Download Brazilian Music by Dr. Shelly Moorman

1 BRAZILIAN PIANO MUSIC: AN INTRODUCTION Dr. Shelly Moorman-­‐Stahlman, Nov. 14, 2014 A Country filled with traditions, dance, celebrations, and music Valsa examples Valsa Lenta “Amando sobre sobre o mar!” Zequinha Abreu Valsa No. 9 by Camargo Guarnieri; Ricordi edition Valsa de Esquina by Francisco Mignone; Mangioine & Filhos CIA LTDA Tristorosa pour piano (valsa lenta) by Heitor Villa-­‐Lobos Polka examples Correcta; polka by Ernesto Nazareth; Fermata do Brasil (Av. Ipiranga, 1123-­‐SP. –Brasil) Choro Instrumental Brazilian popular genre which originated in Rio Often has fast happy rhythm Characterized by virtuosity, improvisation, subtle modulations, full of syncopation and counterpoint Often played by flute, guitar, and cavaquinhos; also mandolin, clarinet, trumpets, and trombones Rhythm provided by cavaquinhos and light percussion such as pandeiro AABBACCA form; first key; relative key; subdominant Joaquim Antonio de Silva Calado; Flutist, creator of choro, O Choro do callado; used ebony flute, 2 viols, cavaquinho Pexinguinha is one of most prolific choro composers http://www.choromusic.com/arquivos/choro_english.pdf Suggested CD: Choros: Interretado por Benedito Costa & Waldir Silva; Radar Recordings Waldir Silva 2011 Choros e Benedito Costa Tico-­‐Tico no Fubá composed by Zequinha de Abreu in 1917. "Fubá" is a type of maize flour, and "tico-­‐tico" is the name of a bird, the rufous-­‐collared sparrow. Hence, "tico-­‐tico no fubá" means "sparrow in the cornmeal". Tico-­‐Tico no Fubá was recorded and made popular internationally by Carmen Miranda and Ray Conniff. Another well known recording was made by Ethel Smith on the Hammond organ. Tico-­‐Tico de Fubá by Zequinha de Abreu Arranged by Marc-­‐André Hamelin for the “Virtuoso Piano Transcription Series” published by Schott OTHER DANCE FORMS  Lundu-­‐Afro-­‐Brazilian music and dance; varying structure; interplay of tonic and dominant; strummed chords layered atop a syncopated rhythm; couple dance; related to Spanish fandango  Frevo-­‐Began in Reçife as part of Carnaval; dances using colorful umbrellas involving jumps, fast leg movements  Maxixe-­‐Brazilian Tango originating from Afro-­‐Brazilian Dances and European polka; 2/4  Samba-­‐Dance style originating in Bahia, Brazil with its roots in Africa via slave trade; 2/4 tempo; traditionally played by guitars and various percussion instruments; samba began to use trombones, trumpets, choros, flutes and clarinets after Second World War; Samba National Day is celebrated December 2nd  Jongo-­‐Brought to Brazil by Bantus (Angola); Dance of black communities from southeast Brazil; Influenced samba carioca; circle dance, utilization of fire and drums; many symbols 2 SELECTED PIANO COMPOSERS (ONLY A SMALL SAMPLING) Oswald, Henrique (1852-­‐1931) Born in Rio de Janeiro; son of Swiss father and Italian mother; both musicians Spent over fifty years of his life in Europe; mostly Italy Music reflects contemporary French influence, notably that of Debussy 1903 returned to Brazil and became director of the National Institute of Music in Rio Taught Lorenzo Fernandez His music can be found on numerous cds Gonzaga, Chiquinha (1847-­‐1935) Born in Rio de Janeiro; mulatto mother and wealthy white father who became a marshal First woman in Brazil to obtain a legal divorce First woman to play in choro group, O Choro do Calado with flutist Joaquim Callado Worked for Abolition of Slavery and the Republican movement Wrote many works for the Carnival in Brazil O Melhor de Chiquinha Gonzaga: Peças Originais e arranjos para piano (Imäo Editions) Her music can be downloaded on www.chiquinhagonzaga.com.br Examples: “O abre alas” and “Gaucho” from O Melhor... Nazareth, Ernesto (1863-­‐1934) No formal training (wanted to study in Europe but no money) Became famous in Rio performing before the movie at the Odeon Cinema (where Villa Lobos was cellist). He played the piano for silent movies Pianista-­‐used to designate serious, classical pianist Pianeiro indicated the salon musical entertainer who provided dance music. In 1919, he began work for music store, Casa Carlos Gomes Wrote approximately 