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Heitor Villa-Lobos - Obra completa para piano solo, vol. 2

Heitor Villa-Lobos - Obra completa para piano solo, vol. 2

Marcelo Bratke
Discos: Clásica

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Ficha técnica Discos

Sello Biscoito Fino
Estilo Clásica
Año de Edición Original 2012
Instrumental

Más

Marcelo Bratke (piano solo)

Edición brasileña, en formato Digipack, del disco lanzado originalmente ese mismo año en Reino Unido por el sello Quartz.

"All the works in this CD have a direct reference to Brazil. They come from two different periods of Villa-Lobos artistic production, firstly the twenties when he was engaged in presenting a certain Idea of “Brazilianity” to the cutting edge Paris of the time, secondly the thirties, when he returned to his homeland to engage himself in an ambitious governmental program of musical education for the masses through the practice of the choral chant.

Bachianas Brasileiras nº 4
After two long periods in Paris, in the twenties, in which – according to his own words, ‘I am not going to France to learn but to show what I have achieved’ – Villa-Lobos came back to Brazil. In 1930, a revolution changed the political system in the country, leaving behind the old oligarchy republic and placing Getúlio Vargas in power. Within the new regime – which, in 1937, would become a dictatorship known as the New State – the composer assumed public functions, being responsible for a new project, that of musical education for the masses. During the same period, he began to write his most widely known work: the nine Bachianas Brasileiras, conceived with the various distinct musical formations he was seeking. At the same time, reinforcing the idea of “nationalism” in his music and also paying tribute to J.S. Bach’s legacy. Bachianas Brasileiras no.4 is the only item of this cycle for solo piano, to be later orchestrated or transcribed by the composer himself. Each of its movements has two titles – one “Bachian”, the other “Brazilian” with each of its movements being dedicated to a different pianist. Written in 1941, Prelúdio (Introdução) was dedicated to the Spanish virtuoso Tomás Terán, whom the composer met in Paris and who subsequently became an important defender of Villa-Lobos’ music. The element of constant repetition present in the first phrase, around which the entire piece is based, prompted the Finnish musicologist Eero Tarasti to point out its similarities to the opening of Bach’s Toccata from Partita No. 6 in E minor, BWV 830. During the same year he wrote Choral (Canto do Sertão), and dedicated the work to another collaborator, the pianist and composer José Vieira Brandão. The piece highlights, using top notes, the insistent repetition of a motive describing the singing araponga, a bird from the deep countryside of northeast Brazil.
Dedicated to Sylvio Salema, Aria (Cantiga), written in 1935, brings out the melody of O mana deix’eu ir, a famous folk song from Northeast Brazil and at the same time Dansa (Miudinho) quotes Vamos Marruca, a tune collected in São Paulo, it is dedicated to Antonieta Rudge, one of the most famous Brazilian pianists of the first half of the 20th Century, who was married to Charles Miller, who introduced soccer to Brazil.

A Lenda do Caboclo
Written in 1920, this work was dedicated to the pianist Arthur Iberê Lemos, who gave its first performance in Porto Alegre in 1921. For the musicologist Gerard Béhague, it has a close relationship with another piece on this CD – Choros No.5, and it represents an excellent reflection of the composer’s output during that period. Béhague relates: “The nationalistic inspiration of the piece is subtle, it is communicated essentially through the model and harmonic lines and the rhythmical structure of its theme and accompaniment, it is always associated with the persistent silence of the lifestyle of the caboclo, and one attempt to express this vision of the world.” (The caboclo is an inhabitant from the Brazilian countryside defined as a mixture of European and a Brazilian Indian)

Saudades das Selvas Brasileiras
With its title and in its musical language, this work reflects Villa-Lobos Parisian period, in which he wanted reaffirm himself not only as a “Brazilian National” but also as a Modernist composer who was in tune with all the avant-garde tendencies in vogue in the French capital. Written in 1927, it was premièred at Salle Chopin, in Paris, by Janine Cools, during a modern music festival. The work is divided into two brief sections. The first is a toccata of wild accents which appears to evoke an imaginary rain forest. The second one, full of lyricism which seems to echo Lenda do Caboclo, gives the impression of the nostalgic mood of its title, Saudade; a difficult work to be translated from Portuguese to other languages, meaning a certain sadness of missing someone you love.

