CHAN 9804 Front.Qxd 24/8/07 3:45 Pm Page 1

Total Page:16

File Type:pdf, Size:1020Kb

CHAN 9804 Front.Qxd 24/8/07 3:45 Pm Page 1 CHAN 9804 Front.qxd 24/8/07 3:45 pm Page 1 CHAN 9804 CHANDOS Latin Yuli Turovsky Impressions I Musici de Montréal Yuli Turovsky CHAN 9804 BOOK.qxd 24/8/07 3:47 pm Page 2 Latin Impressions Joaquin Turina (1882–1949) 1 Serenata for Strings, Op. 87 11:07 Heitor Villa-Lobos (1887–1959) Hulton Getty Fantasia for Saxophone and Chamber Orchestra 10:56 2 I Animé 4:40 3 II Lent – 3:08 4 III Très animé 3:05 Camargo Mozart Guarnieri (1907–1993) Concerto for Strings and Percussion 13:29 5 I Vigoroso – 3:27 6 II Saudoso 5:39 7 III Jocoso 4:21 Heitor Villa-Lobos Astor Piazzolla (1921–1992) Two Tangos for String Orchestra 7:22 8 I Coral 3:54 9 II Canyengue: Presto marcato 3:25 3 CHAN 9804 BOOK.qxd 24/8/07 3:47 pm Page 4 Latin Impressions Andrés Gaos Joaquin Turina Heitor Villa-Lobos 10 Impresión nocturna 10:30 Serenata for Strings, Op. 87 (1942) Fantasia for Saxophone and Chamber This Spanish composer received his musical Orchestra (1948) Joly Braga Santos (1924–1988) training in his native Seville, in Madrid, Brazilian cellist, composer, conductor, and and at the Schola Cantorum in Paris, despite pedagogue Heitor Villa-Lobos was renowned Concerto in D major for Strings 17:40 his parents’ hope that he would study for his exuberant, extraordinary personality 11 I Largamento maestoso 7:09 medicine. Whilst in Madrid Turina met and for his intense patriotism. As was the case 12 II Adagio non troppo 5:42 Manuel de Falla, and together they moved to with Turina, Villa-Lobos’s parents desired him 13 III Allegro ben marcato 4:44 Paris in 1905 to study with Moritz to become a medical doctor. Largely Moszkowski and Vincent d’Indy. In 1907 self-taught, by 1923 he had gained enough TT 71:29 Turina performed one of his compositions official favour to win a government grant to with the Parent Quartet. Albeníz attended leave his native Rio de Janeiro and study in I Musici de Montréal this concert and urged Turina to incorporate Paris. He was initially influenced by the late Yuli Turovsky Spanish folk idioms into his works, advice Romantic and Impressionist schools, and by that Turina took seriously. Back in Spain, the music of Rimsky-Korsakov and Stravinsky. Turina conducted for the Ballets russes and In Paris, his works won the admiration of held the position of Choirmaster for the Olivier Messiaen. It was upon a return to his Teatro Real in Madrid until that institution homeland that Villa-Lobos designed a system closed in 1925. In 1930, after a visit to Latin of comprehensive musical instruction based America, he was appointed professor of on Brazil’s rich musical culture. In 1945 he composition at the Madrid Conservatory. founded the Academia Brasileira de Música in The Serenata, Op. 87 was written during Rio de Janeiro. The forties were years of great this mature period. A kind and simple man, success for Villa-Lobos, bringing him Turina was also a highly cultivated thinker international acclaim as a composer and and the author of a compositional treatise conductor of his own music. Audiences and of the excellent Enciclopedia responded to the pungent Brazilian folk, abreviada de la música (2 vol., Madrid, popular, indigenous, and children’s music he 1947, 1950). incorporated into his works. Written in the last 4 5 CHAN 9804 BOOK.qxd 24/8/07 3:47 pm Page 6 phase of his productivity, the Fantasia reflects Astor Piazzolla Andrés Gaos television as composer, arranger and his concern for instrumental virtuosity. Given Two Tangos for String Orchestra: Coral and Impresión nocturna (1937) conductor. Until the end of the 1950s, his years of travel and his heartfelt patriotism, Canyengue (date of composition unknown) Andrés Gaos was a native of Galicia, an Braga Santos essentially subscribed to the the following words of Villa-Lobos are As any tango lover will tell you, Astor Piazzolla independent region of Spain situated north of neo-classical aesthetic of English composers particularly apt in describing the recurring instigated a tango revolution. The notion of Portugal on the Atlantic coast and encircling the such as Ralph Vaughan Williams and William theme of his music: ‘an isolated human or ‘before or after Piazzolla’ has become affixed city of Santiago de Compostela. This Walton, who were at that time widely group of humans journeying in immense, to the genre’s history. The Argentine composer composer’s early productive phase occurred acclaimed in Portugal. However, a journey untamed landscapes, fighting dangers both