abstract: Hungarian composer, Miklós Rózsa, is primarily known for his career as a film composer, but he wrote over forty-five pieces for the concert hall. The most famous of these works, Theme, Variations, and Finale, was composed in 1933 and premiered the following year, ushering in a long history of performances throughout Europe and abroad in the 1930s and 1940s. This document serves as a guide for performers of Theme, Variations, and Finale by offering biographical information about Rózsa, the compositional history and performance history of the work and recorded legacy, details about its two versions, and a detailed analysis of the score. This document also clarifies important details about the work's performance history, which have previously been recorded inaccurately. / Dissertation/Thesis / Doctoral Dissertation Music 2018

Submitted by Maike Costa (maiksebas@gmail.com) on 2017-03-10T13:59:34Z No. of bitstreams: 1 arquivototal.pdf: 8953311 bytes, checksum: 11a1725cde889b19a5c091731e42b037 (MD5) / Made available in DSpace on 2017-03-10T13:59:35Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 8953311 bytes, checksum: 11a1725cde889b19a5c091731e42b037 (MD5) Previous issue date: 2016-03-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Miklós Rózsa claimed to keep a "double life": composer of concert music versus composer of films soundtrack. In this paper, we sought to answer questions such as: would have the composer really a "double life" articulated this way? His work would have a consistent poetic of music, common to both genres to which the composer had dedicated himself? It is known that Rózsa had the Hungarian folk music as basis for his music. To better understand them was made a profound bibliographic research on the subject, in which several articles of Hungarian musicologists were used in order to give more consistency to it. With the aim of to see if Rózsa maintained the same musical poetic in both genres, were realized several comparative analyzes of the composer's works, both in his movies soundtracks as in his concert music, to cover all productive periods of the composer (opus 1-1927 to opus 45- 1989), period which he also worked in several companies and composed for various filmic genres (drama, fantasy, comedy, noir, thriller, epic, among others). Prior to the preparation of this work, there was the assumption that the composer would have a consistent musical poetics in the two musical genres to which he was dedicated. Thus, another question would arise: Did Rózsa innovate the Hollywood filmic music or did he adapt himself to it? To answer this question, it was necessary also to investigate the characteristics of the soundtracks of Hollywood movies before the arrival of the Hungarian composer to the Californian district. / Miklós Rózsa afirmava possuir uma “vida dupla”: compositor de música de concerto versus compositor de trilha sonora de filmes. No presente trabalho, buscamos responder a questões como: teria mesmo o compositor uma “vida dupla” articulada dessa maneira? Sua obra teria uma consistente poética musical, comum a ambos os gêneros aos quais o compositor se dedicara? Sabe-se que Rózsa tinha a música folclórica húngara como base para as suas músicas. Para melhor compreendê-las foi feita uma profunda pesquisa bibliográfica sobre o assunto, na qual foram utilizados diversos artigos de musicólogos húngaros, a fim de dar mais consistência à pesquisa. Com o intuito de comprovar se Rózsa mantinha a mesma poética musical em ambos os gêneros, foram realizadas diversas análises comparativas de obras do compositor, tanto de suas trilhas sonoras para filmes quanto de suas músicas de concerto, de modo a cobrir todos os períodos produtivos do compositor (do Opus 1 - 1927 ao Opus 45 - 1989), período em que trabalhou também em diversas produtoras e compôs para diversos gêneros fílmicos (drama, fantasia, comédia, noir, suspense, épicos, entre outros). Antes da elaboração do presente trabalho, havia a hipótese de que o compositor teria, sim, uma poética musical consistente nos dois gêneros musicais aos quais se dedicou. Sendo assim, surgiria outra questão: Rózsa inovou a música fílmica hollywoodiana ou adaptou-se a ela? Para responder a esta pergunta, foi necessário também investigar as características das trilhas sonoras dos filmes de Hollywood antes da chegada do compositor húngaro ao distrito californiano.

This thesis introduces biography of Hungarian, often overlooked, composer Miklós Rózsa and the focus is on his Concerto for Viola and orchestra op. 37. His biography is in nine chapters by life periods, chapter no. 10 is about his Concerto for Viola and orchestra op.37.