Motivation and collaboration within the composition of two pianos by Francisco Mignone and the waltz “Eponina” by Ernesto Nazareth

Abstract

Article about episode and circumstances that motivated Francisco Mignone to compose 56 of his 74 pieces for instrumental formation for two pianos, starting by Ernesto Nazareth’s waltz Eponina. Consequent developments resulted in the creation of a version for two pianos, with the composition of the score for the second piano in juxtaposition to that waltz. The relevance and significant number of pieces for such instrumental formation show that this chamber genre took on a new creative impulse when Mignone joined the pianist Maria Josephina. The pianist’s protagonism and collaborative role are associated within the context of the art-life relationship, considering artistic actions involved in the creative panoram of the creation of the said work, as observed by authors of psychology and music. Attached to the information, data from historical documentary records are brought. The score of the second piano of the Eponina waltz is attributed to the role of motivating element of the permanent collaboration between the Duo Mignone.