was born in 1921, in the town of Mar del between 1912 and 1917, and his works at that to the experimental studio at Gravesano in spiritual and physical’. Plata, but he spent his childhood in New York time show a marked predilection for the Italy in 1957–8 radically altered his style City. At five years of age he began studies in neoclassical and French rhapsodic styles of and, from the 1960s onwards, he went Camargo Mozart Guarnieri classical piano, but when he was ten his father Vincent d’Indy and Camille Saint-Saëns. much further afield in exploiting chromaticism Concerto for Strings and Percussion (date of presented him with a bandoneon (the little However, his Impresión nocturna (in effect, a and in exploring the limits of tonality and composition unknown) accordion that characterises the tango). In serenade for strings) was written in 1937 on atonality. During this phase Braga Santos The Brazilian composer and conductor 1937, at sixteen years of age, Piazzolla the occasion of the Paris World Exhibition, and also investigated a number of variation Camargo Mozart Guarnieri belongs to the returned to Argentina where his talent was is a mature work conceived in a totally different techniques as well as a wider range of generation that succeeded Villa-Lobos. His immediately recognised by his contemporaries. spirit, belonging to the tradition of the great instrumental colours. In the 1970s he earliest works established him as one of Until 1956, Piazzolla was torn between his Romantic and Expressionist serenades of was inspired by the early music revival to Brazil’s greatest musical hopes, and he two passions – for the tango and for classical Dvorˇák, Tchaikovsky, Elgar, and Schoenberg. The include in his works elements of Renaissance travelled to Paris, where he studied with Nadia music. His symphonic works Portena Rhapsody work exudes a sense of profound sadness, and musical idioms. His Concerto in D Major Boulanger. At the onset of World War Two in and the suite Buenos Aires won acclaim and in view of the civil war that was gripping Spain belongs, however, to his first, neoclassical 1939, Guarnieri was residing in the United prizes, and he obtained a grant to study in at the time of its composition, its title might be manner. States, where his works were well received and Paris with Nadia Boulanger, among others. It understood not literally, but figuratively. where his First Symphony was premiered by was Boulanger who, after hearing him play the © 2000 Rachelle Taylor the Boston Symphony Orchestra. When bandoneon during an informal gathering, Joly Braga Santos hostilities ceased, Guarnieri became conductor convinced him to return to the tango, saying Concerto in D major for Strings (1951) I Musici de Montréal’s core of fourteen of the Saó Paólo Orchestra and, in addition to ‘that is Piazzolla, never forget it’. Thus upon The Portuguese composer and conductor Joly artists, under the direction of cellist Yuli leading an intensive international conducting his return to Buenos Aires that same year Braga Santos studied at the Lisbon Turovsky, lends its musical talents to a wide career, he continued to compose relentlessly. (1956), Piazzolla founded the orchestra which Conservatory from 1934 to 1945. His First spectrum of chamber repertoire from Baroque Like Villa-Lobos, Guarnieri’s works in all he led during three decades and which Symphony, written and performed in 1947 to twentieth-century works. The string genres bear the neoclassical stamp, while revolutionised the tango through a fusion with when the composer was only twenty-three, orchestra has recorded over thirty CDs for being infused with the rhythms and melodic other musical styles like jazz or, as in the attracted much attention and ushered in a Chandos Records, now distributed in fifty inflexions of the Brazilian folk idiom. present recording, European classical music. productive career in national radio and countries around the world. Among many 6 7 CHAN 9804 BOOK.qxd 24/8/07 3:47 pm Page 8 accolades bestowed on the Montreal chamber and went on to obtain a doctorate in music. orchestra is a Diapason d’or for a recording of In 1969, he won the USSR Cello competition Lateinische Eindrücke the Symphony No. 14 by Shostakovich in and, a year later, was one of the winners at 1988. The Penguin Guide to Compact Discs the twenty-second International Competition and Cassettes, 1992, singled out I Musici’s CD ‘Spring in Prague’. Prior to his emigration Joaquin Turina Kompositionslehre sowie der hervorragenden of Handel’s Concerti grossi, Op. 6 Nos 1–12 from the