100 tangos brasileiros (also waltzes, marches, and polkas) Titles bear tongue-­‐in-­‐cheek titles that often suggest some aspect of life of the Carioca, the resident of Rio de Janeiro. Said to have played his tangos not in strict dance tempo, but with rubatos and hesitations Villa-­‐Lobos admired him and called him “the true incarnation of the Brazilian soul” They dedicated compositions to each other. Www.ernestonazareth150anos.com.br (web site with music and discography; photos) Free complete scores in PDF format www.ernestonazareth.com.br (under obras) Examples: Odeon and Brejeiro Nazareth: Brazilian Tangos and Dances; edited by David Appleby; Alfred Publications Nazareth: Valsas Brasileiros. Schott Publishers Tangos: An Album of Brazilian Dances. Selected and Edited by Victor Fell Yellin. Oxford Music for Piano (Good preface that includes information about each piece and composer) Tangos, Milongas and Other Latin-­‐American Dances. Edited and introduction by Joseph Smith. Dover Publishing (short intro about composers in collection; Cuba, Brazil, Puerto Rica) Tangos: Selected Works. Edited by Maurice Hinson. Alfred Masterwork Edition (includes many Nazareth by also tangos from around world) 3 Fernandez, Lorenzo (1897-­‐1948) Studied at Institutio Nacional de Musica with Francisco Braga, Frederico Nascimneto,and Henrique Oswald; Later became professor there Helped found the Sociedade de Cultura Musical 1936 founded the Conservatorio Brasileiro de Musico in Rio Delved deeply into Brazilian folk tradition as the basis for musical nationalism Works mestizo in style, combing European and native Brazilian elements Suite Sinfonica makes use of Bahia folksongs and a Brazilian lullaby Imabapara, using melodies from Perecia Indians of Jato Grosso. Music available through Peermusicclassical.com (halleonard.com) Suite das 5 Notas (Suite on Five Notes); Peer Music; Hal Leonard Beginner Despertar (Awakening) Teimosia (Obstinacy or Stubborn) Acalanto (Tranquility or Lullaby) *Roda (The Wheel or Circle) Pastorale Lamento (Lament) *Valsinha (Little Waltz) Caminho da Escola (The Road to School) Recordaçoes de Infançia (Suite Infanil Facil) Fermata do Brasil Early Intermediate Caminho da Serra Na Beira do Rio *Fogueiras de S. Joao (festival in June) *Suite Infantil Boneça Yaya (Yaya the Doll; Peer music; Hal Leonard) Late beg/early Interm Yaya Dançanda (Dancing Yaya) Yaya Sonhando (Dreaming Yaya) Yaya Brinca (Jumping Yaya) Boneças (Imäos Vitaie) Dolls; Peer Music; Hall Leonard Late beg/early interm A Dançarina espanhola (Spanish Ballerina) A Pastorinha Portuguesa (Portuguese Shepherdess) A Camponesa Italiana (Italian Peasant Girl) A Lenhadora Russa (Russian Girl Woodcutter) A Baianinha das Cocadas (Chocolate Cake Girl Vendor) The Fantastic Horseman (for piano 4 hands); Peer Music; Hal Leonard Intermediate 1st Suite Brasileira (Peer Music; Hal Leonard) Intermediate Velha Modinha (Old Song) Suave Acalnto (Sweet Cradle Song) Saudosa Seresta (Serenade) Historietas Maralihoasas (Irmäos Vitale) Intermediate 7 movements *Fada do Bosque (last mov) 4 2nd Suite Brasileira Peer Music; Hal Leonard Have it on recording Mestre Brasileira Ponteio (Prelude) Moda (song) Caterete (dance) Valse Suburbana, op. 7 Two Minatures; Peer Music (late intermediate) Intermed/Early Adv 3rd Suite Brasileira (Peer music) Toada (Song) Seresta (Serenade) Jongo (Negro Song) Composed 1938-­‐39 Early Advanced Bravo Brazil! Edited by David and Martha Appleby (Irmäos Vitale, 1970) “Hoppla, Hoppla, bum, bum bum” (Ernst Mahle) “A moda da carranquinha” (Villa-­‐Lobos) “Dorme bonequinha” “Sleep Little Baby Doll” (Francisco Mignone) “Saci” (the elf like creature who is responsible for sudden disappearance of our possessions and unexplained breakage of objects) (Villa-­‐Lobos) Mignone, Francisco (1897-­‐1986) Born in Sao Paolo; died in Rio Graduate of Sao Paulo Conservatory and Milan Conservatory 1929 returned to Sao Paulo to teach harmony 1933 taught at Escola Nacional de Musica in Rio Father was Italian immigrant flutist, Alferio Mignone As child he gained attention playing in choro style By 13, he was pianist and orchestra leader Early period-­‐shows Italian