Interactions between notation and instrumentality in Ladainha and Eclusas for solo guitar

Abstract

This article has as its theme the performance construction strategies of two pieces for solo guitar, Eclusas and Ladainha, establishing a wide dialogue with the guitarists and researchers Daniel Murray and Stanley Levi, who not only premiered each of the two works, but also got to know their strategies on performance construction in academic works. Thus, we propose a reading of these two compositions based on the sound paradigms that permeate them, the knowledge of the universe of references of the composer (Silvio Ferraz) and the universe of guitar performance in the second half of the century based upon the guitarist’s experience (Ledice Fernandes Weiss). We observed the importance of the composition and reconstruction of the gesture at both ends of the composer-interpreter collaboration process. Our main references are the notions of extended technique, and that of the tripartite aspect of music in gesture, texture and figure, as proposed by composers such as Brian Ferneyhough, Helmut Lachenmann, Luciano Berio and restored by the composer.