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VI SIM_UFRJ 2015 & INTERNATIONAL COLOQUIUM IAI / UdK 2015
Florestan and Eusebius through Latin American lens:
the piano pieces of Argentinian Gerardo Gandini and Chilean Eduardo Cáceres
1st Author: Eliana Monteiro da Silva
Institutional affiliation: ECA-USP-FAPESP
e-mail: ms.eliana@usp.br
2nd Author: Amilcar Zani
Institutional affiliation: ECA-USP
e-mail: azani@terra.com.br
Abstract: German composer Robert Schumann (1810-1856) became worldwide famous also by his well-
elaborated musical production, during the Romantic period, and by his outstanding personality. In his
brilliant mind lived different personae, designated by the musician members of a fictional David’s
League, or, die Davidsbündler. These Davidsbündler, irreverent artists compromised with a poetical
music and against the sensual and irrational compositions created by authors as Franz Liszt and Richard
Wagner, came to surpass Schumann’s imagination, reaching his literary texts and musical compositions.
They signed critical articles in Schumann’s musical journal, the Neue Zeitschrift für Musik, even
assuming the authorship of some composer’s piano pieces, as the Davidsbündlertänze Op 6. Among
them, two figures called the attention of some Latin American composers in the 20th and 21st centuries due
to their more constant appearance in Robert Schumann’s works. They are Florestan and Eusebius, being
the first the extroverted, exaggerated and courageous side of Schumann himself, while the latter
represents his most quiet, lyric and introverted version. Their names figure, alternately, at the end of each
of the dances of Schumann’s Op. 6.
This paper aims to show how the Argentinian composer Gerardo Gandini (1936-2013) and the Chilean
Eduardo Cáceres (1955) felt this cultural influence. Both declared their admiration for Schumann,
respectively, in the piano works Eusebius and ¿Y como están? “Están flor” (homenaje a Robert
Schumann), here analyzed. Argentinian composer Gerardo Gandini created the four nocturnes of
Eusebius (Zart und Singed I, II, III and IV) between 1984 and 1986, based on the 14th dance of
Schumann’s Davidsbündlertänze. More than two decades later, the same cycle inspired Eduardo Cáceres
to utilize its 6th dance, signed “F” from Florestan, as material for his ¿Y como están? “Están flor”.
Gandini had already composed other pieces under the German musician influence, such as RSCH:
Escenas (Scenes), RSCH: Testimonios (Testimonies) and RSCH: Elegía (Elegy). He justified his interest
in Schumann’s music by saying that the master’s figure was an obsessive presence for him in the 1980’s,
whose ghost could not be exorcized through a single work. Only for Eusebius, Gandini composed four
nocturnes applying the technique of filtering sounds from Schumann’s 14th Davidsbündlertanz. According
to the author’s score, the original dance could be listened if four pianists played the four pieces
simultaneously. The approach of Chilean composer Eduardo Cáceres in ¿Y como están? “Están flor” is
similar to Gandini’s work in technical terms. Disregarding the superior voice of the piece, Cáceres gave
independence and personality to the 6th Davidsbündlertanz accompaniment, using different articulations,
creating new accents and exploring all the regions of the piano. Either by choosing a unique melodic line,
like Cáceres, or pinning few notes of the whole piece, like Gandini, these two Latin American composers
transformed Robert Schumann tonal and romantic material in atonal and post-modern music, keeping the
very essence of the great European musician’s oeuvre.
Keywords: Robert Schumann – Gerardo Gandini – Eduardo Cáceres – Romantic music – Latin American
music.
Resumo: O compositor alemão Robert Schumann (1810-1856) tornou-se mundialmente famoso tanto por
sua produção musical elaborada, durante o período romântico, como por sua personalidade peculiar. Sua
mente brilhante abrigou diferentes personae, designadas pelo músico como membros de uma fictícia Liga
de David, ou, die Davidsbündler. Estes Davidsbündler, artistas comprometidos com uma música poética
e contra as composições sensuais e irracionais compostas por autores como Franz Liszt e Richard
Wagner, terminaram por ultrapassar a imaginação de Schumann, alcançando seus textos literários e
composições musicais. Assinavam artigos críticos em seu periódico, a Neue Zeitschrift für Musik,
inclusive assumindo a autoria de algumas peças para piano do compositor, como as Davidsbündlertänze
Op. 6. Entre eles, duas figuras chamaram a atenção de alguns compositores latino-americanos nos séculos
XX e XXI pela aparição mais frequente nas obras de Robert Schumann. São eles Florestan e Eusebius,
representando o primeiro o lado extrovertido, exagerado e corajoso de Schumann, enquanto o último seria
sua versão mais quieta, lírica e introvertida. Seus nomes figuram, alternadamente, ao fim de cada dança
do Op. 6 de Schumann.
