Assisted
by
Clement
Acevedo
PMTA State Conference
Omni Bedford Springs Resort
June 11th, 2010
2 pm
Lecture Recital Program
Vamos Maninha- - Angolinhas (“Litle Chicken from Angola”)
- O Café (“The Cofee”)
- Bela Pastora (“Pretty Shepard”)
- Manquinha
- Marcha Soldado (“Soldier’s March”)
- Bao Balalao (“The Captain”)
- Na Bahia Tem (“In Bahia We Have”)
- Sapo Jururu (“The Sad Frog”)
- Cachorrinho (“The Litle Dog”)
(4 Hands)
- Samba Lele
- Peixe Vivo (“ The Live Fish”)
- Atirei um Pau no Gato (“I trough the wood on the cat”)
As Melodias Da Cecilia - Minha Avo faz Croche
(Cecilia’s Melodies)
- Rosa amarela, Rosa Cor de Rosa (“Yellow Rose, Pink Rose”)
- Maria Fumaca (“The steam Train”)
As Musicas Da Cecilia- I. Marcha dos Cavaleiros (“The horseman’s March”)
II.Sostenuto
IV. Bartokiana
Sonatina (1973)
Suite Carimbo-
Jacare (“Alligator”)
Ponteio 1972
ConcertinosI. Cuco e o Burro (The Cuco and the Donkey)
II. Concertino Limoeiro (The Lime Tree Concertino)
III. Concertino 1974
IV. Variações sobre “Canção de Cegos” (“Blinds Song”Variations”)
João Paulo Casarotti
João
Paulo
Casarotti,
a
Brazilian
pianist,
received
his
MM
in
Piano
Pedagogy
from
the
University
of
North
Dakota.
He
earned
a
BM
in
Music
Performance
from
the
University
of
Sao
Paulo,
Brazil,
and
a
Performance
Certificate
from
the
National
Academy
of
Music
in
Sofia,
Bulgaria.
Mr.
Casarotti
is
graduating
from
Temple
University
a
MM
in
Piano
Performance
and
Pedagogy,
under
the
instruction
of
Maria
Del
Pico
Taylor.
Mr.
Casarotti
has
participating
in
various
music
festivals
such
as:
The
International
Music
festival
of
Curitiba
(1995),
Music
Festival
of
Londrina
(1998),
the
Winter
Festival
in
Campos
de
Jorão
(2000),
International
Musica
Festival
of
São
Caetano
do
Sul
(2001),
Music
Festical
of
Prados
(2001),
among
others.
He
has
won
prizes
in
the
following
competitions:
‐1st
Placein
the
Contest
of
the
Physical
and
Musical
Research
(1995)‐
São
Paulo
‐1st
Place
in
Concerto
Competitionof
the
Music
School
of
Piracicaba
‐3rd
Place
in
the
XIV
Young
Instrumentalists
Contest
of
Brazil
(1998)
–
São
Paulo
‐Award
for
the
“Best
Chamber
Pianist”in
the
Artlivre
National
Piano
Competition
(2000)
Mr.
Casarotti
has
made
presentations
on
the
“Villa
Lobos
Special”
on
the
TV
Cultura
and
Rede
Vida
television
channels
and
has
presented
recitals
in
Priacicaba,
Campinas,
São
Paulo,
São
Caetano
do
Sul,
Pradas
(Brazil),
Valdivia
and
Puerto
Mont
(Chile),
Assuncion
(Paraguay),
Bariloche
(Argentina),
Montevidéo
(Uruguay)
and
Solfia
(Bulgaria).
He
has
participated
as
a
soloist
in
the
Pro
Symphonic
Orchestra
of
Rio
Claro,
the
Chamber
Orchestra
of
the
Music
Festial
of
Prados,
Chamber
and
Symphonic
Orchestra
from
Piracicaba,
the
Chamber
Orchestra
of
São
Paulo
University,
Greater
Grand
Forks
Symphony
Orchestra
and
the
University
of
North
Dakota
Chamber
Orchestra.
Mr.
Casarotti
maintains
an
active
schedule
involving
world
premiere
performances
of
Brazilian
composers
such
as
Ernst
Mahle,
Maurico
de
Bonis,
Marcus
Siqueira
and
Paulo
Maron.
