Brazilian Soul
Piano music of Villa-Lobos
From the Liner Notes:
Villa-Lobos was by all accounts a prodigious, larger than life figure, explosively passionate, often impossibly difficult, and prolifically creative. His works for solo piano are not so well-known as, say, his compositions for guitar or orchestra. But his output for piano was quite extensive, and much of it is among his best work, as the selections on this CD will make clear.
Alma Brasileira—a slow, yearning melody floats above a murmuring, syncopated accompaniment. A passionate rhythmic outburst interrupts, but gradually calms and leads to a return of the opening.
Ciranda means “circle dance,” and the Cirandas are based on simple Brazilian tunes which are equivalent of our “ London Bridge is Falling Down,” “Farmer in the Dell,” “Ring Around the Rosy,” and the like. The melodies are quite prominent in each piece, but they serve only as points of departure for a tour de force of invention, which uses the piano to create an amazing variety of textures and sonorities. Each of the 16 Cirandas is entirely distinct from the rest, and each stands on its own as a jewel of the piano literature. This set of pieces is justly seen by many as a pinnacle of Villa-Lobos’ output.
Ciclo Brasileiro can be viewed as a day in the life of a group of Brazilian musicians. In the morning, they congregate by a field in the country, singing a “planting song.” The languorous melody is accompanied by a bass, a strummed guitar, and a tiny “guitarriña” playing rapid figurations.
At siesta time, they return to the city, where they are joined by a larger group for a jam session. A beautifully simple waltx tune leads to bursts of virtuosity and passion, somewhat reminiscent of Ravel’s La Valse, but with a Brazilian flavor.
In the evening, they return to the country for a large party, where their wild rhythms and syncopation accompany dancing. At the height of the festivities, the sound of drums is heard in the shadows, and the White Indian (perhaps Villa-Lobos himself) emerges to show what real dancing is all about.
…
Ths recording was produced with the aim of capturing the spontaneity of a live performance, but without the coughs and rustling of programs. Editing was kept to an absolute minimum, and most movements are single, complete takes. The result is not quite as polished and “absolutely note perfect” as most modern classical recordings, but we hope it has a freshness and vitality that will more than make up for any minor flaws.
Track List:
01) Alma Brasileira (1925) [4:53]
Cirandas (1926) [40:19]
(Coleçao de 16 peças sobre temas populares brasileiros)
02) Terezinha de Jesus [2:00]
03) A Condessa [2:40]
04) Senhora Dona Sancha [1:47]
05) O Cravo Brigou Com a Rosa / Sapo Jururu [1:53]
06) Pobre Cega / Toada da Rede [1:22]
07) Passa, Passa, Gaviao [1:37]
08) Xô, Xô, Passarinho [3:06]
09) Vamos Atras da Serra Calunga [3:00]
10) Fui no Tororó [2:08]
11) O Pintor de Cannahy [1:57]
12) Nesta Rua, Nesta Rua [2:26]
13) Olha o Passarinho Dominé [2:34]
14) À Procura de Uma Agulha [3:28]
15) A Canoa Virou [3:12]
16) Que Lindos Olhos [4:24]
17) Có, Có, Có [3:34]
Ciclo Brasiero (1936—37) [20:09]
18) Plantio do Caboclo [3:34]
19) Impressões Seresteiras [6:39]
20) Festa no Sertão [5:28]
21) Dansa do Indio Branco [4:20]
Total Program Length: 65:30
Recording Information:
Recorded August 6—9, 2001, in Keller Hall, University of New Mexico
Recording Engineer: Steve Peters
Mastered by Manny Rettinger, UBIK Sound LLC
© 2001, Fred S. Sturm, contact
Fred Sturm can also be heard on the Sturm und Drang releases, American Rags, Brazilian Tangos, Afro-Cuban Dances, and Piano Music of Ginastera and Villa-Lobos
 
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