Luciane Cardassi | Prelúdios em Porto Alegre

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Prelúdios em Porto Alegre

by Luciane Cardassi

First recordings of works for piano by four generations of composers from Porto Alegre, Southern Brazil, a city with a long history of contemporary classical music. This album won the "Açorianos Award" for Best Classical CD when first released in 1998.
Genre: Classical: Piano solo
Release Date: 

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  Song Share Time Download
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1. Sonho I
2:43 $0.99
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2. Sonho II
3:26 $0.99
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3. Sonho III
3:25 $0.99
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4. Terra Selvagem
7:24 $0.99
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5. Round About Debussy
6:10 $0.99
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6. Três Prelúdios e Fuga: Prelúdio 1
1:38 $0.99
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7. Três Prelúdios e Fuga: Prelúdio 2
2:39 $0.99
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8. Três Prelúdios e Fuga: Prelúdio 3
1:03 $0.99
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9. Três Prelúdios e Fuga: Fuga
1:42 $0.99
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10. Prelúdios em Porto Alegre: 1. Aggressivo
2:03 $0.99
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11. Prelúdios em Porto Alegre: 2. Veloce
1:31 $0.99
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12. Prelúdios em Porto Alegre: 3. Delicato
1:33 $0.99
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13. Prelúdios em Porto Alegre: 4. Presto Agitato
0:52 $0.99
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14. Prelúdios em Porto Alegre: 5. Affetuoso
2:16 $0.99
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15. Prelúdios em Porto Alegre: 6. Brillante
4:36 $0.99
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16. Logos
7:38 $0.99
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17. Pomânder
4:40 $0.99
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18. Ékdysis
6:39 $0.99
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19. Estudo Paulistano
10:16 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
COMPOSERS: Armando Albuquerque (tracks 1 - 3); Bruno Kiefer (track 4); Flávio Oliveira (track 5); Lourdes Saraiva (tracks 6 - 9); Fernando Mattos (tracks 10 - 15); Antônio Carlos Borges Cunha (tracks 16 and 17); James Correa (track 18); Celso Loureiro Chaves (track 19).

The Piano Music of Porto Alegre
by Celso Loureiro Chaves

A long lineage of composers equates music of Porto Alegre to that of a whole country. Even the map of the city is defined by its composers: once the house of Armando Albuquerque is taken as the center of the musical soul of Porto Alegre, then all the other composers in this CD seem to cluster around it. These are composers who live or have lived in neighborhoods full of arcane mysteries, neatly organized around the very center of the city.
More than the sonic equivalent of a urban map, however, this CD is an introduction to fifty years of piano music, from Sonhos by Armando Albuquerque to Estudo Paulistano by Celso Loureiro Chaves. In this collection it will be found the music of composers from a somewhat isolated Southern Brazilian town who have fashioned their own answers to the problems elicited by the variety of music idioms created in the past decades and for whom the piano has proved to be the most viable medium, more readily accessible than either chamber or symphonic music.
Armando Albuquerque (1901-1986), the patriarch of Southern Brazilian composers, composed Sonhos 1 – III [Dreams I – III] during a period when he distanced himself from the much more violent and epigrammatic style of his earlier compositions. This comparatively more discursive style pervades his three Sonhos composed in 1950, 1952, and 1974. Its main characteristics are a remarkable balance between rudeness and lyricism and the combination between quotations from traditional piano repertoire and unexpected rhetorical gestures.
Terra Selvagem [Savage Land], by Bruno Kiefer (1923-1987), was composed in 1971 and is the musical equivalent of the poetry of the Porto Alegre poets Carlos Nejar and Armindo Trevisan. It is a vast frescoe portraying an arid land, and alternates fragments of musical ideas and massive sonorities. This piece represents the precise moment in the history of the music of Porto Alegre when dissonance came into its own, in a mixture of brutalism and poetry.
Composers of a later generation, Flávio Oliveira (1944), Celso Loureiro Chaves (1950) and Antônio Carlos Borges Cunha (1952) were students during the 70s, but aside from their common fascination with piano resonance, their styles have evolved in very different directions.
Flávio Oliveira says that Round about Debussy (1989) is the result of a lecture by Jonathan Dunsby where Debussy’s Bruyères was played by Maria Carolina Schindler. The piece is as much a reflection on aspects of the Debussy aesthetics as it is an essay on the performance practice of Debussy’s piano pieces.
The two pieces by Antônio Carlos Borges Cunha are explanations of the full possibilities of the piano as a percussion instrument. Logos, composed in 1991, uses the extended techniques developed during the 60s and 70s, while Pomânder, composed in 1997, takes its inspiration from poems by Eugen Gomringer in hsi collection 13 Variationen eines Themas. In this piece, the performer is required to sing and speak, and ultimately to recite portions o Gomringer’s poems.
The Estudo Paulistano [Paulistano Etude] for the left hand (1998) by Celso Loureiro Chaves, cushioned in a marked tonal idiom, opens with a quotation from Britten’s Peter Grimes and goes on to explore the territory of memory, evoking the Sabbath celebrations in the synagogues of Porto Alegre and the gunfires in the streets of Rio de Janeiro.
The yonger generation of the Porto Alegre composers is represented by Fernando Mattos (1963), Lourdes Saraiva (1966) and James Correa (1968). Their style is eclectic, as befits a newer generation, and their music partakes from a diversity of influences.
Prelúdios em Porto Alegre [Preludes in Porto Alegre] (1997), by Fernando Mattos, are built more like études than preludes. Their technical demands are considerable and their idiom echoes the music of Milhaud and Shostakovich. The last of the six preludes is frankly Lisztian and it is the most demanding piano piece ever composed in Porto Alegre.
The classical forms that Lourdes Saraiva employs in her Três prelúdios e fuga [Three Preludes and Figue] (1994) are animated by three different propositions on how to introduce a fugue, alternatively rhapsodic, lyric, and rude. The fugue is a clever exercise in academic music, but one where all academicism has been banished by the construction of a very expressive fugal subject.
James Correa’s Ékdysis (1996) is a reflection of the meaning of its title, “the action of becoming naked” or “the cyclical shedding of shells in certain kinds of crustaceans”. To its composer, the piece reflects the idea of eternal change, represented by the transformation of one musical event into another, of one melodic fragment into another, in the creation of sounds “open to the arrival of other sounds”.

FICHA TÉCNICA
Produção: Luciane Cardassi
Direção musical: Celso Loureiro Chaves e Antônio Carlos Borges Cunha
Gravação e mixagem: Marcello Sfoggia
Masteriação: Marcos Abreu
Projeto gráfico: Cleber Rocha das Neves
Imagem da capa: "Diamons in the sky" by Karin Lambrecht
Gravado no Salão de Atos da Reitoria da UFRGS, Porto Alegre, entre 27 de julho e 13 de agosto de 1998 / Financiamento: FUMPROARTE Prefeitura de Porto Alegre

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