In
addition
to
his
performance
schedule,
he
continues
to
research
and
offer
pedagogical
presentations.
He
is
an
important
researcher
of
Ernst
Mahle’s
works
for
piano
and
is
involved
in
a
project
to
make
them
more
accessible.
This
year
Mr.
Casarotti
traveled
to
Brazil,
for
the
80th
Celebration
of
Ernst
Mahle,
where
he
was
invited
to
perform
with
the
Philharmonic
Orchestra
of
the
Piracicaba
School
of
Music.
At
this
time
he
also
presented
a
series
of
lectures
and
Master
Classes.
Mr.
Casarotti
is
currently
the
President
of
the
MTNA
Temple
Chapter
as
well
as
the
Taubman
Seminar
Assistant
and
Instructor.
He
is
adjunct
faculty
at
Temple
University,
where
he
has
been
teaching
classes
in
Piano
Pedagogy
and
Piano
Class.
Mr.
Casarotti
is
also
a
Music
Director
at
Saint
Peter’s
Lutheran
Church
in
Chester
Springs,
PA.
He
maintains
active
piano
studios
at
Temple
Prep,
Darlington
Arts
Center,
and
in
his
home
in
South
Philadelphia.
In
the
Fall
of
2010
Casarotti
will
start
his
Doctoral
in
Musical
Arts
Program
at
Louisiana
State
University
under
the
instruction
of
Michael
Gurt.
ERNST MAHLE: Cronology
1929
January 3, Ernst Hans Mahle was born in Stuttgart, Germany.
1936
Mahle learned recorder in elementary school.
1939
(World War II) Mahle started to take violin lessons.
1942
Mahle’s family moved to Austria. Mahle worked as a mechanical turner.
1945
End of World War II.
1946
Mahle gave up his pursuit of continuing his family’s tradition of working as an
engineer, and decided to dedicate his life to music.
1949
Due to the exhausting long hours of practicing with poor technique, Mahle
developed tendonitis in both arms, which resulted in his inability to continue
playing the piano.
1950
Mahle enrolled in a composition class of Professor Johann Nepomuk David, at
Stäatliche Hochschule für Music.
1951
Mahle’s family moved to Brazil. Mahle began taking courses at Conservatório
Dramatico e Musical de São Paulo.
1952
Mahle began taking lessons with the German composer Hans-Joachim
Koellreutter, at Escola Livre de Música de São Paulo Pró- Arte.
1953
On March 9, 1953 Koellreutter, Mahle, Maria Aparecida Romero Pinto (Cidinha)
and other important people from Piracicaba founded the Escola de Música de
Piracicaba, originally a branch of the Pró-Arte schools. In the beginning,
Koellreutter supervised the pedagogical activities of the school, but after some
time Mahle and Cidinha, with extreme devotion, assumed his role.
1953 - 1955
Mahle traveled to Europe for a several music courses. Among them Mahle studied
composition with Ernst Krenek, Olivier Messiaen, Wolfgang Fortner, and
conducting with Lovro Von Matacic, Hans Müller-Kray, and Rafael Kubelic.
1955
Ernst married Maria Aparecida Romero Pinto.
Mahle and Cidinha created the Orquestra Infantil de Piracicaba.
1962
Mahle became a Brazilian citizen.
Mahle’s family bought a new building for the school of music in Piracicaba.
1971
Mahle created and occupied the jury’s presidency of the biennual competition
Jovens Intrumentistas do Brasil, in Piracicaba.
1974
Cecília Elisabeth Mahle died from cancer.
1997
Mahle became a member of the Academia Brasileira de Música and VicePresident of the Sociedade Brasileira de Música Contemporânea.
1998
The Escola de Música de Piracicaba was combined with the Instituto
Educacional Piracicabano, which is also the owner of the Universidade
Metodista de Piracicaba. As a result of the inclusion the name of the School of
Music changed to Escola de Música de Piracicaba “Maestro Ernst Mahle.”
2004
Mahle
2005
Mahle was part of the jury for the University Of São Paulo’s Composition
Competition.
