Dona Nobis Pacem Op. 28, from Lindembergue Cardoso: interpretative analysis for the creation of the piece in remote format

Abstract

This paper presents partial results of a doctoral research in progress. We proposed e an interpretative analysis of the piece Dona Nobis Pacem Op. 28 (1973), for a cappella choir for six voices (SSMsTTB), by Lindembergue Cardoso (1939-1989), elaborated for the montage of the work in remote format, from individual recordings of choir singers with Choir X. For the analysis we use as a main tool the Analysis Referential Silva Ramos (2003), approaches proposed by Rink (2019) and authors who deal with the work of Lindembergue Cardoso, such as Pérez (2009), Gomes (2002) and Nogueira (2012). The work is divided into three parts: first we present the process of choice of the work, having in mind the singular moment in which the montage happened and understanding the choice of the repertoire as an important analytical and interpretative decision of the performer; in the second part we bring an overview of the piece with its main musical characteristics, its contextual aspects, notational issues and the great formal structure; in the third part we approach the treatment given to the musical materials in a more specific way, from the formal division established. As part of the final considerations, we observe that the composer adopts different compositional procedures, having as a central objective the development of new textures and timbral exploration. We also observed that the conditions established by the social distancing during the Covid-19 pandemic modified our possibilities of mounting repertoire, but did not diminish the artistic quality and technical level. Along with the numerous adaptations emerged new knowledge and different pedagogical approaches and interpretive possibilities.