Lecture – Recital -The onomatopoeic effects (imitation / evocation) in the work of Flausino Valle (1894-1954): a case study on the use of the Alla Guitarra technique


Sunday, 1st November 2020-6.00pm



Flausino Valle (1894-1954)

Prelúdio VII – Sonhando

Prelúdio XIV – A Porteira da Fazenda

Prelúdio XII – O Canto da Inhúma

A Casinha Pequenina (Arranjo de Flausino Valle)


This proposal for a conference-recital, is the result of a PhD in progress. It aims to highlight the various uses of the Alla Guitarra technique in the work “26 Prelúdios Característicos e Concertantes” by the Brazilian composer / poet / violinist Flausino Valle (1894-1954). Flausino Valle was an important figure in the first half of the twentieth century in the Minas Gerais and in the Brazilian musical scene. He worked as violinist in silent movie orchestras, radio violinist, composer, music teacher at “Conservatório Mineiro de Música”, and writer with three published books. He achieved worldwide repercussion when one of his Preludes was recorded by the internationally renowned violinist Jascha Heiftz, and thus other great violinists had access to his work. In this communication with performance, we propose, based on Vasconcellos’ (2013) concept of Hybridization of the Instrumental Technique (HTI), an analysis of the interpretative and performance options identified in the use of the Alla Guitarra technique in Valle’s work, as well as the choices made from experimentation and from access of extra-musical content related to Valle. As a methodology we present experiments with different interpretative possibilities, within the methodological concept of Practice as Research – PaR (NELSON, 2013). In conclusion, we point out that the onomatopoeic effects (imitation / evocation) resulting from the combination of several techniques found in the Preludes of Valle, with a special focus on the imitation / evocation of the “viola caipira” through the use of the Alla Guitarra technique, generate a demand for more interpretive questions, from stage positioning to the physical gesture, that encourages the interpreter to propose creative possibilities.


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About the speaker

Leonardo Feichas is currently a PhD student in Musical Arts of Universidade Nova de Lisboa (UNL) and Universidade Estadual de Campinas (Unicamp). In 2009 he graduated in violin (bachelors’ degree) at Unicamp. In 2011 he joined the master’s degree in performance at the same university, completed in 2013. He has participated in several orchestras in the state of São Paulo and festivals in Brazil and abroad. He teaches the subjects of violin and chamber music at the Universidade Federal do Acre (Ufac). He has also an intense activity solo violinist and chamber musician, and as a researcher of the repertoire for Iberian American violin, violin pedagogy and chamber music. He has performed recitals, lectures and academic presentations at various events such as ANPPOM (Brazil), ABRAPEM (Brazil), ISME (Peru and Scotland); ESCOM (U.K), Symposium on Latin American Music (USA); Balance Conference Balance of music at the University of Caldas (Colombia); Symposium on Violin Studies by Dorothy DeLay at the Juilliard School (USA); Dartington International Summer School 2012 and 2018 (U.K), International Symposium of Music in the Amazon – SIMA (Brazil) among others. In 2016, he released the book Da Porteira da Fazenda ao Batuque mineiro: o violino brasileiro de Flausino Valle with a lecture tour recital in six Brazilian capitals (São Paulo, Belo Horizonte, Brasilia, Belém, Fortaleza and Rio Branco). He also idealized and organized, along with the professors Liu Man Ying and Dora Utermohl the Encontro de Cordas Flausino Valle (Flausino Valle Strings Festival), which happened in 2017, 2018, 2019 and 2020.