2006
Mahle’s first opera, Maroquinhas Fru-Fru is being performed at the VII Festival
de Música de Poços de Caldas. His opera O Guaratuja was performed in several
recites in the city of Sao Paulo besides other cities in Brazil
2009
Mahle travels to US and to Europe for a Series of Concerts in Homage to his 80th
Birtthday.
traveled to the Northeastern regions of Brazil for a series of concerts,
lectures, and workshops.
MAHLE’S AESTHETIC AND PHILOSOPHICAL CONCEPTIONS
•
Classification of Mahle’s works into phases proves challenging
•
The compositional characteristics of Ernst Mahle are based on three primary pillars of
direct influences:
o The traditionalist Johan Nepomuk David was the first major influence- solid base
of harmony and counterpoint.
o Hans- Joachim Koellreutter introduced Mahle to the music of the twentiethcentury, the vanguard techniques of composition and pedagogical inspiration.
o The Brazilian folklore that he became familiar with by way of his wife Maria
Aparecida and throughout the work of Heitor Villa-Lobos.
•
Indirect Influences- pedagogical observations of the work of:
o Béla Bartók
o Paul Hindemith
o Johan Sebastian Bach
o Georg Philipp Telemann
o Ludwig van Beethoven
I.
Mahle’s Vanguard Style
II.
Modalism
o The modal influence came from Mahle’s folklor arrangements and the
observation of Béla Bartók’s works.
o Mahle believes each basic scale corresponds with an emotion (ethos).
o The harmonization of the modes
o The sonata form and modalism.
III. Nationalism
o Mahle’s contact with Brazilian folklore and the use of Brazilian texts in his vocal
works.
o The importance of the folklore in general education.
o The modes found in the folk music of northeastern Brazil
 Mixolydian
 Lydian
 Lydian-mixolydian (so called northeastern mode)
 Aeolian
 Dorian
o Scales of African origin
 Pentatonic
 Hexatonal (without the leading tone)
 Major diatonic with lowered seventh in descending melodic motion.
o The incorporation of nationalism on Mahle’s idiom.
IV. Eclecticism
In an interview with the Argentine newspaper La Prensa, Mahle declared: “I have always
been searching to find a middle ground between the vanguard and the traditionalism. I have
worked on some advanced compositions, but they are the minority. I do not identify myself so
much with these tendencies.”1
V.
Traditionalism
The traditionalism (neoclassicism) of Ernst Mahle regarding form, phrasing, thematic
elaborations, scales, and harmonic structures are a result of:
o The pedagogical purpose- accessibility to music students
o The “consumption” of these pieces should be easy for the listeners.
o Philosophical factors
VI. Anthroposophy and Idealism
o The influence of the anthroposophy on his family and the application of this
philosophy on the composer’s life.
o The personal investment to the musical art.
1
Mahle, quoted from an interview to La Prensa, Buenos Aires, 1976.
MAHLE’S WORKS FOR PIANO SOLO
Vamos Maninha (1955)
Level of difficulty
Edition
Timing
Elementary II
Edition- Ricordi, São Paulo- 1955 (1sEd.)
Unimep, Piracicaba- 2003 (2nd Ed.)
varies
The Vamos, Maninha is a collection of 73 Brazilian folk and popular songs collected and
arranged by Mahle for piano with pedagogical purposes.
Pedagogical Features- An excellent collection for sight-reading studies, developing “new”
rhythmic clichés (for a beginner piano students), coordination of hands (independence), chords in
block position, rationalization of fingering, and group sense (four-hands pieces).
As Melodias da Cecília I and II (1972)
Level of difficulty
Edition
Timing
Intermediate I
Vol. I- Vitale, São Paulo-1972 / Unimep- 2000
Vol.II- Unimep- 2003
varies
This group of pieces was an extraction from the 1392 melodies
created by Mahle’s daughter Cecília, when she was between 2 and 6 years
old, and annotated and arranged by Mahle. Cecília was a very musically
talented child, who sang the melodies that represented her childhood. She
was blind at the age of four due to brain cancer and died at the age of fifteen
(1973). Mahle annotated and arranged these melodies, transforming them into a series of
pedagogical books for various instruments.
