THE CONDUCTOR-ARRANGER AS A LINK BETWEEN CREATION AND PERFORMANCE IN THE CHORAL ENVIRONMENT

Abstract

This article focuses on the practice of choral arranging, highlighting the importance of the conductor-arranger as a link between creation and performance. As a methodology, an initial bibliographic review was carried out, which pointed to the absence of relevant themes, leading to the realization of semi-structured and open interviews with conductor-arrangers Eduardo Fernandes, Marcelo Recski, and Roberto Rodrigues, residents of São Paulo. These interviews proved to be an effective way to clarify practical issues related to the creation and interpretation of Brazilian music arrangements, as well as specific questions regarding certain arrangements (used as examples in score form), which other methodologies were unable to address. The methodology also included the collection of data on conductor-arrangers active in southeastern Brazil since the 1970s, using data available on the internet and applying the prosopographic method. The article problematizes three aspects of choral arranging practice: 1) repertoire as a factor of group identity; 2) arrangement adaptations; and 3) interpretative community: rules and strategies for writing, reading, and interpreting choral arrangements. Among the results, a profile of the conductor-arranger active in southeastern Brazil is provided, and discussions are presented on the practice of creating and performing choral arrangements. It is concluded that choral arrangement scores are generally open scores, subject to additions, suppressions, or transformations according to the rules and strategies of an interpretative community. Based on the interviews, it was possible to identify shared reading and usage practices among Brazilian choral conductors. The importance of choristers and conductor-arrangers in defining the works to be arranged and in the processes of adaptation and performance is also highlighted.