernardes, "Brazilian nationalistic elements in the Brasilianas of Osvaldo Lacerda" (2006). LSU Major Papers. 39. https://digitalcommons.lsu.edu/gradschool_majorpapers/39 This Major Paper is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. BRAZILIAN NATIONALISTIC ELEMENTS IN THE BRASILIANAS OF OSVALDO LACERDA A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the Degree of Doctor of Musical Arts in The School of Music by Maria José Bernardes Di Cavalcanti B.M., Universidade Estadual do Ceará (Brazil), 1987 M.M., Louisiana State University, 2002 December 2006 © Copyright 2006 Maria José Bernardes Di Cavalcanti All Rights Reserved ii DEDICATION This monograph is dedicated to my husband Liduino José Pitombeira de Oliveira, for being my inspiration and for encouraging me during these years of studies. iii ACKNOWLEDGMENTS I would like to thank Professor José Alberto Kaplan for his guidance and precious piano teaching in the years before my graduate studies; Professor Michael Gurt for his brilliance and exciting piano lessons and for his dedication in revising this monograph; my husband, Liduino José Pitombeira de Oliveira, for his constant assistance and clever advice; my parents, Célio Perdigão Di Cavalcanti and Amilde Bernardes Di Cavalcanti, for their love; my children, Roberto, Igor, and Caroline, for understanding how important music is to me; Jonas Evers, my grandson, for the good and relaxing moments; and my friend Joseph La Rosa for helping me with English grammar. I also thank composer Osvaldo Lacerda and pianist Eudóxia de Barros for their valuable support and information; Mr. Amaral and Mr. Nogueira, from Irmãos Vitale S/A Ind. and Com. and Ricordi Brasileira S.A., for authorizing the use of excerpts of Lacerda’s Brasilianas ; and the members of my committee, Michael Gurt, Dr. Victoria Johnson, Dr. Robert Peck, Dr. Dinos Constantinides, and Dr. Andrew Sluyter. I also thank Dr. Willis Delony, a previous member of my committee, for revising parts of my monograph. iv TABLE OF CONTENTS DEDICATION .................................................................................................................. iii ACKNOWLEDGMENTS ............................................................................................... iv ABSTRACT ..................................................................................................................... vii CHAPTER 1. MUSICAL NATIONALISM IN BRAZIL ..............................................1 1.1 Historical Background .......................................................................................1 1.2 Brazilian Musical Nationalism ..........................................................................3 CHAPTER 2. OSVALDO LACERDA ............................................................................8 CHAPTER 3. THE BRASILIANAS ...............................................................................11 3.1 General Considerations....................................................................................11 3.2 Brasiliana No. 1 ...............................................................................................12 3.3 Brasiliana No. 2 ...............................................................................................21 3.4 Brasiliana No. 3 ...............................................................................................31 3.5 Brasiliana No. 4 ...............................................................................................40 3.6 Brasiliana No. 5 ...............................................................................................48 3.7 Brasiliana No. 6 ...............................................................................................56 3.8 Brasiliana No. 7 ...............................................................................................63 3.9 Brasiliana No. 8 ...............................................................................................69 3.10 Brasiliana No. 9 .............................................................................................77 3.11 Brasiliana No. 10 ...........................................................................................84 3.12 Brasiliana No. 11 ...........................................................................................91 3.13 Brasiliana No. 12 ...........................................................................................97 CONCLUSION ..............................................................................................................106 BIBLIOGRAPHY ..........................................................................................................107 APPENDIX A. LIST OF WORKS BY OSVALDO LACERDA ...............................................110 B. REQUEST OF PERMISSION I ........................................................................130 C. LETTER OF PERMISSION I ...........................................................................131 D. REQUEST OF PERMISSION II .......................................................................132 E. LETTER OF PERMISSION II ..........................................................................133 F. REQUEST OF PERMISSION III .....................................................................134 v G. LETTER OF PERMISSION III........................................................................135 VITA ................................................................................................................................136 vi ABSTRACT Brazilian composer Osvaldo Lacerda (b. 1927) is an important figure in the Brazilian nationalist school of composition, following the tradition of Camargo Guarnieri. This study examines Brazilian nationalistic elements in the Brasilianas , a series of twelve suites for piano composed by Lacerda. These piano suites, written between 1965 and 1993, each comprise four movements, utilizing a wide variety of genres. This monograph is divided into three chapters. The first chapter provides a background on Brazilian history and Brazilian musical nationalism. The second chapter consists of information about Lacerda. The third chapter contains historical aspects and musical characteristics of the genres used in the pieces followed by a brief analytical comment. vii CHAPTER 1. MUSICAL NATIONALISM IN BRAZIL 1.1 Historical Background Throughout its history, Brazil has been subject to various cultural influences. African, European, and native cultures have intermingled, resulting in the appearance of many new musical genres. A study of Brazilian history and cultural development can therefore help to provide a better understanding of those genres. The territory that is now Brazil was originally occupied by more than five million native people, speaking more than a thousand languages. 1 Little is known about Brazilian history before 1500, when a Portuguese fleet, commanded by Pedro Álvares Cabral, landed in what is now Brazil, and claimed the territory for Portugal. Though Brazil was ruled by Portugal during the colonial period (1500–1822), other European countries, such as France, Holland, England, and Spain, tried to establish colonies in several parts of the Brazilian territory. The slave trade also brought many Africans to Brazil between 1555 and 1888, when slavery was abolished. Brazil achieved independence from Portugal in 1822, when Dom Pedro I was proclaimed emperor. The imperial period ended in 1889, when Deodoro da Fonseca became the first president of the United States of Brazil. 2 The ensuing Republican period can be divided as follows: Old Republic (1889–1930), Vargas Republic (1930–1945), Nascent Democratic Republic (1945–1964), Military Dictatorship (1964–1985), and New Republic (1985 to present). Brazilian music has its origin in the fusion of European traits, influenced by African and Indian elements during the colonial period. The Jesuit missionaries, who arrived in the 1550s, were culturally influential during the first years of colonization. The Jesuits taught the native 1 The website of the Brazilian National Indian Foundation provides useful information about the original inhabitants of Brazil. The address is <http://www.funai.gov.br/indios/conteudo.htm#>. 2 The country’s name was changed to Federative Republic of Brazil, in 1967. 1 people how to play and manufacture European musical instruments, 3 and they established Brazil’s first theatre (1555) and music conservatory (1559). 4 Musical activity increased considerably during the 1700s, a period called the “Gold Era,” when Brazil was producing 44% of the world’s supply of gold. 5 This period saw the rise of the so-called Barroco Mineiro (baroque of Minas Gerais), which was actually more closely associated with pre-classical than with baroque