This work is divided in two volumes and contains 40 songs in the first volume and 31 in
the second. As well as As Músicas da Cecília, these albums are harmonization and arrangements
of the 1392 melodies created by Mahle’s daughter. The first volume was first edited by Editora
Vitale in 1972, and due to the popularity, it sold out and had a second edition released by Gráfica
da UNIMEP in 2000. The second volume was edited in October of 2003 by the Gráfica da
UNIMEP, although it was composed and arranged in the same period as the first volume.
As Músicas da Cecília (1969)
Level of difficulty
Edition
Timing
Intermediate II
Ricordi, São Paulo -1969
varies
I- Marcha dos Cavaleiros
II- Sostenuto
III- Vivo
IV- Bartokiana
Example - Bartók’s Play from For Children and Mahle’s Bartokiana
Pedagogical Features- Trills, repeated notes, doubled notes, touch contrasting according
to the character of the piece, varied detailing regarding articulations and dynamics. A demanding
left hand for early intermediate students due to: big leaps, difficult memorization, stretching
passages, hold notes, imitations, counter chant, and Alberti bass.
Sonatina (1973)
Level of difficulty
Edition
Timing
Intermediate I
Autograph typescript
1:00
The Sonatina 1973 was dedicated to the journalist and pianist Marisa Ferraro Sampaio,
who was one of the juries of the Competition Jovens Instrumentistas in 1973, in Piracicaba.
Mahle wrote this sonatina as a request of Marisa on the intermission of that competition.
However, she has not expected that her request would be attended on the same day or two hours
later. According to Mahle “she was astonished at having a request attended to in such a quick
time!”2
Pedagogical Features- Condensed sonata-form characterized by short scalar passages,
tremolos with varied intervals (good for the approach of rotation) and recurrent accompaniment
of doubled notes.
2
Casarotti, Questionnaire addressed to Ernst Mahle and Maria Apparecida Mahle, 2006.
Oito Ponteios (1972-1998)
Level of difficulty
Edition
Timing
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
Advanced
Autograph typescript
varies
Trem de Ferro
Ponteio
Berimbau
As Máscaras
Dança em Volta do Fogo
Couro de Boi
Os Sapos
Sertão
The Oito Ponteios (Eight Ponteios) are transcriptions of the Suite Brasileira (1963) for
choir. The transcription was stimulated by the professor and pianist Paulo Affonso de Moura,
and after the good acceptance of the first three, Ponteio (1972), Berimbau (1980) and Dança em
Volta do Fogo (1980), Mahle decided to conclude the series in 1998. The works have poetry by
modernists and nationalists such as Manuel Bandeira (Ponteio, Berimbau, and Os Sapos),
Cassiano Ricardo (Trem de Ferro, As Máscaras, Dança em Volta do Fogo, and Couro de Boi),
and Ascenso Ferreira (Sertão).
Ponteio is a “free instrumental composition inspired from the plucking of strings
instruments.”3 It is in fact a kind of Brazilian prelude that became common in Brazil after the 50
Ponteios for piano by Mozart Camargo Guarnieri.
Pedagogical Features- Some of the pedagogical features found among these works are:
Repeated block and arpegiated chords, big leaps, control in pedal and dynamics, complicated
energic rhythmic paterns, octaves in legato touch, glissandos with both hands, difficult of
memorization, constant appearances of quick shifting of registers, improvisional section (Os
sapos), among others.
3
Ferreira, Aurelio B. de Holanda, quoted from Casarotti, Ernst Mahle: 50 Anos de Brasil, 41.
MAHLE’S CONCERTINOS FOR PIANO SOLO
I. Cuco e o Burro (the Cuco and the Donkey)
Level of difficulty
Edition
Timing
Elementary III
Autograph typescript
1:00
The Concertino, Cuco and the Donkey was composed by Mahle in 1979 and dedicated to his
daughter Eleonora. She played the premier when she was 6 years old with the children’s
orchestra of the Escola de Musica de Piracicaba while Ernst Mahle conducted.
The piece is a Germany folk song that assembles a dialogue between the cuco and the donkey.
Orchestration: strings, soprano recorder, flute, oboe clarinet, bassoon, horn, trumpet and
percussion.