Este artigo busca mostrar como o compositor argentino Gerardo Gandini (1936-2013) e o chileno
Eduardo Cáceres (1955) absorveram esta influência cultural. Ambos declararam sua admiração por
Schumann, respectivamente, nas peças para piano Eusebius e ¿Y como están? “Están flor” (homenaje a
Robert Schumann), aqui analisadas. O compositor argentino Gerardo Gandini compôs os quatro noturnos
de Eusebius (Zart und Singen I, II, III e IV) entre 1984 e 1986, baseados na 14ª dança das
Davidsbündlertänze. Mais de duas décadas depois, o mesmo ciclo inspirou Eduardo Cáceres a utilizar sua
6ª dança, assinada “F “de Florestan, como material para ¿Y como están? “Están flor”.
Gandini fizera anteriormente outras peças sob influência de Robert Schumann, como RSCH: Escenas
(Scenes), RSCH: Testimonios (Testimonies) e RSCH: Elegía (Elegy). Ele justificou seu interesse pela
música de Schumann dizendo que a figura do mesmo fora uma presença obsessiva para ele nos anos
1980, cujo fantasma não poderia ser exorcizado numa única obra. Apenas para Eusebius, Gandini compôs
quarto noturnos aplicando a técnica de filtragem de sons da 14ª Davidsbündlertanz. De acordo com a
partitura do autor, a dança original poderia ser ouvida se quatro pianistas tocassem as quatro peças
simultaneamente. A abordagem do compositor chileno Eduardo Cáceres em ¿Y como están? “Están flor”
é similar ao trabalho de Gandini em termos técnicos. Desprezando a voz superior da peça, Cáceres deu
independência e personalidade ao acompanhamento da 6ª Davidsbündlertanz, usando diferentes
articulações, criando novos acentos e explorando todas as regiões do piano. Seja escolhendo uma única
linha melódica, como Cáceres, ou pinçando notas de uma peça integral, como Gandini, estes dois
compositores latino-americanos transformaram o material tonal e romântico de Robert Schumann em
música atonal e pós-moderna, conservando a essência da obra deste grande músico europeu.
Palavras-chave: Robert Schumann – Gerardo Gandini – Eduardo Cáceres – Música Romântica – Música
Latino-americana.
Introduction
The affection for German composer Robert Schumann is not privilege of the
Latin Americans. His rational and, at the same time, poetical manner of thinking music
have enchanted specialists and amateurs musicians worldwide since the end of the 19th
century. The motivic structure of his works, having Beethoven as a mentor (see, for
instance, the motivic structure of Beethoven’s Diabelli Variations), gave him the
possibility of compressing many ideas in few measures, as he did in the short pieces of
his Carnaval Op. 9, among other examples. Johannes Brahms would enlarge this
concept in his symphonies and, half century later, composers like Arnold Schoenberg
and Anton Webern would create melodic motives in form of series of twelve tones.
Nevertheless, what seems to have touched the 20th century Latin American
composers’ soul is the dramatic temper of Robert Schumann and his multiple
personality. This can be noticed in the piano pieces analyzed in this article, named by
the Argentinian composer Gerardo Gandini and the Chilean Eduardo Cáceres after two
of Schumann’s favorite characters: Florestan and Eusebius. These two personae,
designated by Robert Schumann members of a fictional David’s League, or, die
Davidsbündler, were irreverent artists compromised with a poetical music and against
the sensual and irrational compositions created by authors as Franz Liszt and Richard
Wagner1. Being the first bold and courageous, and the latter quiet and introverted, both
came to surpass Schumann’s imagination, reaching his literary texts and musical
compositions. The author’s piano cycle Op. 6, named Davidsbündlertanze (Dance of the
David’s colleagues), testifies this kind of practice. Each piece of the work is signed with
the initials “F” or “E”, or with both of them. Number 6 and 14, respectively, inspired
Cáceres’ ¿Y como están? “Están flor” (homenaje a Robert Schumann) and Gandini’s
Eusebius.