former Soviet Union, Yuli Turovsky Serenata für Streicher, op. 87 (1942) Enciclopedia abreviada de la música (2 Bde., for the award of a Rosette, denoting a appeared as member and soloist on Der spanische Komponist erhielt seine Madrid 1947, 1950). recording of ‘special illumination, magic… that international tours with the Moscow Chamber musikalische Ausbildung in seiner Heimatstadt places it in a very special class’. The Conseil Orchestra under Rudolf Barshai. Upon settling Sevilla, in Madrid und an der Schola Cantorum Heitor Villa-Lobos québécois de la musique awarded its CD of in Montreal, he co-founded the Borodin Trio in Paris, obwohl seine Eltern gehofft hatten, Fantasia für Saxophon und Górecki, Pärt and Schnittke two Opus prizes, in 1977 with whom he performed until 1992.
Recommended publications
  • History of the Portuguese Music: an Overview
    HISTORY OF THE PORTUGUESE MUSIC: AN OVERVIEW Rui César Vilão Physics Department, University of Coimbra, PORTUGAL Abstract A brief overview of the history of the Portuguese music is given. In memoriam José Carlos Travassos Cortez 1. PREVIOUS REMARKS Presenting a communication on such a vast field as the subject of this work is usually a task for specialists. Only these are able to smoothly draw a global and coherent picture of their field of study. So, if you are not a specialist (even if you have a deep interest for the field) and you occupy your days working in an entirely different subject (say the physics of muonium states in semiconductors), you are surely in trouble! There are two possible solutions for this dilemma: a) ask a specialist and b) do it à la Newton (even if you're not one), climbing in the shoulders of giants. The mountaineering option was adopted here, and four giants helped me in viewing higher: Rui Vieira Nery and Paulo Ferreira de Castro with their História da Música [1], João de Freitas Branco with his História da Música Portuguesa [2] and José Carlos Travassos Cortez with his passioned and illuminating lessons on the history of Portuguese music that I was lucky to attend in the Conservatório de Musica de Coimbra [3]. I am very pleased to dedicate this work to his memory. Apart from Refs. [1-3], which are available in Portuguese only, all the other references are relative to introductory notes of compact-discs and are generally available in English as well. Of course these discographic indications are not extensive, but I believe they constitute a basis (surely not the only one!) for a good start in Portuguese-specialized melomania.
    [Show full text]
  • Marco Polo – the Label of Discovery
    Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father.
    [Show full text]
  • ITALIAN, PORTUGUESE, SPANISH and LATIN AMERICAN SYMPHONIES from the 19Th Century to the Present
    ITALIAN, PORTUGUESE, SPANISH AND LATIN AMERICAN SYMPHONIES From the 19th Century to the Present A Discography of CDs and LPs Prepared by Michael Herman FRANCO ALFANO (1876-1960, ITALY) Born in Posillipo, Naples. After studying the piano privately with Alessandro Longo, and harmony and composition with Camillo de Nardis and Paolo Serrao at the Conservatorio di San Pietro a Majella, Naples, he attended the Leipzig Conservatory where he completed his composition studies with Salomon Jadassohn. He worked all over Europe as a touring pianist before returning to Italy where he eventually settled in San Remo. He held several academic positions: first as a teacher of composition and then director at the Liceo Musicale, Bologna, then as director of the Liceo Musicale (later Conservatory) of Turin and professor of operatic studies at the Conservatorio di San Cecilia, Rome. As a composer, he speacialized in opera but also produced ballets, orchestral, chamber, instrumental and vocal works. He is best known for having completed Puccini’s "Turandot." Symphony No. 1 in E major "Classica" (1908-10) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 2) CPO 777080 (2005) Symphony No. 2 in C major (1931-2) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 1) CPO 777080 (2005) ANTONIÓ VICTORINO D'ALMEIDA (b.1940, PORTUGAL) Born in Lisbon.. He was a student of Campos Coelho and graduated from the Superior Piano Course of the National Conservatory of Lisbon. He then studied composition with Karl Schiske at the Vienna Academy of Music. He had a successful international career as a concert pianist and has composed prolifically in various genres including: instrumental piano solos, chamber music, symphonic pieces and choral-symphonic music, songs, opera, cinematic and theater scores.
