An application of derivative analysis on Brazilian romantic music: The first movement of Leopoldo Miguéz’s Sonata for Violin and Piano op. 14

This paper presents the first application of the derivative analysis model (henceforward, AD), as one result of a research project coordinated by Carlos Almada, to examine a piece by a Brazilian composer: the first movement of the Sonata for Violin and Piano op. 14, by Leopoldo Miguéz. The study is part of an ongoing master’s research, whose main objective is to investigate the constructive processes employed by the composer, from analyses based on formal, harmonic and thematic perspectives. It is possible to observe in this piece a notable economy of material in its thematic construction, with the employment of rhythmic-melodic elements which seem to derive, by variation processes, from a reduced group of basic ideas, present at the beginning of the piece, defining a possible Grundgestalt (which could be approximately translated as a primordial musical configuration). This is one of the most important theoretical principles conceived by Arnold Schoenberg (1874-1951) together with the complementary concept of developing variation, both principles serving as theoretical foundation for the development of AD. One of its possible approaches is denominated the derivative-thematic analysis, which consists in the examination of possible affinity relations between themes of a musical piece and their respective derivations from a group of primordial basic ideas. The model takes as basic premise the division of the derivative process in two operation plans, one abstract and the other concrete. The abstract plan would be hypothetically accessible only in the composer´s mind, but can be inferred by the analyst from a careful examination and directed to the derivative processes and material transformation. The events in this plan do not unfold necessarily in a linear chronology, showing a sequence of processes which are denominated in AD developing variation of first order. In this case, musical elements (intervallic contours, rhythmic sequences, pitch-class sets, etc.) are abstracted from the referential idea (Grundgestalt), serving as a base for the independent production of abstract variants, from the application of transformational operations of different natures, which can be extended by numerous lineages and generations of resultant forms. It is on the concrete plan (represented ultimately by the score) that these abstractions are recombined, generating concrete musical configurations (like conventional motive-forms). These are introduced in the musical structure in an order of events determined by the composer depending on his own constructive intentions. The processes of developing variation of second order operate in this plan, in which the abstract via is not considered. In this case, the variants result from the direct operations of transformation on consolidated referential forms, which can constitute characteristic motives or thematic ideas of greater structural complexity. From these assumptions, specific conceptualization, terminology and symbology were designed for the AD, as well as graphic tools for the analysis. Composed in 1884/5, the first movement of the sonata op.14 is structured in an almost scholastic sonata-form. Seven themes were identified in its exposition section, which are analyzed according to their mutual relation of affinity and with the provenience of its constituent elements, derived from a basic motivic source. The present paper highlights the relations which exist between the nucleus of the principal theme and a basic motivic material source (the Grundgestalt of the piece). Although only this specific aspect is considered in the present approach, the results obtained referring to the application of the AD in the rest of the thematic structure of op.14 I suggest the existence of solid ideological affinities between the themes of the movement, with many of them showing transformations which denote a gradual constructive process and an organic development.