Getting to know Florestan and Eusebius
Robert Schumann was born in Zwickau, in 1810. Son of a bookstore owner,
the boy early discovered literature’s great masters like Schiller and Goethe. His first
ambition was the lawyer career, which he studied in Heidelberg. But an eccentric
performance of the violinist Paganini changed his mind completely; encouraging
Schumann to look for a piano teacher in Leipzig in order to be an artist of the
instrument. This teacher was called Friedrich Wieck.
Studying and living in Wieck’s house, usual practice in the 19th century,
Schumann faced a routine of piano exercises and discipline. An accident with his hand
caused him pain and frustration.
He decided, though, for a composer métier. At that time, he had already
1 “Music of the Future as composed, performed, and prorogated by Liszt and Wagner according to the
Davidites was rapidly becoming the language of intense, irrational, and unnecessary sensualism. The true
music – that of Bach and Beethoven – espoused the qualities and language of poetic beauty and ideals,
and should be the sole basis for future compositional efforts” (MILLER, n. d., p. 7).
impressed his teacher with works like the Papillons Op 2. He would give up the practice
of piano, focusing his interest in harmony, orchestration and the study of Bach,
Beethoven and Schubert’s works. Clara Wieck, Friedrich’s daughter and a prodigious
girl at the piano, became his friend, lover and principal interpreter. The young boy’s life
was a mix of excitement, anxiety and romantic worries…
Robert Schumann created the persona Florestan on his twenty-first birthday.
The composer recalled the 8 June 1831 as if he had woken up from “a deep sleep as
before [his] birth” (EISMANN, apud OSTWALD, 1985, p. 77). On that occasion,
Schumann felt as though as he could separate his “existence” from his “appearance”,
“between form and shadow”, close to the sensation of madness he had already
experienced in his youth (Ibid)2. The answer came quickly to his mind: Florestan, a hero
who had survived from been killed by the villain Pizarro, in Beethoven’s opera Fidelio.
He could be a member of the imaginary Davidsbündler, representing the outgoing side
of Schumann himself: masculine and brave, fearless and passionate.
Eusebius, Florestan’s fictitious twin, was born on July 1st, 1831. He had been
brought to light from ecclesiastical histories Schumann read about Christian martyrs.
The great coincidence is that Saint Eusebius’ commemorative day was near of Santa
Clara’s, which pleased Robert even more. Florestan and Eusebius oriented Schumann’s
compositions and texts for the 30’s decade, signing works like the Klaviersonate Op 11
(dedicated to Clara Wieck by Florestan and Eusebius)3 and the Davidsbündlertänze Op.
6.
The German Robert Schumann’s Davidsbündlertänze
Schumann started his Op. 6 in the autumn of 1837. That was a year when he
stayed apart from Clara due to her father’s opposition to their engagement. Chissell
(1972, p. 59) says that Schumann’s state of spirit was a miserable one. The author
quotes some rimes, which give the tone of the composer’s mood:
2 The young Robert Schumann suffered two significant losses: his father and sister. The suicide
committed by the girl left in Robert a permanent terror of mental diseases.
3 For more details, see DAVERIO, 1997, p. 144, and MONTEIRO DA SILVA, 2011, passim.
We follow a way where there are luck and sadness
Be grave, even if you are happy, in good times,
And be strong, even if you are sad, in bad ones4.
The 18 pieces of the work had been signed with F (from Florestan) or E (from
Eusebius). Four of them present both of the initials. The letters refer to each piece’s
character and mood. Schumann wrote to Clara to explain that the cycle had been
composed having a wedding vesper in mind (polterabend), which gave him much
pleasure. According to a German legend, dwarves and elves used to trouble the bride
one day before the wedding, playing tricks to her.
The Argentinian Gerardo Gandini’s Eusebius
According to Paraskevaídis (1993, p. 1), Gerardo Gandini achieved the place of
the most known composer who not only was born, but also lived in Argentina during
the 20th century. Others like him made important compositional contributions but
became hardly known beyond Latin American borders, as is the case of Oscar Bazán
and Eduardo Bértola. Juan Carlos Paz and Alberto Ginastera are better known among
Argentinian composers, but had the opportunity of living and working abroad.
Besides the compositional activity, Gandini built an important didactical career.
He worked as teacher and assisted Ginastera’s direction at the Latin American Center
for Advanced Music Studies, in the Instituto Di Tella, contributed to the Cursos
Latinoamericanos de Musica Contemporanea, ́ ́ was “guest professor at the Juilliard
School of Music in New York, professor at the School of Music of the University of La
Plata (Argentina) and at the Music School of the Catholic University in Buenos Aires”
(PARASKEVAÍDIS, 1993, p. 1). Many of the most acknowledged Latin American
composers of the 20th century point out his influence in their musical production.