Pedagogical Features: this piece is a great opportunity for beginner’s students (2nd year
of piano) to be able to have an opportunity to play with orchestra. The piece challenges
students to create a dialogue with the orchestra, explore their tessitura (3 octaves), change
articulations (staccato, legato), and change dynamics levels (p, mf, f, ff), double notes in
both hands (mm.55-58), and play the glissando.
II. Concertino Limoeiro (The Lime Tree Concertino)
Level of difficulty
Edition
Timing
Intermediate I
Autograph typescript
3:00
The Concertino Limoeiro was dedicated to Mahle’s daughter Cecilia. It is based on a
Greek folk song(Limoeiro de Patras). This piece is suitable for a 3rd or 4th year piano student
(usually 9-10 years old); or a student who has musical and technical skills equivalent to those
required for Anna Magdalena Bach’ Notebook, Bartok- For Children or Clementi- Sonatina
Op.36 no.1.
Orchestration: strings, soprano recorder, flute, oboe clarinet, bassoon, horn, trumpet,
and percussion.
Pedagogical Features: The piece challenges students with voicing (3-4 voices), lack of
articulation markings, variety of dynamic markings (p,mf,f,ff), long trills, fast Dmixolydian scales (Cadence), leaps on L.H (mm.113-126), and short appoggiaturas
(mm.136).
III. Concertino 1974
Level of difficulty
Edition
Timing
Intermediate I
Autograph typescript
4:15
The Concertino 1974 was written for the Young Instrumentalists Competition of Brazil
(1975). Among his other concertinos, the Concertino 1974 is the most frequently performed.
They were performed in several musical centers around Brazil, including: Sao Paulo,
Teresopolis, Rio de Janeiro, and Manaus. This piece is appropriate for an intermediate student
with musical and technical skills equivalent to those required for Bach’s Two Part Invention or
Mozart’s Sonata KV 545.
Orchestration: string orchestra
Pedagogical Features: This piece has an intriguing modal flavor (Lydian-mixolydian /
Mixolydian with 6m) as well as vigorous rhythms (16ths), syncopation (Brazilian
characteristic), melody shifts from RH to LH, crossing hands, long trills (both hands-ff),
dissonances with fz/pedal, arpeggios with modal flavor, and broken chords (mm.172175).
IV. Variações sobre “Canção de Cegos” (1956)
Level of difficulty
Edition
Timing
Advanced
Autograph typescript
9:00
This piece was dedicated to Ida Meirelles when she was 12 years old and had the
opportunity to be a soloist with the Youth Symphony Orchestra of the Escola de Música de
Piracicaba. It is based on a theme from northeast Brazil, Cancao de Cegos (Blind’s song). It
consists of five variations, a cadenza, and a coda.
Orchestration: symphonic orchestra
Pedagogical Features:
Theme: Voicing, single rotation (LH)
Variation 1: Imitation of Scales R.H/L.H in parallel and contrary motion
Variation 2: Allegro Resoluto-octaves (RH)/ Syncopated broken chords (L.H),
glissando, complicated rhythms (mm.51- 58), sixteenths (RH/LH alternated)
Variation 3: Grave e magestoso- voicing (RH) and octaves in contrary motion (L.H)
Variation 4: Adagio con moto: broken chords (R.H)/ octaves and leaps and full
chords (LH), voicing, dynamic control (pp-ff), use of ritardando and rubato, pedal
control.
Variation 5: Vivo- melody- legato shifts (RH-LH)/ accompaniment-chords-triads,
7ths, 10ths. Rhythmically and coordination (RH/LH) challenges (mm.140-156).
Cadenza: Fast descendent scale (A minor), trills and shifting hands trills, arpeggios
with alternated hands, tremolos, voicing, octaves.
