Camargo the MUSIC of BRAZIL GUARNIERI Choros • 1 Seresta
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Camargo THE MUSIC OF BRAZIL GUARNIERI Choros • 1 Seresta Olga Kopylova, Piano • Alexandre Silvério, Bassoon Claudia Nascimento, Flute • Davi Graton, Violin São Paulo Symphony Orchestra • Isaac Karabtchevsky Camargo Guarnieri (1907–1993) About This Series Choros • 1 The series The Music of Brazil is part of the project Brasil em Concerto , developed by the Brazilian Ministry of Foreign Brazil and the world, according to Guarnieri 5 – Cururu (to use an Amerindian motif), (one Affairs in order to promote music by Brazilian composers dating back to the 18th century. Around 100 orchestral works could imagine an African dance to use an Afro- from the 19th and 20th centuries will be recorded by the Minas Gerais Philharmonic Orchestra, the Goiás Philharmonic Mozart Camargo Guarnieri was born in 1907 in Tietê Brazilian motif), (of no specific speed); Orchestra and the São Paulo Symphony Orchestra. Further recordings of chamber and vocal music will gradually be (State of São Paulo). His father, an Italian immigrant and 6 – Dobrado (or Samba , or Maxixe ), (quick duple added to this collection. music lover, not only named his sons after great metre or imposing finale). composers (Mozart, Verdi, Rossine and Belline, the latter ... And since I am considering large-scale pieces, The works were selected according to their historical importance for Brazilian music and the existence of recordings. two both spelt with a final e instead of an i), but had no it is easy to avoid sonata form, toccata form, etc. Most of the works recorded for the series have never had recordings available outside Brazil; many others will have their qualms about moving to the Brazilian capital in 1922 to much misinterpreted today...’ 1 world premiere recordings. An important part of the project is the preparation of new or even first editions of the works to give his eldest son – who had started composing at just be recorded, many of which, despite their relevance, have only been available in the composer’s manuscript. This work 13 – a better chance of being able to develop his musical Many of Guarnieri’s works reflect Andrade’s nationalist will be carried out by the Brazilian Academy of Music and by musicologists working together with the orchestras. talents to the full. ideals. He often makes reference to his native musical Guarnieri met the poet and musicologist Mário de culture in either overall or movement titles, even if his Andrade in São Paulo in 1928, the same year in which the musical idiom does not do so directly: his Choros for solo latter published his Ensaio sobre a Música Brasileira instrument and orchestra are not straight adaptations of (‘Essay on Brazilian Music’), a landmark work in the field the traditional choro genre. Guarnieri himself explained his of Brazilian music. At their first meeting, Guarnieri use of the word: ‘Choro is a replacement for concerto’. presented two pieces he had composed under the In 1950 Guarnieri published his Carta Aberta aos supervision of Italian conductor Lamberto Baldi; Andrade Músicos e Críticos do Brasil (‘Open letter to the musicians was impressed, especially with the latent nationalist and critics of Brazil’), a defence of the ‘true interests of elements in the two works, and offered to guide the young Brazilian music’. The letter condemns the ‘current direction composer’s cultural education. Their encounter led to the of music written by young composers who, influenced by birth of the Brazilian Nationalist School: as well as misguided ideas, are affiliating themselves with twelve- composing in a nationalist aesthetic, Guarnieri also taught tone technique’. 2 The violent tone of the Carta is composition for many years, training several generations surprising, given that much of its criticism is directly of younger composers. levelled at Hans-Joachim Koellreutter (1915–2005), a Among the ideas discussed by Andrade in the Ensaio German composer based in Brazil since 1936, with whom is that of the ‘Brazilianization’ of the act of composing, Guarnieri had maintained good relations until the mid-40s. thinking about music in accordance with the national Controversy surrounds the motivation that led reality. At one point, for example, he reflects on the Guarnieri to publish the letter, and specialists such as potential use of traditional Brazilian musical forms in a Flávio Silva and Lutero Rodrigues even cast doubt on its classical setting: authorship, taking the context into consideration – the Carta echoes the Soviet-style aesthetic concerns of the ‘Imagine a suite, for example: Composers’ Congress held in Prague in 1948 – given the 1 – Ponteio (a prelude of any speed or metre); fact that Guarnieri never showed any interest in politics. It 2 – Cateretê (quick duple metre); has been suggested that it might actually have been About The Scores 3 – Coco (slow duple metre), (choral polyphony), written by his brother Rossine, a poet and militant All scores published by Editora da OSESP ( www.osesp.art.br ); a substitute for the Sarabande ; communist, 3 or that it constituted a show of unconditional requests at [email protected] 4 – Moda or Modinha (triple or quadruple metre), support for Guarnieri’s mentor Mário de Andrade, who a substitute for the Air ; had died in 1945. The Choro for Violin and Orchestra (1951) is one of a mean that it overwhelms me – on the contrary, I use it to current recording plans are an important step in making 1 ANDRADE, Mário de. Ensaio sobre a Música Brasileira . number of works that can be seen as a kind of musical serve my imagination and power of expression.’ 