    [Show full text]
  • TOCC0428DIGIBKLT.Pdf
    JOLY BRAGA SANTOS Complete Chamber Music, Volume Two 1 Piano Quartet, Op. 28 (1957) 14:41 Suite of Dances, Op. 63, for piano, oboe, viola and double bass (1984) 12:45 2 I Prelúdio 4:29 3 II Sarabanda 4:58 4 III Tarantella 3:18 Piano Trio, Op. 64 (1985) 27:48 5 I Largo 6:19 6 II Allegro 6:19 7 III Lento 15:10 Adagio e Scherzino for woodwind quintet (1956) 6:41 8 I Adagio 3:44 9 II Allegretto 2:57 Suite for Brass for three trumpets, horn, two trombones and tuba (1985)* 9:25 10 I Moderato 3:13 11 II Allegro 2:38 12 III Andante 3:34 TT 71:20 *FIRST RECORDING FIRST COMPLETE RECORDING Jill Lawson, piano 1 – 7 Carolino Carreira, bassoon 8 9 Eliot Lawson, violin 1 , 5 – 7 Paulo Guerreiro, horn 8 – 12 Natalia Tchitch, viola 1 – 4 Jorge Almeida, trumpet 10 – 12 Catherine Strynckx, cello 1 , 5 – 7 António Quítalo, trumpet 10 – 12 Adriano Aguiar, double bass 2 – 4 Pedro Monteiro, trumpet 10 – 12 Ricardo Lopes, oboe 2 – 4 8 9 Jarrett Butler, trombone 10 – 12 Nuno Ivo Cruz, flute 8 9 Vítor Faria, trombone 10 – 12 António Saiote, clarinet 8 9 Ilídio Massacote, tuba 10 – 12 2 A FOND MEMORY OF JOLY BRAGA SANTOS by Alexandre Delgado Joly Braga Santos, my teacher, was a rara avis. Neither conservative nor revolutionary, he was a composer whose overflowing musicality asserted itself in a Neo-Classical style at the beginning of the period after the Second World War and then in the 1960s showed itself capable of renewal without loss of identity.
    [Show full text]
  • Paradise Remembered
    Journal of the No.24 June 2002 EDITOR RVW Stephen Connock Society In this issue... Paradise Remembered RVW and Distinguished Conductors The RVW Society is delighted and wonderful times with Ralph and Ursula, honoured to be able to publish Ursula of musical evenings, of RVW premières G Conducting RVW Vaughan Williams’s autobiography and of friends long gone. Lord Paradise Remembered. The 225-page Armstrong added that the book was an by Michael Kennedy . 2 book was launched at a celebratory party ideal accompaniment to Ursula’s held at Cecil Sharp House on Saturday biography of her husband, full of insight G Glory, Pity and Anger: 23 March 2002. Over 80 of Ursula’s and affection. British Conductors in friends and family attended, including her sister Rosemary, Simona Pakenham, Ralph and Ursula the music of RVW Eva Hornstein and Michael and Joyce Ursula completed the autobiography in by William Hedley . 6 Kennedy. 1972. The early chapters of the book deal with her army life, marriage to G Malcolm Sargent, Vivid recollections Captain Michael Wood and the onset of Vaughan Williams and Lord Armstrong, son of the composer war. Her life changed totally after Sir Thomas Armstrong, congratulated meeting Ralph Vaughan Williams in the Ninth Symphony Ursula on writing an autobiography 1938. Their friendship, close artistic by Robin Barber . 8 which he found highly collaboration and subsequent marriage evocative, in 1953 are described with candour, G Stokowski and humour and affection. There are 40 Vaughan Williams illustrations from Ursula’s extensive collection, many appearing in print for by Edward Johnson . 12 the first time.