MAHLE’S PIANO SOLO WORKS
Peça para Piano (1954)
7 Peças Sobre Uma e Duas Notas Só
Vamos Maninha (1955)
Sonatina (1956)
Quando o Galo Canta (1967)
As Músicas da Cecília (1969)
Sonata (1971)
As Melodias da Cecília I and II (1972)
Sonatina (1973)
Sonatina (1975)
Oito Ponteios (1972-1998)
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
Trem de Ferro
Ponteio
Berimbau
As Máscaras
Dança em Volta do Fogo
Couro de Boi
Os Sapos
Sertão
OTHER WORKS FOR PIANO
Piano 4 Hands
•
•
•
•
•
•
•
•
•
•
•
•
•
Peças Modais (1955)
Toccata (1957)
Boi Bumbá (1956)
Suite Nordestina (1977)
Arapuá Tupana (1994)
Ovale-Mahle- Suite (1995)
Gomes-Mahle- O Burrico de Pau (1996)
Jangada de Iemanjá (1996)
Introdução e Dobrado (1998)
W.Henrique- Mahle- Suite no.1(2003)
W. Henrique- mahle- Suite no.2 (2007)
W. Henrique-Mahle- Suite no.3 (2007)
Suite Pernambuco (2007)
Duets
•
•
•
•
•
Violin and Piano
Viola and Piano
Cello and Piano
Double Bass and Piano
Flute and Piano
o
o
o
o
o
o
o
o
As Melodias da Cecília (1972)
Sonatina (1955)
Sonatina (1956)
Sonata (1968)
Sonatina (1974)
Sonatina (1975)
Capricho (1976)
Sonata (1980)
o
o
o
o
As Melodias da Cecília (1972)
Sonatina for Viola or Cello (1956)
Sonata (1968)
Sonatina (1976)
o
o
o
o
Melodias da Cecília (1972)
Sonatina for Cello or Viola (1956)
Sonata (1968)
Sonatina (1976)
o
o
As Melodias da Cecília (1972)
Sonatina (1975)
o
o
o
o
o
o
o
o
As Melodias da Cecília (1972)
Variações sobre Melodia Grega (1956)
Sonata (1958)
Miniaturas (1967)
Sonata (1971)
Sonatina (1973)
Sonatina (1976)
Sonatina Nordestina (1987)
•
•
•
Oboe and Piano
English horn and Piano
Clarinet and Piano
•
Clarone and Piano
•
Basson and Piano
•
•
•
•
Soprano Recorder
Trumpet and Piano
Horn and Piano
Trombone and Piano
o
o
o
o
o
o
As Melodias da Cecília for Recorder or Oboe (1972)
Sonata (1969)
Sonatina for Recorder or Oboe (1970)
Ondina (1975)
Sonatina (1976)
30 Melodias Modais (1977)
o
o
Sonatina Corne Ingles or Trompet (1972)
Sonatina (1983)
o
o
o
o
o
As Melodias da Cecília (1972)
Sonata (1970)
Miniatura (1970)
Sonatina (1974)
Sonatina (1976)
o
Sonata (1987)
o
o
o
As Melodias da Cecília (1972)
Sonata (1969)
Sonatina (1974)
o
o
o
o
As Melodias da Cecília (1972)
Sonatina Modal (1956)
Sonatina for Flute or Oboe (1970)
30 Melodias Modais (1977)
o
o
As Melodias da Cecília (1972)
Sonatina (1979)
o
o
As Melodias da Cecília (1972)
Sonatina (1972)
o
o
As Melodias da Cecília (1972)
Sonatina (1979)
Piano Trios
•
•
•
•
•
•
•
•
Trio for Two Violins and Piano (1956)
Prelude and Fugue for Flute, Violin and Piano (1956)
Trio for Flute, Violin and Piano (1952)
Trio for Violin (ob.), Cello (horn) and Piano (1970)
Trio for Flute, Clarinet (cello) and Piano (1971)
Trio for Two Violins and Piano (1998)
Trio for Clarinet, Violin and piano (1998)
Trio for Oboe, Basson and Piano (2007)
Piano Quartets
•
•
•
Quartet for Flute doce, Violin, Cello and Piano (1958)
Quartet for Flute, Violin, Viola and Piano (1957)
Three pieces for Soprano, Flute, Oboe and Piano (1970) Quartet for Violin, Viola, Cello and Piano (2006)
Sextets
•
Divertimento for 2 clarinets,2 violins, horn and piano (1956)
Septets
•
Septet for flute, clarinet, bassoon, trumpet, horn, trombone and piano (1957)
Nonets
•
O amor é um Som for soprano, flute, clarinet, percussion, piano (vibraphone), violin, viola, cello and