6 this repertoire more accessible to a wide audience, both 4th ed. Belo Horizonte: Itatiaia, 2006 [1928]. pp. 53–54 manifesto of such ideas, reiterating and radicalising In fact, form is really quite a salient aspect of his within Brazil and beyond its borders. In being so closely concepts that Guarnieri very probably saw as Andrade’s music, clearly perceptible to the listener. Generally tied to its regional roots, it in fact becomes more 2 Guarnieri, as quoted in KATER, Carlos. Música Viva e legacy, which it was his mission to preserve. speaking, he uses a ternary A–B–A-type structure, in universally communicative, capable of connecting with H. J. Koellreutter: Movimentos em Direção à It was notable that Guarnieri later took it upon himself which the ideas are clearly set out at the beginning – the something inherent to all human beings, our home, our Modernidade . São Paulo: Atravez, 2001. p. 119. to refute, or at least play down the importance of the exposition of the principal theme and its constituent motifs place in the world. Guarnieri’s music, in conclusion, is as opinions expressed in the Carta , which are contradicted in is followed by a logical development of that theme precious as the little-known waterway that poet Fernando 3 SILVA, Flávio. ‘Camargo Guarnieri e Mário de Andrade.’ the works he wrote in the 1960s, as critic Caldeira Filho (Guarnieri was one of the 20th-century’s great masters of Pessoa (writing as his heteronym Alberto Caeiro) Latin America Music Review , vol. 20, no. 2, p. 194, 1999. / noted in his November 1965 review of the premiere of motivic development); next comes a contrasting section, compares with the River Tagus: RODRIGUES, Lutero. ‘As Características da Linguagem Guarnieri’s Seresta for Piano and Orchestra for the which in turn is followed by the return of the initial Musical de Camargo Guarnieri.’ Revista de Música newspaper O Estado de S. Paulo : material. Guarnieri specialised in getting the maximum ‘... few people know the name of the river Brasileira . Rio de Janeiro, vol. 28, no. 1, pp. 107–140, possible from this straightforward conception, in my village 2015. ‘The concert’s main point of interest was the meticulously shaping the harmony, balancing the or where it runs to world premiere of Camargo Guarnieri’s Seresta , counterpoint and exploring different lines and instruments or where it comes from. 4 Caldeira Filho, as quoted in SALLES, Paulo de Tarso. for solo piano, harp, xylophone, timpani and to the utmost extent. This is why many consider his music And so, because it belongs to fewer people, Aberturas e Impasses: a Música no Pós-Modernismo e strings ... a work that marks a new phase in the to be more accessible than that of Villa-Lobos, with his the river in my village is freer and greater.’ 7 seus Reflexos no Brasil, 1970–1980 . São Paulo: Ed. composer’s writing, characterised by greater taste for the chaotic; what prevails in Guarnieri is a desire Unesp, 2005. p. 169. freedom with regard to nationalism and harmonic for organisation, a Classical clarity of form. Paulo de Tarso Salles tonality ...’ 4 Another element central to Guarnieri’s aesthetic is his 5 Cf. CURY, Fábio. Choro para Fagote e Orquestra de love for the musical traditions of Northeastern Brazil. Many English translation: Susannah Howe Câmara: Aspectos da Obra de Camargo Guarnieri . São So Guarnieri began using nationalist elements in more of his melodies are reminiscent of those of the sertão – the Paulo: Doctoral thesis, ECA/USP, 2011. pp. 38–39. flexible fashion, combining them with others borrowed ‘outback’ regions of that part of the country – alternating Paulo de Tarso Salles is professor of music theory at São from the so-called ‘universalist’ trend. The Choro for Flute the Lydian and Mixolydian modes and borrowing melodic Paulo University (USP), coordinator of the Villa-Lobos 6 Guarnieri, as quoted in TACUCHIAN, in SILVA, Flávio and Chamber Orchestra (1972) flirts with various serialist formulas from the baião genre, in the style of composers of Symposium (USP) and editor of the Musical Review (USP). (ed.). Camargo Guarnieri: o Tempo e a Música . São processes, but treats them freely and puts them to the popular music such as Luiz Gonzaga.