The inspiration in Robert Schumann’s Davidsbündlertanz n. 14 for Gandini’s
piano piece Eusebius was not an isolated enterprise in the composer’s production. He
had already composed other pieces under the German musician influence, such as
RSCH: Escenas (Scenes), RSCH: Testimonios (Testimonies) and RSCH: Elegía (Elegy).
4 In ‘all und jeder Zeit/ Verknüpft sich Lust und Leid/ Bleibt fromm in Lust und seid/ Beim Leid mit Mut
bereit.
Gandini justified his interest in Schumann’s music by saying that the master’s figure
was an obsessive presence for him in the 1980’s, whose ghost could not be exorcized
through a single work (PARASKEVAÍDIS, apud BALZI, 1998, p. 22). Moreover, to
use and transform material from traditional classic music was among the practices used
by the Argentinian composer. Paraskevaídis (1993, p. 4) appoints:
Since 1969 […] Gerardo Gandini points to a compositional procedure which
has become characteristic of his work and which he has consistently applied
in his music ever since. He speaks of an objet trouvé as the basic idea
referring to a starting, already existing material, which is continuously
changed through processes of multiplication, de- and re-construction, de- and
re- composition, overlapping, editing, association, contrast, blending,
becoming unrecognizable and then again recognizable, pulverizing and then
putting together in a new way.
The objet trouvé (found object), in Eusebius case, was the very dance of
Schumann’s Op. 6. Gandini deconstructed the 14th piece of the cycle, signed “E”,
overlapping notes and creating a completely new composition, full of dissonances and
silences, in line with the prevalent thought of the second half of the 20th century
classical music.
The next figures show Gandini’s process of deconstruction and reconstruction in
Davidsbündlertanz n. 145.
Figure 1. Robert Schumann's Davidsbündlertanz n. 14, mm. 1 to 4,
with notes chosen by Gandini to his first Eusebius’ nocturne
5 The two examples here exhibited are part of an article published by the authors at Opus, vol. 19 n. 2, p.
115-136.
Figure 2. Gerardo Gandini’s Eusebius, Zart und singend I, mm. 1 to 4
Gandini followed the same procedure in the four nocturnes of Eusebius (named
Zart und Singend I, II, III and IV). The notes used in the first piece were not utilized in
the others, and so on. The most used intervals in the three first nocturnes are 2m (and its
inversion 7M), 2M and 4th. As more consonant pitches resulted from the process for the
last one - like 3M, 3m and 5th - Gandini made some changes to make the whole work
more interesting. He explained:
[At the end] the tones I still had were no longer interesting, but some of my
composition students proposed that I should write a fourth piece. I had to
exchange some tones from the three pieces in order to make the fourth one
more interesting. And this gave a somewhat peculiar result: there is in the
composition a kind of evolution leading to clarity, to a more tonal situation,
exactly what I had rejected at the beginning of the composition. This is
noticeable in the four pieces. The tones remain there where Schumann put
them, but I have made them longer or furnished them with diverse dynamics,
or they are to be played in a different way. For all that the piece is called
"Eusebius - four Nocturnes for piano" or a "Nocturne" for four pianos; when
the piece is played by all four pianos together, then you can hear Schumann's
piece. (GANDINI, apud PARASKEVAÍDIS, 1993, p. 4).
Gandini conserved Schumann’s metrics and extension in all his four nocturnes
(3/4 and 40 measures). He even maintained the German composer’s notes in the
measures they were presented, sometimes changing their duration or position,
sometimes introducing a new one.
Figure 3. Davidsbündlertanz n. 14, m. 2
The use of passing notes strange to Schumann’s original harmony helps to
transform a tonal material in an atonal one. In Zart und Singen IV, the Argentinian
returns to the E flat tonal champ chosen by Schumann, but avoid cadencies and
resolutions aligned with that system. Dynamics vary from mp to ppppp, alluding to the
introverted personality of Eusebius.
The Chilean Eduardo Cáceres’ ¿Y como están? “Están flor” (homenaje a
Robert Schumann)
In an article about contemporary Chilean composers, Juan Pablo González
(1997) discussed how the coexisting influences that built up Latin American culture
offered the artists different sources of identity. The author calls attention to the way they
illustrated the Indigenous, African, European and North American influences through
their musical language, mainly after 1980.