    [Show full text]
  • Recorded in the Museu Da Música Portuguesa, Monte Estoril, Portugal, on 25–30 March and 24–29 June 2013 Recording, Editing
    Recorded in the Museu da Música Portuguesa, Monte Estoril, Portugal, on 25–30 March and 24–29 June 2013 Recording, editing and mastering: Mário Dinis Marques Producer: Alejandro Erlich Oliva Co-editors: Alejandro Erlich Oliva, Luís Pacheco Cunha and Catherine Strynckx Piano: Bechstein (c. 1920) Piano technician: Fernando Rosado Photo credits: Augusto Cabrita (cover image of Lopes-Graça), Helena Gonçalves and André Roma Co-production: Musicamera Productions (www.musicamera.pt) Music published by Ava Musical Editions (www.editions-ava.com) Booklet notes: Fredrick Gifford, Teresa Cascudo and Luís Pacheco Cunha Por favor consulte o website de Toccata Classics (www.toccataclassics.com) para aceder aos textos em português. Design and layout: Paul Brooks, [email protected] 24Bit/96Khz recording (16bit/44.1khz CD) The Quartet would like to thank the following people for their essential support: Adriano Aguiar, Carla Raposeira (Inatel), Catarina Roquette and Conceição Correia (Museu da Música Portuguesa), David Erlich, Louise Rocha, Miguel Erlich, Natasa Sibalic, Taíssa Poliakova Cunha and all the Crowdfunding supporters. We wish to acknowledge the important pioneering work of the Quarteto do Porto in assisting the composer and bringing to light these major works in the 1960s. A special thanks, too, to Cecília Fontes. This CD is dedicated to Fernando Lopes-Graça on the twentieth anniversary of his death, and was recorded on his own piano in the Museu da Música Portuguesa, which holds his papers. Executive producer: Martin Anderson TOCC 0253 © 2014, Toccata Classics, London P 2014, Toccata Classics, London The Quarteto Lopes-Graça – Luís Pacheco Cunha and Anne Victorino d’Almeida, violins; Isabel Pimentel, viola; Catherinne Strynckx, cello – was formed at the National Conservatory School of Music in Lisbon by four of its teachers with outstanding solo and chamber careers.
    [Show full text]
  • O Clarinete Na Música De Câmara De Joly Braga Santos !
    João Pedro Lopes dos Santos O Clarinete na Música de Câmara de Joly Braga Santos O rientador: Prof. Doutor José Bettencourt da Câmara Co-orientador: Professor Etienne Lamaison Dissertação de Mestrado em Música Especialidade em Interpretação Universidade de Évora, 2012 João Pedro Lopes dos Santos O Clarinete na Música de Câmara de Joly Braga Santos O rientador: Prof. Doutor José Bettencourt da Câmara Co-orientador: Professor Etienne Lamaison Dissertação de Mestrado em Música Especialidade em Interpretação Universidade de Évora, 2012 Agradecimentos À minha família, pelo apoio, dedicação e carinho. Aos meus professores e amigos Luís Gomes, António Saiote e Etienne Lamaison. Aos orientadores deste trabalho, Prof. Doutor José Manuel Bettencourt da Câmara e Professor Etienne Lamaison, pelo apoio na elaboração desta dissertação e na preparação do recital final do curso de Mestrado em Música (Interpretação), no Departamento de Música da Universidade de Évora. ! ! ! ! ! ! ! ! ! ! O Clarinete na Música de Câmara de Joly Braga Santos ! ! Resumo O presente trabalho propõe-se estudar, de um ponto de vista analítico e interpretativo, a obra camarística do compositor português Joly Braga Santos (1924- 1988), com especial incidência nas suas obras para conjuntos que incluem o clarinete. Integra uma breve contextualização histórica da evolução do instrumento e a sua intervenção na música de câmara, ocupando-se seguidamente dos aspetos mais relevantes da biografia do compositor. Os capítulos seguintes apresentam uma análise interpretativa das três obras camarísticas de Braga Santos em que intervém o clarinete: Adagio e Scherzino, Aria a tre e Improviso. Joly Braga Santos foi uma figura de destaque na cultura musical portuguesa da segunda metade do século XX.
