| Choral music is one of the most common musical activities in Brazil. However, the lack of biographical studies, music publication, and theoretical works which discuss stylistic and interpretative aspects of choral performance creates problems for conductors. The primary goal of this study is to consider Amaral Vieira's Stabat Mater, op. 240 specifically from a conductor's point of view, focusing on biographical, analytical, stylistic, and interpretative issues.; The document is divided into three chapters; chapter one discusses twentieth-century Brazilian choral music, Amaral Vieira's life and music, history and overview of the Stabat Mater, op. 240, and textual aspects. Chapter two presents the analytical premises of the monograph as well as individual analytical studies of the twenty movements that comprise the composition. It examines each movement in detail, including relevant background and the relationship between text and music. Chapter three examines performance issues necessary for the preparation and performance of the work.; Amaral Vieira was born in Sao Paulo in 1952. He studied piano and composition with different professors in Brazil and abroad. He has won several international prizes and performed in Brazil and different countries such as Chile, Argentina, Germany, Japan, China, and Hungary. Amaral Vieira has also devoted part of his time to musicological research and has contributed to the history of Brazilian music. His output comprises three hundred compositions, including works for chamber music, piano solo, and voice, among them forty-five choral works.; The Stabat Mater, op. 240 was written in 1989. It is for soprano, mezzo, alto, tenor, baritone, and bass soloists, SATB chorus and string orchestra. It has twenty movements and each one corresponds to a different strophe of the poem. The score is still unpublished, and the Slovak Philharmonic Choir and Orchestra, conducted by Mariah Vach and Jan Rozehnal, made the only commercial recording available of the work. Based on harmonic, thematic and textual elements, the Stabat Mater, op. 240 can be divided into two parts: movements 1 through 12, and movements 13 through 20. |
