Rogério Duprat

Rogério Duprat

Works for Cello

Lírica No. 1 (1956), for cello and piano.

Seis pequenas peças (1956), for cello solo.

Sonatina (1956), for cello and piano.

Sources:

  • Enciclopédia Itaú Cultural.  (2021, January 12.). Rogério Duprat. Enciclopédia Itaú Cultural. https://enciclopedia.itaucultural.org.br/pessoa26049/rogerio-duprat

  • Furman Schleifer, M., and Galván, G. (2016). Latin American Classical Composers, A Biographical Dictionary. London: Rowman & Littlefield.

  • Marcano, G. (2004). Música latinoamericana para violonchelo. Catálogo de obras. Fundación Vicente Emilio Sojo.

Rogério Duprat

Brazilian composer and cellist, born February 7, 1932, died October 26, 2006.

Rogério Duprat was born in Rio de Janeiro, Brazil on February 7, 1932. He attended the Conservatorio Villa-Lobos in São Paulo, Brazil, where he studied cello with Calisto Corazza, and later music theory and composition with Oliver Toni and Claudio Santoro, graduating in 1958. He traveled to Germany in 1962 to study electronic music in Cologne and Karlsruhe, and also went to Paris to study with Pierre Boulez and Karlheinz Stockhausen.

Duprat is known for founding orchestral and chamber ensembles, such as the Orquestra Sinfónica and the Orquestra de Cámara in São Paulo. Duprat and Toni founded the São Paulo Chamber Orchestra in 1950, which later led to the establishment of an Experimental Music Group, which Duprat directed for about 5 years (1956-1961). He played cello in the São Paulo State Symphony Orchestra and Municipal Symphony Orchestra in 1953 and 1955, respectively. He was also largely dedicated to new music and avant-garde art, founding ensembles that specialized in new music and young composers. 

His compositions take on a large variety of forms, especially considering that he shifted his focus to composing for theater, TV, and cinema, as well as working as an arranger. His arrangements are featured on many albums, such as “Dobrados” and “Maxixes”, and have won him awards such as “best arranger” at the 3rd Festival of Brazilian Popular Music on TV Record. His early works were deeply rooted in nationalism, later described as either “folkloric nationalism” or “twelve-tone nationalism,” which presented the intersection of atonality with Brazilian sounds.