    [Show full text]
  • Do Recurso Ao Cravo No Século XX Em Óperas De Ruy Coelho, Augusto Machado E Joly Braga Santos
    Música Hodie | ISSN: 2317-6776 DOI: 10.5216/mh.v21.66931 Do recurso ao cravo no século XX em óperas de Ruy Coelho, Augusto Machado e Joly Braga Santos The harpsichord in 20th-century opera by Ruy Coelho, Augusto Machado and Joly Braga Santos Edward Ayres de Abreu CESEM, Centro de Estudos de Sociologia e Estética Musical, Lisboa, Portugal [email protected] Resumo: Quando, possivelmente sob influência de Wanda Landowska, Ruy Coelho (1889-1986) inclui o cravo no efectivo orquestral da sua pri- meira ópera, torna-se assim o primeiro compositor português moderno a recorrer a este então recém-redescoberto instrumento. Desse mo- mento em diante volta a utilizá-lo em várias outras obras, e no contexto lusitano será um dos poucos a fazê-lo. A presente comunicação preten- de reflectir sobre o imaginário conceptual e sonoro que sustentou esta renovada utilização do cravo, quais os desafios técnico-organológicos associados e qual a sua razão de existência e significações possíveis no contexto dramático-musical das óperas portuguesas do século XX que dele fizeram uso: Serão da infanta (1913) e Rosas de todo o anno (1921) de Ruy Coelho, Rosas de todo o anno (1920) de Augusto Machado (1845- 1924) e Trilogia das barcas (1970) de Joly Braga Santos (1924-1988). Palavras-chave: Cravo. Cravo moderno. Ópera. Organologia. Abstract: When Ruy Coelho (1889-1986), possibly influenced by Wanda Landowska, included the harpsichord in the orchestration of his first opera, he became the first modern Portuguese composer to resort to this recently rediscovered instrument. He would go on to use it in several other works, and would be one of few within the Portuguese musical milieu to do so.
    [Show full text]
  • Apresentação Do Powerpoint
    EDUCAÇÃO: PENSADORES AO LONGO DA HISTÓRIA Fonte: Kaasa (2008, p.18) Biografia de Maria Clotilde Carvalho Rosa (1930-2017) Nasceu em Queluz, no dia 11 de Maio 1930 no seio de uma família de músicos. O pai, José Rosa, era violinista e tenor e a mãe, Branca Belo Carvalho Rosa, pianista e harpista de. A música representou portanto uma presença marcante na sua vida. Na família existiram outros músicos, como por exemplo a prima da compositora, Isaura Pavia de Magalhães, professora de violoncelo no Conservatório Nacional. Desde os primeiros anos de vida assistiu aos ensaios dos pais em casa, e a récitas de ópera. A sua primeira memória musical é de ouvir a sua mãe tocar o Estudo das teclas pretas, (opus 10 n.º 5), de Chopin. Com a morte prematura dos pais, Clotilde Rosa vai viver, na Junqueira em Lisboa, com uma tia-avó. Em casa desta familiar, começa a ter aulas particulares de piano e em 1942 ingressa no Conservatório Nacional onde estuda piano com Ivone Santos e harpa com Cecília Borba. Apesar de a harpa representar o instrumento ao qual se dedicou profissionalmente, gostava mais do repertório para piano, nomeadamente Bach, Chopin, Brahms, e de Albeniz. Teve aulas de composição com Wenceslau Pinto e Jorge Croner de Vasconcellos. Termina o curso de harpa em 1948 e o de piano em 1949. Participa em atividades da vanguarda, tais como o happening na livraria Divulgação em 1964, onde se encontra com poetas como Ernesto Melo e Castro, António Aragão e Salete Tavares. Através de uma bolsa de estudo da Fundação Gulbenkian, parte para Paris, onde estuda com a harpista Jacqueline Borot, permitindo-lhe também frequentar o meio artístico parisiense.
