Advisor(s)
Abstract(s)
A presente dissertação tem por objecto a Fantasia como forma de composição, procurando defini-la como género musical e enquadrando-a numa perspectiva de evolução histórica.
Assim, é realizado um levantamento das Fantasias compostas para piano e outros instrumentos de tecla, pretendendo elaborar-se um catálogo de consulta deste género musical no repertório pianístico.
Em particular, é feita uma pequena análise da Fantasia em Dó Maior de G. F. Händel, da Fantasia em Ré menor de W. A. Mozart, da Sonata quasi una Fantasia Op. 27 n.º 2 de L. van Beethoven, das Drei Fantasiestücke Op. 111 de R. Schumann e da Fantasia Baetica de M. de Falla.
Estas obras integraram o programa do Recital Final de Mestrado em Performance Musical.
Neste trabalho, constatamos que a génese da Fantasia remonta ao século XVI e acompanhamos o seu desenvolvimento até às Fantasias compostas sobretudo na Alemanha até finais do séc. XX.
This dissertation aims to study the Fantasy as a form of composition, seeking to define it as a musical genre and framing it in a perspective of historical development. Thus, we created a list of Fantasies composed for piano and other keyboard instruments, intending to draw up a catalog of using this kind of music in piano repertoire. In particular, there is a brief analysis of the G. F. Handel's Fantasy in C Major, the D Minor W. A. Mozart's Fantasy, the Sonata quasi una Fantasia Op 27 n. 2 of L. van Beethoven, the R. Schumann's Drei Fantasiestücke Op. 111 and the Fantasia Baetica by M. de Falla. These works were part of the Final Recital program in Masters Musical Performance. In this work we found out that the genesis of Fantasy goes back to the sixteenth century and therefore we followed its development until the Fantasies composed mainly in Germany till the end of the 20th century.
This dissertation aims to study the Fantasy as a form of composition, seeking to define it as a musical genre and framing it in a perspective of historical development. Thus, we created a list of Fantasies composed for piano and other keyboard instruments, intending to draw up a catalog of using this kind of music in piano repertoire. In particular, there is a brief analysis of the G. F. Handel's Fantasy in C Major, the D Minor W. A. Mozart's Fantasy, the Sonata quasi una Fantasia Op 27 n. 2 of L. van Beethoven, the R. Schumann's Drei Fantasiestücke Op. 111 and the Fantasia Baetica by M. de Falla. These works were part of the Final Recital program in Masters Musical Performance. In this work we found out that the genesis of Fantasy goes back to the sixteenth century and therefore we followed its development until the Fantasies composed mainly in Germany till the end of the 20th century.