double bass (1976, name)
Songs
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
Five Songs for mezzo soprano or baritone (1961, Bandeira)
O Menino Doente for mezzo (1961, Bandeira)
Rosamor for soprano or tenor (1966, Almeida)
Rosamor for mezzo or baritone (1966, Almeida)
Para uma Cigarra for soprano (1966, Meirelles)
E agora José? For mezzo or baritone (1971, Andrade)
Leilão de Jardim for soprano (1971, Meirelles)
Queixa da Moça arrependida for soprano (1972, Ricardo)
Queixa da Moça arrependida for mezzo or alto (1972)
Categiró for mezzo or baritone (1972, Ricardo)
Campanário de São José for mezzo or baritone (1972)
Os Sinos for baritone or mezzo (1980, Bandeira)
Elegia for tenor (1980, Couto)
Elegia for baritone (1980, Couto)
Quadras ao Gosto Popular for baritone (1981, Pessoa)
O Relógio for soprano (1984, Moraes)
O Pato for tenor (Moraes)
Cidadezinha for tenor (1997, Quintana)
Dona Janaína for baritone (1997, Bandeira)
Piano- Chamber Orchestra
•
Concertino (1974)
Piano- Yought Symphonic Orchestra
•
•
Variações sobre “Canção de Cegos” (1956)
Concertino “Limoeiro”
Piano- Symphony Orchestra
•
Concerto 2001
BIBLIOGRAPHY
Books, Articles and Reference Matter
Aguiar, Beatriz A., Elisa R. Monteiro, João P. Casaroti, et al.. Ernst Mahle: Arte, Folclore e
Pedagogia. Seminar paper for Disciplina de Estetica e Historia da Arte, Universidade de São
Paulo, 1999.
Andrade, Mário de. Aspectos da Música Brasileira. São Paulo: Livraria Martins Editora, 1939.
________. Música, Doce Música. São Paulo: Livraria Martins Editora, 1963.
________. Ensaio Sobre Música Brasileira. São Paulo: Livraria Martins Editora, 1982.
________. Música de Feitiçaria no Brasil, 2nd ed. Belo Horizonte: Editora Itatiaia, 1983.
Antokoletz, E., V. Fischer and B. Suchoff. Bartók Perpectives: Man, Composer, and
Ethnomusicologist. Oxford: Oxford University Press, 2000.
Appleby, David. The Music of Brazil. Austin, Texas: University of Texas Press, 1983.
Arzolla, Antonio Roberto Roccia dal Pozzo. Uma abordagem Analítico-Interpretativa do Concerto
1990 para Contrabaixo e Orquestra de Ernst Mahle. Master’s Thesis, Universidade do Rio de
Janeiro, 1996.
Azevedo, Luis Heitor Corrêa de. 150 Anos de Música no Brasil (1850- 1950). Rio de Janeiro: José
Olympio, 1956.
Basseches, Bruno. Bibliographies of Brazilian Biographies. Detroit: Blaine Ethridge Books, 1978.
Béhague, Gerard. The Beginnings of Musical Nationalism in Brazil. Detroit: Information Coordinators,
1971.
Brito, Teca Alencar. Koellreutter Educator: O Humanismo como Educação Musical. Rio de Janeiro:
Fundação Peirópolis, 2001.
Casarotti, João Paulo. Ernst Mahle: 50 Anos de Brasil e Análise dos Ponteios: “Ponteio 1972” e “Os
Sapos.” B.A. final paper, Universidade de São Paulo, 2001.
________. Questionnaire addressed to Ernst Mahle (Part I and II). With replies in the hand of Ernst
Mahle. Typescript. Escola de Música de Piracicaba, 2001.
________. Questionnaire addressed to Maria Apparecida Mahle. With replies in the hand of Maria
Apparecida Mahle. Typescript. Escola de Música de Piracicaba, 2001.
________. Questionnaire addressed to Ernst Mahle and Maria Apparecida Mahle (Parts I,II and III).
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Fausto, Boris. História do Brasil. 11th ed. São Paulo: Edusp, 2002.
