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Il Neige... de Nouveau! (1985) is a work for piano by Gilberto Mendes of his last compositional period, associated with Post-Minimalism. Intertextuality is an important feature of this work, establishing a direct relation, among others, with Il Neige! (1902), also for piano, by Henrique Oswald. We begin our approach presenting a theoretical reference of Post-Minimalism and performing an analysis of the score searching to find intertextual elements. A methodology of analysis based on audio descriptors is also applied to the audio recordings of Mendes and Oswald's works. The results obtained indicate that, despite the intertextual relations between the two works, their formal conceptions are different, each one dialoging with its historical period. We conclude situating Mendes' work in the formal paradigm of the second half of the 20th Century, of the forms as process, presenting an irreversible and directional time, with moments of continuity and others with abrupt cuts. [ABSTRACT FROM AUTHOR]

This paper presents considerations over two works of Gilberto Mendes (1922) under the perspective of Impurity Aesthetics by Guy Scarpetta (1985) whose theories support the tendency of technique blending in artworks. To Scarpetta, the avant-garde gave great value for the purity in its procedures, in opposition to the following moment, in which prevailed the handling of cross-cutting references. Für Anette (1993) and Issa (1995) were chosen because they are in the Mendes' third compositional phase, which has been marked by a blending of compositional processes to Minimalism. A contextualization of Minimalism in contemporary compositions was made, as well as an examination of these two works by the analytical-musical point-of-view of Warburton (1988), Schoenberg (1991) and Cervo (2005, 2007). [ABSTRACT FROM AUTHOR]