INTERTEXTUALITY IN THE THREE PIANO SATIRES BY JOSÉ ALBERTO KAPLAN
Intertextuality. Performance. Kaplan. Piano
The study proposes the analysis of José Alberto Kaplan's Three Satires for Piano, with an emphasis on the intertextuality present in the work, given the importance of understanding the underlying creative processes in its construction. The discussion is guided by authors such as Klein (2005), Kaplan (2006), Fonseca (2005), Gomes (1985), and Hatten (1985). Characterized as documentary research, this work adopts an analytical-comparative approach. The investigative process involves the search for association terms through sheet music and listening to multimedia files, analyzing heterogeneous musical aspects peculiar to the works, such as folklore and cultural heritage. The works of composers referenced in the satires, such as Dmitri Shostakovich, Igor Stravinsky, Sergei Prokofiev, and Francisco Mignone, are also investigated, resulting in polkas, waltzes, and marches. The research aims to explore analytically the connections of musical intertexts, references to stylistic and aesthetic contrasts used by the composer, in order to contribute to the enrichment of interpretation. The analysis resulted in the identification of reference works for each movement of the Three Satires for Piano (SCHOSTA-POLKA-KOVICH, ValStravinskysa da Esquina, and MarPROchaKOFIEV), and in the extraction of intertextual elements of meaning, such as melodic, harmonic, and timbral texture passages. Thus, by highlighting these interrelationships, it is expected to enhance the performance and understanding of the work.