Concerto para Violino em Dó Menor de João Poeck: um estudo de seu contexto de criação

• Ano de defesa: 2025
• Autor(a) principal: Linzmayer, Eduardo Henrique
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal da Paraíba; Brasil; Música; Programa de Pós-Graduação em Música; UFPB
• Palavras-chave em Português: Concerto música; João Poeck; Repertório violino; Música brasileira; Comunidades estrangeiras; Concerto; Violin repertoire; Brazilian music; Immigrant communities; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA
• Link de acesso: https://repositorio.ufpb.br/jspui/handle/123456789/37198

João Poeck (1904-1983) was an Austrian-born composer, pianist, chemical engineer, and university professor who became a naturalized Brazilian citizen and settled in Curitiba. His Concerto for Violin in C Minor an unknown work among the Brazilian violin repertoire -was composed in Curitiba between 1936 and 1937, following the tradition of 19th-century European romantic concertos. Poeck orchestrated only the first and second movements, leaving the third in a version for violin and piano. This dissertation aimed to analyze how the contexts of creation, dissemination, and preservation of Poeck's Concerto contributed to its marginalization among the national repertoire. Given the scarcity of specific literature, the research is primarily based on documentary sources, supplemented by interviews with individuals who either knew the composer personally or had indirect connections to his life. The dissertation presents a biographical study of João Poeck an artist previously absent from academic literature covering his origins, education, migration to Brazil, contributions to music and science, as well as aspects of his personality and behavior. It also provides a formal analysis of the concerto, highlighting its intertextuality with canonical works of the violin repertoire, and examines the characteristics of its original manuscript sources. The research includes a critical edition of the violin and piano reduction, along with performance suggestions for the solo violin part. Additionally, it addresses the sociopolitical context surrounding the work's creation, Poeck's personal circumstances at the time, and the careers of the violinists who premiered the Concerto. Finally, the dissertation reflects on how Poeck's works have been treated posthumously, considering how his own personality and relationship with his output may have contributed to his obscurity in Brazilian music history, while also proposing his compositional legacy as a promising new field of research within Brazilian musicology.