O candombe uruguaio em obras para violão: elementos para uma performance culturalmente informada

Abstract

In order to define the concept of Culturally Informed Performance and exemplify it, the text, after a theoretical introduction, examines four solo guitar works by Carlevaro (1974), Aguirre (2004), Sinesi (1994) and Moscardini (2006), all inspired by Uruguayan candombe. The approach aimed to demonstrate how an understanding of cultural data of the genre, based mainly on Ferreira (1997), Ayestarán (1966), Fernandez (2017) and Aharonián (2007), provides the interpreter with a horizon to speculate, experiment and create, contributing to a critical and autonomous elaboration of his performance. Thus, in the works analyzed, possibilities emerge to absorb traditional candombe practices regarding percussion, accentuation, articulation and ritualistic character, even with all the difficulties that the translation of an essentially percussive manifestation into guitar presents.

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