Presentation – Prof. Daniele Cruz Barros (UFPE)
In Brazil, the recorder is in process of consolidation as it can be witnessed in some excellent work done in education, performance and research. In the interpretation of early or contemporary music, musical initiation classes or post graduation courses, in the development of its construction and its repertoire, one sees a growing interest in the instrument and a greater demand by those who deal with it.
The coexistence of higher education courses in the areas of composition and instrument in an institution, undoubtedly, stimulates the movement of creation, because the contact between composer and interpreter allows the composer a greater familiarization with the instrument which is to be approached, in addition to ensuring the execution of the work.
At UFRGS, the interaction between the areas of composition and recorder classes makes this university a significant centre of creation for recorder works in Brazil, as evidenced by more than 60 compositions registered in the inventory of the Prata da Casa project, attributed to 25 composers.
The great merit of Prata da Casa, already available on the webpage and now in a book, is to bring to the attention of teachers, recorder players, students, researchers and lovers of the recorder, information about the repertoire composed in Rio Grande do Sul, from the earliest compositions by Bruno Kiefer, dating back to the 1970s. From this time until today, several generations of composers – teachers and students from UFRGS – have seen in the recorder a way of expression for their creative needs, often stimulated by the incessant work of teachers-recorder players as Lucia Carpena, a brave “promoter” of the recorder in Brazil.
In Musicology, the work of cataloguing is particularly important for gathering and organizing documents often unknown to the public to which it is addressed to. In this book, a database of works reveals a significant and eclectic repertoire, in which various materials and compositional techniques are handled in a way that different styles and sounds continue making the recorder a living instrument. In Prata da Casa, the author/researcher, besides whetting the curiosity of the recorder player, favouring the interpretation and dissemination of varied works; also incentivizes the approach of contemporary music, which is so far incipient in our resumes. As the biggest beneficiary of projects that are accomplished with seriousness, knowledge and professional passion, the recorder itself, if it were able to speak, would thank to Lucia Carpena for the Prata da Casa project.
The coexistence of higher education courses in the areas of composition and instrument in an institution, undoubtedly, stimulates the movement of creation, because the contact between composer and interpreter allows the composer a greater familiarization with the instrument which is to be approached, in addition to ensuring the execution of the work.
At UFRGS, the interaction between the areas of composition and recorder classes makes this university a significant centre of creation for recorder works in Brazil, as evidenced by more than 60 compositions registered in the inventory of the Prata da Casa project, attributed to 25 composers.
The great merit of Prata da Casa, already available on the webpage and now in a book, is to bring to the attention of teachers, recorder players, students, researchers and lovers of the recorder, information about the repertoire composed in Rio Grande do Sul, from the earliest compositions by Bruno Kiefer, dating back to the 1970s. From this time until today, several generations of composers – teachers and students from UFRGS – have seen in the recorder a way of expression for their creative needs, often stimulated by the incessant work of teachers-recorder players as Lucia Carpena, a brave “promoter” of the recorder in Brazil.
In Musicology, the work of cataloguing is particularly important for gathering and organizing documents often unknown to the public to which it is addressed to. In this book, a database of works reveals a significant and eclectic repertoire, in which various materials and compositional techniques are handled in a way that different styles and sounds continue making the recorder a living instrument. In Prata da Casa, the author/researcher, besides whetting the curiosity of the recorder player, favouring the interpretation and dissemination of varied works; also incentivizes the approach of contemporary music, which is so far incipient in our resumes. As the biggest beneficiary of projects that are accomplished with seriousness, knowledge and professional passion, the recorder itself, if it were able to speak, would thank to Lucia Carpena for the Prata da Casa project.