A National Idiom Universally Understood: Brazilian Tradition and Personal Evolution in Osvaldo Lacerda's "Variações e Fuga para quinteto de sopros"

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The career of Osvaldo Lacerda (1927-2011) spanned a critical time in the development of Brazilian nationalist music. Though he was an outspoken nationalist composer, he was also influenced by European trends and training. Even within his nationalist compositions, evidence of a shift in style that mirrors the European movements of Modernism and Postmodernism is found in his works. Among his thirty-six chamber works, three are wind quintets, written between 1962 and 1997. Although all three works warrant extended discussion, Variações e Fuga para quinteto de sopros is particularly valuable for studying Lacerda's musical language. It was originally written in 1962. … continued below

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viii, 112 pages : music

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Leffler, Hannah August 2018.

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The career of Osvaldo Lacerda (1927-2011) spanned a critical time in the development of Brazilian nationalist music. Though he was an outspoken nationalist composer, he was also influenced by European trends and training. Even within his nationalist compositions, evidence of a shift in style that mirrors the European movements of Modernism and Postmodernism is found in his works. Among his thirty-six chamber works, three are wind quintets, written between 1962 and 1997. Although all three works warrant extended discussion, Variações e Fuga para quinteto de sopros is particularly valuable for studying Lacerda's musical language. It was originally written in 1962. However, Lacerda made significant revisions in 1994, completely rewriting and expanding it. Through comparing the 1962 and 1994 versions of Variações e Fuga and analyzing the significant differences between the two, this document aims show that even with his strong stance as a Brazilian nationalist composer, Lacerda was clearly influenced by the movements of the broader music world. Examples from his other two woodwind quintets, Quinteto de sopro and Suíte pra cinco, written in 1988 and 1997 respectively, help to support the idea that this change in his musical language was not an anomaly, but rather a true evolution of style impacted by his own culture and that of the classical music world around him.

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viii, 112 pages : music

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Doctoral Recital: 2015-10-02 – Hannah Leffler, flute (Sound)

Doctoral Recital: 2015-10-02 – Hannah Leffler, flute

Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

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Doctoral Recital: 2016-04-01 – Hannah Leffler, flute (Sound)

Doctoral Recital: 2016-04-01 – Hannah Leffler, flute

Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

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Recital: April 1, 2016, ark:/67531/metadc1614867

Doctoral Recital: 2016-10-06 – Hannah Leffler, flute (Sound)

Doctoral Recital: 2016-10-06 – Hannah Leffler, flute

Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Relationship to this item: (Has Part)

Recital: October 6, 2016, ark:/67531/metadc1615024

Doctoral Lecture Recital: 2018-04-13 – Hannah Leffler, flute (Sound)

Doctoral Lecture Recital: 2018-04-13 – Hannah Leffler, flute

Lecture recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Doctoral Lecture Recital: 2018-04-13 – Hannah Leffler, flute - ark:/67531/metadc2343554

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  • Sept. 26, 2018, 6:16 p.m.

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Leffler, Hannah. A National Idiom Universally Understood: Brazilian Tradition and Personal Evolution in Osvaldo Lacerda's "Variações e Fuga para quinteto de sopros", dissertation, August 2018; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc1248512/: accessed April 28, 2025), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .

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