Ana Cláudia Assis
Ana Cláudia de Assis is pianist and a professor at the Federal University of Minas Gerais (UFMG) where she develops research and artistic projects on contemporary music. She obtained a PhD in History from the Faculty of Philosophy and Human Sciences at UFMG (in partnership with IPEAT / Université de Toulouse) and Master of Interpretive Practices of Brazilian Music by UNI-RIO. She published the book “The Twelve Sounds and the National Color: aesthetic and cultural conciliations in the musical production of César Guerra-Peixe (1944-1954)”. In 2010, she realized a postdoctoral research about the relationship between the Portuguese composer Fernando Lopes-Graça and Brazilian music, with support from FCT. As an interpreter, she has played all over the world. She participated in important festivals, such as: Brazilian Music Biennial and UFG International Music Festival (Brazil), Monaco Electroacoustique (Monaco), Visiones Sonoras and International Music Festival of Morelia (Mexico), Ai-Maako Festival (Chile), Autumn Festival and Electroacoustic Music Days (Portugal), Skammdegi AIR Award (Iceland) among others. She participated in several recordings, including three solo CDs: César Guerra-Peixe’s Dodecaphonic Music for Piano (2015); Sonorities: contemporary pieces for piano (2016); Vertentes: Brazilian music for piano (2017). Actually, she is developing postdoctoral research on piano music by Jorge Peixinho, with support from the Calouste Gulbenkian Foundation.
ASSIS, A. C.. Que ?ismo? é esse, Koellreutter?: Guerra-Peixe e Lopes-Graça entrelaçando os fios dodecafônicos (1944-1958). OPUS (BELO HORIZONTE. ONLINE), v. 22, p. 115-146-146, 2016.
ASSIS, A. C.. Conversa com Fernando Lopes-Graça: trânsitos culturais na música brasileira. MÚSICA HODIE, v. 13, p. 168-180, 2013.
Os Doze Sons e a Cor Nacional: conciliações estéticas e culturais na produção musical de César Guerra-Peixe (1944-1954). ISBN8539106833, 9788539106837 Editora Annablume, São Paulo. https://www.youtube.com/watch?v=4mNqa0kZNhE. 1. ed. São Paulo: Annablume, 2014. v. 1. 228p .
Ana Telles (c)
The goal of this research is to construct an interpretation of the Estudos para Piano (1968-1992) written by the Portuguese composer Jorge Peixinho (1940-1995), using the historical method to stimulate possible solutions to the idiomatic, formal and musical challenges that become part of the process of performing these compositions. The choice of Peixinho constitutes an unfolding of my research, developed in 2010 with the support of Fundação para a Ciência e Tecnologia (Lisbon), titled Fernando Lopes-Graça e César Guerra-Peixe: trânsitos culturais na música brasileira. Just as Lopes-Graça played an important role in the Brazilian debate about music in the 1930s and 1950s, Jorge Peixinho will be the composer who will dialogue directly with the Brazilian avant-garde of the 1980s and 1990s. Such dialogue is expressed in his writings (articles, lectures, interviews), as well as some of his piano works. In our previous research about Lopes-Graça and Guerra-Peixe, the methodological approach was focused on the field of Musicology. Now we intended to approach it under an interdisciplinary perspective constituted by Performance / History, two fields of knowledge upon which we have constructed our academic trajectory. Besides the hypothesis that these Estudos for piano constitute a composition laboratory where the instrumental idiomatic technique claims the status of structural element, revealing the composer’s interest in virtuosity and the expansion of the piano technique, we believe that they also are embedded with new information about the processes discovered by Peixinho, in order to express the constant tension between tradition and creative freedom, a subject of great importance in the post 1950s aesthetics in Brazil.