influence and Romantic tendencies Middle period 1929-­‐1960 Much of his music is Nationalistic, uses folk melodies and forms of Brazil Last period-­‐experimented with polytonal, atonal, and serial writing 1968-­‐chosen as Brazilian composer of year At age 83, he married Marie Joséphine Bensoussan with whom he played 2 hand works; had daughter Anete. He died at 88 and his wife remained an interpreter of his music www.bn.br/fbn/musica/emigno_li.htm (web site about Mignone with midi scores) *Sonatina II (Available through Interlibrary Loan) *Valsa de esquina *Toada (from Quatro Peças Brasileiras (Ricordi Brasileira) The majority of his works are more advanced 5 Villa-­‐Lobos, Heitor (1881-­‐1959) 1881 born in Rio de Janeiro; father civil servant and amateur musician Very little formal training; learned cello, guitar and clarinet 1888 abolishment of slavery 1889 overthrowing of Empire of Brazil 1899 father died and VL earned living playing in cinema and theatre orchestras 1905 began exploring Brazil’s dark interior; played with local Brazilian street-­‐music bands; cellist in Rio opera company; influenced by Nazareth’s tangos and polkas 1912 married pianist Lucilia Guimaräes; began career as serious musician 1913 music began to be published 1916 composed symphonic poems Amazonas and Uirapurύ (drew from native Brazilian legends and use of primitive folk material 1917 influenced by Sergei Diaghilev’s tour of Brazil with Ballets Russes 1917 met French composer Darius Milhaud (Debussy, Satie, Stravinsky) 1918 met pianist Arthur Rubinstein who encouraged him to write more piano music 1919-­‐1920 wrote Carnaval das crianças (Children’s carnival depicting 8 characters or scenes from Rio’s Lent Carnival) 1922, Rubinstein gave premiere of piano suite A Prole do Bebê (The Baby’s family) 1923 toured Paris; met Varese, Picasso, Stokowski, Copland 1920s met Spanish guitarist Andres Segovia, commissioned a guitar study 1932 director of Superintendencia de Educacäo Musical e Artistica; composed educational works 1930’s Guia Pratico, 11 volumes 1930-­‐1945 composed Bachianas Brasileiras; 9 pieces which take the forms and nationalism of choros and add composer’s love of Bach 1936 Left his wife and began relationship with Arminda Neves d’Almeida (musician) 1942 Solfejos contained vocal exercises 1940 and 1950 Canto Orfeonico contained patriotic songs for schools and for civic occasions. 1945 Vargas fell from power and VL resumed travel abroad; many commissions 1958 Wrote music for film Green Mansions starring Audrey Hepburn and Anthony Perkins; earned $25,000; Forest of the Amazon for soprano soloist, male chorus and orchestra drawn from this Villalobos.iu.edu (http://villalobos.iu.edu) Villa-­‐Lobos site at Indiana University: Maintained by the Latin American Music Center (http://music.indiana.edu/lamc) Francette et Pià (easy pieces on popular French and Brazilian themes) Editions by Max Eschig; Copyright 2007 by Durand Villa-­‐Lobos: Francette et Piá. Children’s Series. Eschig edition. Distributed by Hal Leonard. Guia prático (medium level; written between 1930-­‐1944; traditional Brazilian songs he had collected in his youth; creative titles) Villa-­‐Lobos: Guia Prático (sélection). Children’s Series. Eschig edition. Distributed by Hal Leonard Examples: Machadina (The Hatchet); Samba; A Freira (The Nun); O Gato (The Cat); Os Pombinhos Guia Pratico: Quatrieme album pour piano. Eschig Edition Twenty Five Pieces on Popular Children’s Folktunes of Brazil. Albums 6-­‐7 Guia Pratico. Mercury Music Examples: Sonho de uma criança (Child’s Dream); Carangueijo (The Crab); A Pombinha Vou (Little Dove Flew Away); No Fundo Do Meu Quintal (In my Backyard); Os Pombinhos *As Tres Marias (The Three Marias); published by Carl Fischer 6 Segunda suite infantile; Second Suite for Children, 1913 (Dedicated to “my wife’s little students” #1 and 3 especially good (in “Piano Music” volume) Prole do Bebê (The Baby’s Family; volume 1 1918) A pobrezinha (Little Poor Girl or Rag Doll), volume 1 O Polichinelo (Punch), volume 1 but a little more advanced; made famous by Rubinstein Caboclinha (Little Mestizo Girl or the Clay Doll) Villa-­‐Lobos: Piano Music: