Brazilian Nationalism in the Piano Sonatas of César Guerra-Peixe, Cláudio Santoro, and Edino Krieger

Abstract

This study investigates Brazilian musical nationalism in the piano sonatas of César Guerra-Peixe, Cláudio Santoro, and Edino Krieger, composed throughout the 1950s. During this period, the composers collectively transitioned away from the twelve-tone technique they had adopted under the guidance of the composer Hans-Joachim Koellreutter, towards a nationalist approach that embraced elements of Brazilian cultural identity. This study aims to address the lack of scholarly comparison focusing on the nationalist elements within the piano works of César Guerra-Peixe, Cláudio Santoro, and Edino Krieger by uncovering the composers' solutions in imbuing their sonatas with Brazilianness. Ultimately, this research aims to inform performers' interpretive choices and foster a deeper understanding of the composers' artistic intent by analyzing form, rhythm, texture, harmony, and melody. Guerra-Peixe's Piano Sonata No. 1 prominently features recognizable Brazilian genres, skillfully integrated within the Classical sonata structure, imbuing the composition with a discernible Brazilian essence. Conversely, Santoro’s Piano Sonata No. 4 adopts a subtler approach, weaving rhythmic patterns and modal passages reminiscent of Brazilian music into his compositions. Krieger’s Piano Sonata No. 1 blends Classical and Baroque techniques with tonal-modal writing and rhythmic patterns inspired by Brazilian folk and popular music. While acknowledging the inherent limitations of this study, such as the necessity for further analysis and exploration of specific compositional aspects, the research aims to enrich the broader understanding of Brazilian musical nationalism. It endeavors to provide valuable insights for scholars and performers alike, fostering a deeper appreciation for these seminal works within the rich tapestry of Brazilian cultural identity.