    [Show full text]
  • Works for Piano and Orchestra by Portuguese Composers
    WORKS FOR PIANO AND ORCHESTRA BY PORTUGUESE COMPOSERS by Marta Maria Capaz Assunção da Cunha Menezes Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2020 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Arnaldo Cohen, Research Director, Chair ______________________________________ Evelyne Brancart ______________________________________ Jean-Louis Haguenauer January 26, 2020 ii Copyright © 2020 Marta Menezes iii To my dear mentor, Miguel Henriques, that has always inspired and keeps inspiring my musical and artistic journey iv Acknowledgements I want to express my gratitude to Professor Arnaldo Cohen for his support regarding this essay and for his guidance throughout my doctoral studies at Indiana University. I would like to thank the other committee members, the former Professor Edmund Battersby and Dr. Karen Shaw, who unfortunately are no longer with us, and Professors Evenlyne Brancart and Jean-Louis Haguenauer for being a part of my studies at this final stage. I want to thank Miguel Campinho for all his advice and for always being available to help and to provide useful information and suggestions throughout my research. I also want to give a special thanks to João Pedro Mendes dos Santos for his help and availability, and for granting me access to his valuable private collection. I too am grateful to Nuno Fernandes, editor at AvA Musical Editions, for allowing me the access to all edited scores of the piano concertos.
    [Show full text]
  • TOCC0207DIGIBKLT.Pdf
    JOLY BRAGA SANTOS: HIS LIFE AND WORK IN SUMMARY by Piedade Braga Santos José Manuel Joly Braga Santos was one of the most important composers in the history of Portuguese music – and my father. He was born in Lisbon on 14 May 1924 and was also living there at the time of his death (from a stroke) on 18 July 1988, aged only 64 and at the peak of his musical creativity. Having studied violin and composition at the National Conservatoire of Lisbon, he became a pupil of Luis de Freitas Branco (1890–1955), the leading Portuguese composer of the preceding generation. After the Second World War, he was able to go abroad, studying conducting with Hermann Scherchen (Venice, 1948; Lugano, 1958) and Antonino Votto, and composition with Virgilio Mortari (Rome, 1957–61). His six symphonies constitute the most important series in the genre in twentieth-century Portugal. His musical language drew on an intuitive sense of orchestration and feeling for musical architecture as well as an ear for drama, a fondness for long melodic phrases and a natural instinct for structural development, which together resulted in perfect formal coherence. In his own words, he wanted ‘to contribute toward a Latin symphonism and to react against the predominant tendency of the generation that preceded me to reject monumentalism in music’.1 In his first works Braga Santos showed a tendency to modality, motivated by the desire to establish a connection between contemporary music and the golden period of Portuguese music, the Renaissance. One can also find melodic outlines of the oldest Portuguese folksongs.
    [Show full text]
  • Spring 2020 Classics & Jazz
    1/800/222-6872 page 52 page 38 page 11 Spring 2020 Love Music. HBDirect Classics & Jazz HBDirect is pleased to present our Spring 2020 Clas- Spring 2020 sics & Jazz Catalog! As always, we offer an extensive selection of new Catalog Index J.S. Bach: Complete Cantatas / Ton Koopman [67 CDs] classical releases on both CD and video, as well as six 4 Classical - Recommendations Newly available, a reissued edition of the Complete Bach pages of recommendations and four of bestselling videos. 10 Classical - Best Selling Videos Cantatas, performed by Baroque music specialist Ton Browse new releases by time period and look to special Koopman and the Amsterdam Baroque Orchestra & Choir, sections in this issue of new Harpsichord, Guitar & Lute, 14 Classical - New Releases with 67 CDs in carton sleeves. Ton Koopman is not only one Piano, Organ, Chamber Music, Choral, Strings, Broadway 46 Classical - DVD & Blu-ray of the great fathers of the Baroque-Renaissance revival in and Film Scores. This catalog includes six pages of jazz the 1970s, but a true pioneer of our time. After completing and another two pages of Blues, a genre that has recently 48 Blues - Classic Blues the Bach Cantatas survey, was he awarded the Bach Prize been added to the Classics & Jazz catalogs. Look out in 50 Jazz - Enlightenment Box Sets 2014 by the Royal Academy of Music. The prize is awarded to outstanding the coming weeks for a new Mixed-Genre catalog and visit 52 Jazz - Classics from Acrobat individuals in the performance and scholarship of Bach’s music. 67CD# CHL 72826 $389.99 HBDirect.com to see the full extent of what you can order.
    [Show full text]