Prole do Bebe, 1, “Danças Caracteristicas Africanas, and other works. Dover Publications Tristorosa (full of sadness), 1910, one of earliest pieces for piano ABACA form; waltz in popular style In 1907 VL wrote ‘Valse Romantica” in style of salon music Laçerda, Osvaldo (1927-­‐) First Brazilian composer to win grant from Guggenheim Foundation Studied composition with Aaron Copland and Vittorio Giannini Studied with Brazilian composer Camargo Guarnieri Draws from popular music and Brazilian folk Resident of Säo Paolo; served as President of state music committee Example: Brasiliana Suites (Irmäos Vitale) Nobre, Marlos (1939-­‐) Born in Reçife (northern Brazil) In this area of Brazil are long festivals where music is played for hours. Nobre wrote four Ciclos Nordestinos (Northeastern Cycles) which are shorts pieces based on typical stylistic aspects of those songs and dances Received numerous commissions in South America, Europe, and USA Graduate of the Pernambuco Conservatory and the Instituto Torcuato di Tella in Buenos Aires (he studied with Messiaen and Malipiero) Ministerio de Educacäo. Conçergencias combines serialism, aleatoric structures and native South American devices Example: 1st Ciclo Nordestino, op. 5 (Irmäos Vitale) Santoro, Claudio (1919-­‐1989) Born in Manaus and died in Brasilia; Studied piano and violin as child Government of Amazonas sent him to study at Conservatório Brasileiro de Music in Rio By 18, he was already teaching violin at conservatory Pupil of Hans-­‐Jachim Koellreuer; Studied in Paris with Nadia Boulanger Co-­‐founded and played in Brazilian Symphony Orchestra Example: Sonatina #2 (Ricordi Brasileira) OTHER SELECTED EXAMPLES OF INTERMEDIATE REPERTOIRE Pinto, Octavio (1890-­‐1950); Scenas Infantis (GS) Souza Lima, Joäo (1898-­‐1982); Brincando do Jazz (Ricordi Brazileira) 7 BIBLIOGRAPHY Appleby, David P. Heitor Villa-­‐Lobos: A Bio-­‐Bibliography. New York: Greenswood Press, 1988. Behague, Gerard. Villa-­‐Lobos: The Search for Brazil’s Musical Soul. August: Institute of Latin American Studies, University of Texas at Austin, 1994. Da Costa, Carlos Wiik. The Teaching of Secondary Piano Skills in Brazilian Universities. Doctoral Dissertation. University of Florida, 2003 De Andrade, Mario. Musica de Felticeira No Brasil. Edited by Itatiaia, Belo Horizonte, Brasil. Contains transcriptions of melodies from Afro-­‐Brazilian religious traditions. Gardner, Jeff. “Master Class: Muito axe! Infuse your keyboard grooves with Brazilian rhythms. The Keyboard 27 (November 2001): 50-­‐52. -­‐-­‐-­‐. “Master Class: Play it again, Samba (Brazilian piano). The Keyboard 25 (September 1999); 50-­‐52. LaVerne, Andy. “Update to Brazil.” The Keyboard 32, (April 2006): 42. Machado, Simone Gorete. An Examination of Selected Piano Works by Francisco Mignone, Lorenzo Fernandez, and Marlos Nobre Using the Corresponding Brazilian Dances as a Guide to Their Performance. Doctoral Dissertation. University of Arizona, 2006. Peppercorn, Lisa M. Villa-­‐Lobos, the Music: An Analysis of His Style. Translated by Stefan De haan. London: Kahn and Averill; White Plains, NY: Pro/AM Music Resources, 1991. Peixe, Guerra. Maracatus do Recife. (transcription of many traditional maracatu percussion parts and melodies and tells the story of the maraca organizations Soares, Luciana. Works for Piano by Brazilian Female Composers of the Twentieth Century: A Discussion and Catalogue. Doctoral Dissertation. University of Southern Mississippi, 2002 http://webquestgroupv.blogspot.com/2009/10/brazilian-­‐composers.html Selected CDS Brasileiras Duo Piano with Sara Cohen and Miriam Braga Brazilian Extravagence (includes major works for orchestra); Delos Jobim Sinfonico (available through Amazon.com) O Piano Americas; Clara Sverner (Includes Nazareth and Gershwin) O Piano Brasileiro with Marcello Verzoni; Orpheus Vania Pimentel: Brazilian Toccatas and Toccatinas (can be purchased through her web site) Villa Lobos Cirandas; Joao Carlos Assis Brazil Villa-­‐Lobos; Joao Carlos Assisi Brasil Selected DVDS Moro-­‐no Brasil (a musical road trip throughout Brazil; from the roots of samba to modern rap and funk) The Sound of Rio: Brasileirinho