Open AccessLucas Galon’s Concerto for Violin, Percussion and Strings (2018)
Author(s) -
Ricardo Alex Palmezano
Publication year - 2019
Publication title -
revista da tulha
Language(s) - English
Resource type - Journals
ISSN - 2447-7117
DOI - 10.11606/issn.2447-7117.rt.2019.156842
Subject(s) - bartok , concerto , violin , violin concerto , art , cadenza , literature , style (visual arts) , musical , guitar , percussion , musical form , composition (language) , visual arts , piano , art history , acoustics , physics
In this paper, I investigate how the composer searches for his own voice in his violin concerto while using a blend of influences such as Bartok, twelve-tone and Brazilian popular music. Galon argues that composers such as Bartok, Stravinsky and Villa-Lobos followed an independent, more varied compositional style without subscribing to any specific method.[1]On the other hand, the self-proclaimed mainstream of the Second Viennese School established a very structured, particular way of writing music. The composer seems to put into question the mechanization of composition of the dodecaphonic method, but validates its use as a way of refraining his creative impulse.[2]While Bartok’s Violin Concerto No. 2provides a framework for his piece; the tools he uses to manipulate the musical material are drawn from a free use of serialism and Brazilian contemporary music philosophy and aesthetic.