“Living in a society which is not the one that produced the cultural heritage
Figure 4. Zart und Singend III, mm. 1-2
Figure 5. Gandini’s Zart und Singen IV, mm 37 to 40
which feeds their artistic creation, many Chilean and Latin American composers have
lived isolated from their social and cultural reality”, says González. The idea of
isolation had its roots in the Romantic European Period, when the myth of the
incomprehensive genius was spread in the Old Continent and abroad.
Eduardo Cáceres shares with other Chilean composers a fascination for the
European classical music. He regards this interest as a result of the colonial cultural
relation his country had with Spain, primarily, and with other European nations who
exerted influence on Chile later, like Germany, Austria and Italy. “I do not think we
should reject what comes from Europe, but we should not forget that we do not live in
Europe” – said Cáceres to the World New Music Magazine (MUÑOZ, apud
GONZÁLEZ, 1997). The composer translates this posture in notes of his musical
scores, like ¿Y como están? “Están flor” (homenaje a Robert Schumann).
Cáceres composed ¿Y como están? “Están flor” (inversion of Flor están) in
2010, to celebrate the 200 years of Schumann’s birthday. Pianist Jorge Pepi made its
première, playing at Sala Isidora Zegers, in Universidad de Chile. As the piece is a short
one, due to its velocity (dotted quarter between 132 and 152 in a 6/8 metrics), Cáceres
also considered its presentation as an extra piece in a piano concert6. Its virtuosity is
guaranteed by dynamics around fff, besides the use of the extreme bass region of the
instrument.
Besides being a composer, Eduardo Cáceres develops a relevant didactical work
in Chilean universities and courses. Among other functions, he coordinated the
Electronic Musical Cabinet of the Facultad de Artes of Santiago. He held an important
6 Oral information given to the authors of this article.
Figure 6. Eduardo Cáceres ¿Y como están? “Están flor”, mm 1-2
chair in the National Directory of Chilean Composers, and in the Chilean Society of
Contemporary Music. For all these practices, Cáceres had the opportunity of meeting
Gerardo Gandini more than once, in festivals and events dedicated to Latin American
contemporary music.
Gandini’s Eusebius may have influenced Cáceres Homenaje a Schumann, based
also in the Davidsbündlertänze cycle. The compositional procedure is similar in both
pieces, in that Cáceres deconstructs the 6th piece of Schumann’s Op. 6, marked “F”,
omitting its superior melodic line.
Like Gandini, he enjoys transforming traditional compositional material in
avant-garde music, as can be noted in ¿Y como están?”Están flor”. The Chilean
composer had already found inspiration in 19th century romantic music, as can be
noticed in Seco, Fantasmal y Vertiginoso (Dry, Ghostly and Vertiginous), to Liszt
dedicated.
Cáceres “gives equal status to art music created in Europe and in America
during the late 20th century” (Muñoz, apud GONZÁLEZ, 1997). He applies
compositional procedures created in the Old Continent to Latin American new pieces,
adding rhythms and accents to the last ones. Texture and timbre are some elements
Figure 7. Robert Schumann Davidsbündlertanz n 6, mm 1-2
Figure 8. Cácares ¿Y como están? “Están flor”, mm 1-2
elaborated by the composer in his works. In the last page of ¿Y como están?”Están
flor”, for example, he uses a same pedal for 24 measures, creating a different texture
and sonority.
Also in the last page, the dynamics goes from pp to ffff. For the first time in the
piece, the composer uses the soprano region of the piano, with chords based on 2m
intervals. All of a sudden, a cluster in black and white keys in the lower region of the
instrument closes the composition. This procedure shows Cáceres’ intention of working
timbre more than any other musical element. Timbre has been a central worry for
western composers, during the 20th century.
Figure 9. Cáceres ¿Y como están?”Están flor”, mm 57-58
Figure 10. Cáceres ¿Y como están?”Están flor”, mm 75 to 80
Final Considerations
Robert Schumann’s poetics and multiple personality inspired many composers
of the 20th and 21st century in Latin America. Aside from the Argentinian Gerardo
Gandini and Chilean Eduardo Cáceres, others can be mentioned, like the Brazilians
Ronaldo Miranda (author of Schumanniana) and José Antonio de Almeida Prado
(Cenas da Infância, or, Children’s scenes).
Obviously, his magnificent melodies and harmonies are also responsible for this
success. Schumann has a great number of different compositions, almost all well known
of the public throughout the world.