Feres, Josete. Questionnaire addressed to Ernst Mahle. With replies in the hand of Maria Apparecida
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Filho, Caldeira. “Pianolatria.” O Estado de São Paulo, 2 February 1982.
Frias, Celisa Annichino Amaral. Análise, Gravacão e Editoracão das Músicas para Violino Solo de
Ernst Mahle. Master’s Thesis, Universidade de São Paulo, 1999.
________. Questionnaire addressed to Maria Apparecida Mahle. With replies in the hand of Maria
Apparecida Mahle. Typescript. Escola de Música de Piracicaba, 1998.
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Funarte- Relume Dumara, 1997.
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Comparativo de Interpretações. Doctoral Thesis, Universidade Federal da Bahia, 2002.
Kater, Carlos. Música Viva e H.J. Koellreuter: Movimentos em Direção à Modernidade. São Paulo:
Musa Editora Atravez, 2001.
Koellreuter, Hans Joachim. “Escola Livre de Música Piracicaba.” Diário de São Paulo, 14 March
1953.
Krausz, Luis S. “Em conversa: Ernst Mahle.” Revista Concerto (January/February 1999): 12-13.
Lloyd, Sônia Feres. The Viola Compositions of Ernst Mahle and their Idiomatic and Pedagogical
Characteristics. D.M. Dissertation, Lousiana State University, 2000.
________. Questionnaire addressed to Ernst Mahle. With replies in the hand of Ernst Mahle.
Typescript. Escola de Música de Piracicaba, 2000.
Machado, Johnson Joanesburg Anchieta. Questionnaire addressed to Ernst Mahle. With replies in the
hand of Ernst Mahle. Typescript. Escola de Música de Piracicaba, 1993.
Mahle, Ernst. Ernst Mahle: Catálogo de Obras. Piracicaba, SP: Escola de Música de Piracicaba and
Prefeitura de Piracicaba, 1998.
________. “Curso de Férias em Teresópolis.” Jornal de Piracicaba, 14 February 1954.
________. Jacket notes to Obras para Violino e Piano. Celisa Amaral Frias, violin and Bernadete
Sampaio, piano. Sonopress-Rimo GTCD 09, 1996.
Mahle, Maria Apparecida R. P. 100 Solfejos: Melodias Folclóricas de Vários Países. São Paulo:
Irmãos Vitale, 1969.
________. “A Escola de Música de Piracicaba.” Revista da Associação Brasileira de Educação
Musical 01 (1962): 61-62.
________. “Iniciação Musical.” Jornal de Piracicaba, 1 September 1953.
________. “Pianomania.” Jornal de Piracicaba, 4 April 1956.
Mariz, Vasco. História da Música no Brasil. 6th ed. São Paulo: Nova Fronteira, 2005.
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ed. São Paulo: Art Editora, 1998.
Maris, Vasco. Figuras da Música Brasileira Contemporânea. 2nd ed. Brasília: Universidade de
Brasília.
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Netto, Losso. “A Pró Arte inaugurou a sua Escola Livre de Música de Arte desta Cidade.” Jornal de
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________. “Funcionará nesta Cidade uma Sucursal da Escola Livre de Música de São Paulo.” Jornal
de Piracicaba, 27 February 1954.
________. “O Pianista Fritz Jank iniciará hoje o Curso Superior de Piano na Escola Livre de Musica.”
Jornal de Piracicaba, 7 March 1954.
________. “O Recital de Hoje da Cultura Artística.” Jornal de Piracicaba, 22 October 1952.
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Editora UFRJ, 1994.
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de Mesquita Filho,” 2004.
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Northwestern University, 1999.
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________. Sonatina (1975) para Piano Solo. Autograph typescript. Escola de Música de Piracicaba.
________. Sonatina (1975) para Piano Solo. Autograph typescript. Escola de Música de Piracicaba.
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1997.
CONTACT INFORMATION
João Paulo Casarotti
Pianist and Piano Instructor
1248 Johnston Street
Philadelphia, PA 19148
(267) 761-1018
Website: www.casarotti.me
Email- [email protected]
For download a copy of the hand out and scores of this lecture
http://www.casarotti.me/casarotti/Downloads.html
For videos of performances of Mahle’s works for piano
www.youtube.com/jpcasarotti