Choros Nº 5 – “Alma Brasileira”
During his youth, always carrying a guitar, Villa-Lobos used to participate, in the practice of popular music making, known as choro, in his native Rio de Janeiro. Choro musicians, such as Donga, Pixinguinha and Anacleto de Medeiros, were called chorões, and Villa-Lobos decided to pay an homage to this unique universe of characters who were typical of the twenties in Rio. It was when he wrote Choros, the most daring set of pieces of his extensive work. Written for the most unusual and diverse combination of instruments, from solo to big orchestra, passing through chamber formats, the Choros were, as defined by the composer himself: a new format in musical composition, in which synthesized modalities of Brazilian indigenous, primitive, civilized or popular music had in its central element, the rhythm in counterpoint with folk melodies fragmented asymmetrically and incidentally into the music”. Dated from 1925, Choros No.5 is dedicated to Arnaldo Guinle, one of Villa-Lobos’ patrons who sent the composer to Europe. If other works of the Choros series seem to resemble a distant relation to the popular music practiced by the chorões of Rio, Alma Brasileira evokes the suburban spirit of serenades from Rio de Janeiro at the beginning of the 20th Century.

Ciclo Brasileiro
Dated 1936, Ciclo Brasileiro (Brazilian Cicle) was written during the same period as Bachianas Brasileiras, corresponding to the period in which Villa-Lobos had returned to Rio de Janeiro and was involved with musical education. This set of four pieces is dedicated to Arminda Neves d’Almeida (1901-1985) nicknamed Mindinha, after the composer’s second wife. Romantic and nationalistic with a brilliant and virtuosic pianistic texture, its musical language could sometimes sound as if Rachmaninov had visited the tropics. O Plantio do Caboclo combines an ostinato at the right hand cradling a languid hymn. Meanwhile Impressões Seresteiras propose a waltz with grand pianist brilliancy in which the keyboard sometimes imitates a guitar, which was the young Villa-Lobos’ instrument. Festa no Sertão is a toccata which evokes the vigor and richness of the afro-brazilian rhythms and Dança do Índio Branco, the last piece of this CD, could be seen as much as the music which occupies just the white keys of the keyboard or, as described by the composer, the impersonation of a white skin Indian, as Villa-Lobos liked to imagine himself." Irineu Franco Perpetuo

Temas

CD 1
01
Bachianas brasileiras nº 4 - Prelúdio (Introdução)
Heitor Villa-Lobos
02
Bachianas brasileiras nº 4 - Coral (Canto do sertão)
Heitor Villa-Lobos
03
Bachianas brasileiras nº 4 - Ária (Cantiga)
Heitor Villa-Lobos
04
Bachianas brasileiras nº 4 - Dança (Miudinho)
Heitor Villa-Lobos
05
A lenda do caboclo
Heitor Villa-Lobos
06
Saudades das selvas brasileiras - Animato
Heitor Villa-Lobos
07
Saudades das selvas brasileiras - Un poco animato
Heitor Villa-Lobos
08
Choros nº 5 (Alma brasileira)
Heitor Villa-Lobos
09
Ciclo brasileiro nº 2 - Plantio do caboclo
Heitor Villa-Lobos
10
Ciclo brasileiro nº 2 - Impressões seresteiras
Heitor Villa-Lobos
11
Ciclo brasileiro nº 2 - Festa no sertão
Heitor Villa-Lobos
12
Ciclo brasileiro nº 2 - Dança do índio branco
Heitor Villa-Lobos
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