Karen Tuttle ́s Coordination applied tothe performance and interpretation of Edino Krieger ́s Brasiliana

Autores

  • Leonardo Piermartiri Universidade do Estado de Santa Catarina
  • Daphne Capparelli Gerling University of North Texas

Palavras-chave:

KarenTuttle's Coordination, Edino Krieger, Brasiliana, Viola Performance, Music Performance,

Resumo

In challenging SPITZER’s (2009) proposition of absence of structure and balance (parataxis) within “Von deiner Güt’, o Herr und Gott”, from J. Haydn’s The Creation, the present a This article focuses on the application of Coordination, a set of principles and techniques developed by the late violist Karen Tuttle, as applied to the performance of Brasiliana for Viola and Stringsby Edino Krieger. Coordination occurs in performance through specific physical motions of the performer’s body that connect the emotional and musical aspects of the interpretation. This study draws on interview content with Dr. Susan Dubois, Tuttle’s formerteaching assistant at the Juilliard School of Music, and a leading exponent of her teaching. After a brief background on Tuttle ́s techniques and on the piece itself, annotated excerpts of the solo viola part are provided, with suggested interpretative markings applying these techniques. Article addresses contemporary analytical theories of form that may reveal exactly the opposite. The analytical framework used in the study was drawn from theoretical tools designed by CAPLIN (1998; 2001; 2009), HEPOKOSKI, and DARCY (2006) for the analysis of Classical form. This paper argues that tonal balance is a fundamental organizational device and serves as a structuring agent in the composition discussed. Moreover, the tonal balancefeatured in “Von deiner Güt’” illuminates the underlying structure of the textual narrative, thus rendering a stronger rhetorical appeal to the climactic moment in which it is inserted. The most salient significance of this research lies in its applicability to other cases of less strict formal structure that may be dismissed as parataxis while they, in fact, feature careful formal construction on the composer’s part.

Keywords: Classical form, form in J. Haydn, tonal structure in classical form, tonal balance in classical form, parataxis.

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Biografia do Autor

Leonardo Piermartiri, Universidade do Estado de Santa Catarina

Leonardo Piermartiri holds a Doctor of Musical Arts degree from the University of Maryland, a Master of Music from the University of Cincinnati, Professional Studies degree from the Cleveland Institute of Music and a Bachelor of Music from Escola de Músicae Belas Artes do Paraná. Most recently he was a visiting researcher at the University of North Texas College of Music. He is a professor at Universidade do Estado de Santa Catarina –UDESC in Florianópolis, Brazil since 2004. ORCID: https://orcid.org/0000-0002-8928-2408

Daphne Capparelli Gerling, University of North Texas

Daphne Gerling enjoys an international career teaching, performing, and writing about the viola. Her dissertation, "Connecting Histories: Identity and Exoticism in the 1919 Viola Works of Ernest Bloch, Rebecca Clarke and Paul Hindemith (2007) is available digitally through Rice University. Daphne's travels and performances have taken her to 30 universities around the United States, and to 14 countries overseas. Dr. Gerling holds degrees from Oberlin Conservatory, the Cleveland Institute of Music, and Rice University. She is currently Assistant Professor of Viola at the University of North Texas, and Secretary of the American Viola Society. Her website is www.daphnegerling.com. ORCID: https://orcid.org/0000-0003-2504-0458

Referências

BARRETT, Henry. The Viola: Complete guide for teachers and students.2nd ed.Alabama: Universityof Alabama Press, 1978.BIAGGI, Emerson Luizde. Brazilian Art-Music in The Post-Nationalist Period: Three Compositions for Viola. Doctoral Dissertation. Santa Barbara: University of California Santa Barbara,1996.DANE, Matthew. Coordinated Effort: A Study of Karen Tuttle's Influence on Modern Viola Teaching. Doctoral dissertation. Houston: Rice University, 2002.DEW, Robert. In Response to Instinct –Karen Tuttle's Insights into the Coordinated Action –its Mechanisms, Articulation, and Prerequisites. The Strad, 104, no. 1241,p. 835-838, September 1993.PIERMARTIRI, Leonardo. Interview with Dr. Susan Dubois. University of North Texas, Denton-TX, November 4th, 2020. Entrevista. PAZ, Ermelinda. Edino Krieger: Compositor, Produtor Musical, Crí­tico. Rio de Janeiro: SESC Departamento Nacional, 2012. Vol 2.RODLAND, Carol. Master Class: In Honor of Karen Tuttle as She Retires.American String Teacher, 54, n.2, p. 45-47, May 2004.SANDER, Amber. Performer's Guide to the Execution and Application of Karen Tuttle's Coordination, as Applied to Ernest Bloch's Suite Hébraïque. Doctoral dissertation. Denton:University of North Texas,Denton, 2013.REITER, Emmanuella. Karen Tuttle's Heritage: the theory and practiceof co-ordination. Boston: Allegra Print & Imaging, 2008.RITSCHER, Karen. An Interview with Karen Tuttle. American String Teacher,Fairfax-VA, v. 43,n.4, p. 86-91, Autumn 1993.WEINBERGER, Rozanna. Body and Soul: Teacher Karen Tuttle Reveals How She Helps Students Play Without Pain. Strings,13, no.4,p.66-70, December 1998.

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Publicado

15.05.2021

Como Citar

Piermartiri, L., & Gerling, D. C. (2021). Karen Tuttle ́s Coordination applied tothe performance and interpretation of Edino Krieger ́s Brasiliana. Revista Vórtex, 9(1). Recuperado de https://periodicos.unespar.edu.br/index.php/vortex/article/view/4198

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