Nevertheless, the Latin American passion for the artist may possibly have to do
with his posture against what he considered false and appellative, too. Schumann did
not make concessions to piano virtuosos with their paraphrases of opera themes, or to
any kind of empty music in vogue at his time.
References:
BALZI, B. Compositores Latino-americanos 6. Encarte para CD. Manaus: Sonopress, 1998.
CÁCERES, E. ¿Y como están? “Están flor” (homenaje a Robert Schumann). Autograph, 2010.
CHISSELL, J. Schumann: música para piano. Trad. Marco Antonio Esteves da Rocha. Rio de Janeiro:
Zahar Editores, 1972.
DAVERIO, J. Robert Schumann: Herald of a "New Poetic Age". Oxford: Oxford University Press,
1997.
GANDINI, G. Eusebius: cuatro nocturnos para piano (o un nocturno para cuatro pianos). Autograph,
1984.
GONZÁLEZ, J. P. Towards a collective poetics of contemporary Chilean composers. In: World New
Music Magazine n7, Köln 1997. Available at: http://www.latinoamerica-musica.net/index.html.
MILLER, M. C. Eusebius and Florestan: the duality of Robert Schumann, composer and music critic.
Emporia State University, n. d. Available at: www.unomaha.edu/esc/.../Miller _ Eusebius .pdf .
MONTEIRO DA SILVA, E. Beatriz Balzi e o piano da América Latina: a música erudita deste
continente analisada a partir das gravações da pianista em sua série de CDs Compositores Latino-
americanos. Tese (Doutorado em Música). São Paulo: Universidade de São Paulo, FAPESP, 2014.
Disponível em: www.teses.usp.br/teses/disponiveis/27/27158/tde-20052014.../es.php.
________________________. Clara Schumann: compositora x mulher de compositor. São Paulo:
Editora Ficções, 2011.
MONTEIRO DA SILVA, E.; ZANI, A.. Compositores Latino-americanos and the new paradigms of the
20th century classical music. In: Opus, vol. 19, n. 2. P. 115-136. Porto Alegre: Anppom, 2013.
OSTWALD, P. The inner voices of a musical genius. Boston: Northeastern University Press, 1985.
PARASKEVAÍDIS, G. The own and the other: the Argentinian composer Gerardo Gandini. In: World
New Music Magazine, n3, Köln, September 1993. Available at: www.gp-magma.net/pdf/txt_i/Gandini-
WNMM.pdf.
SCHUMANN, R. Davidsbündlertänze Op. 6. Leipzig: Breitkopf & Härtel, 1887. Available at:
www.imslp .org/.../Davidsbündlertänze , Op.6_(Schumann,_...
ZANI, A. Florestan e Eusebius: por que? Tese (Doutorado em Artes). São Paulo: Universidade de São
Paulo, 1988.
ELIANA MONTEIRO DA SILVA is a pianist, whose Doctorate in Music took place at the São Paulo
University, with FAPESP scholarship. She is author of the book “Clara Schumann: compositora x mulher
de compositor”, CD “Clara Schumann: lieder e piano solo” and “A trajetória do piano acompanhador, do
lied ao século XXI: quem dá suporte a quem?”, in “Da opera ao lied, uma evocação à palavra cantada”
(ALBANO DE LIMA; RAY, 2013). Other main publications include articles in Revista Hodie vol. 12 n.
1, Opus vol. 19 n. 2, Concerto n. 178 and Concerto n. 168. Participated in Symposiums and Congresses in
Brasil, Portugal and EUA. Was lecturer and producer in the project “MusiMAC 2013: Arte
Contemporânea para ver e ouvir”, a concert series which gathered classical music and visual arts in the
Museu de Arte Contemporânea (MAC-USP). www.polymnia.webnode.com, www.duoouvirestrelas.com.
AMILCAR ZANI is a pianist and music researcher. Became PhD in Arts at the São Paulo University
(ECA-USP), where is Full Professor. Realized Post Doctorate researches at St. Mary’s College, Maryland
University, and at the Congress Library of Washington D.C. (EUA), with FAPESP and CAPES support.
Is author of the website www.projetosteuermann.usp.br, where publishes original documents and
recordings of Edward Steuermann. As an interpreter, premiered Works as Russel Pinkston’s Talespin, and
Dislocations, for piano and electronic media. In 2012, created the multimedia Project Ä Dobra
Schumanniana, with Heloísa Zani and Branca de Oliveira. He was the General Coordinator of
“MusiMAC 2013: Arte Contemporânea para ver e ouvir”.