Various Artists | Rosas de Pulpa, Rosas de Cal -- the Music of Valdo Sciammarella

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Rosas de Pulpa, Rosas de Cal -- the Music of Valdo Sciammarella

by Various Artists

"Romantic, evocative and visceral ... McNaron gives each song a life of its own." Bold Twentieth-Century Argentine music influenced by Tango.
Genre: Classical: Chamber Music
Release Date: 

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  Song Share Time Download
1. El instante
Diane McNaron / Heather Coltman
3:19 $0.99
2. Si al mecer
Diane McNaron / Heather Coltman
2:09 $0.99
3. Volverán
Diane McNaron / Heather Coltman
3:52 $0.99
4. Hoy como ayer
Diane McNaron / Heather Coltman
3:25 $0.99
5. Romancillo del niño perdido
Diane McNaron / Heather Coltman
1:24 $0.99
6. Campesina
Diane McNaron / Heather Coltman
3:15 $0.99
7. Caprichoso
Heather Coltman
2:02 $0.99
8. Nocturno
Heather Coltman
1:58 $0.99
9. Romanza
Heather Coltman
2:28 $0.99
10. Idilio
Heather Coltman
2:55 $0.99
11. Acuarela
Heather Coltman
3:34 $0.99
12. Con Gracia
Heather Coltman
1:22 $0.99
13. Con Mucho Gracia
Heather Coltman
1:59 $0.99
14. Graciosísimo - Ostinato
Heather Coltman
1:18 $0.99
15. Lento
Heather Coltman
3:32 $0.99
16. Alegre
Heather Coltman
3:10 $0.99
17. Amigo, ¿te acuerdas?
Diane McNaron / Heather Coltman
2:05 $0.99
18. Dulcísima tu voz
Diane McNaron / Heather Coltman
1:58 $0.99
19. ¡Oh! amigo
Diane McNaron / Heather Coltman
2:19 $0.99
20. Tú, amigo
Diane McNaron / Heather Coltman
1:15 $0.99
21. Sueño de ti
Diane McNaron / Heather Coltman
3:04 $0.99
22. Tu palabra
Diane McNaron / Heather Coltman
1:38 $0.99
23. Brisa encalmada
Diane McNaron / Heather Coltman
1:48 $0.99
24. Sonreías, Amigo
Diane McNaron / Heather Coltman
1:46 $0.99
25. Andante
Karen Bentley Pollick, Melanie Richardson Rodgers, Craig Hultgren, Adam Bowles
6:19 $0.99
26. Molto spirítoso
Karen Bentley Pollick, Melanie Richardson Rodgers, Craig Hultgren, Adam Bowles
4:11 $0.99
27. Lento, Molto espressivo
Karen Bentley Pollick, Melanie Richardson Rodgers, Craig Hultgren, Adam Bowles
7:18 $0.99
Downloads are available as MP3-320 files.


Album Notes
Following a search that covered two continents, American soprano Diane McNaron found Argentine
composer Valdo Sciammarella and began a four-year exchange of ideas and music in all genres --
songs, chamber music, works for choir and orchestra. "Rosas de Pulpa -- Rosas de Cal" is the
complex and rivting result.

The CD’s title is taken from Pablo Neruda’s poem, "Campesina," or
Peasant Girl. Watching her, the poet addresses the woman in his mind as she
toils unaware of him. Thinking of what the work does to her body and how
the furrows which she tills will become her grave, he speculates on the
conditions and ideologies that put her there, then questions ironically, “What
ideal can your body fulfill?” Will his writing bring immortality to this being
whose flesh he sees decimated? Intuitively, composer Valdo Sciammarella sets
the poem as a love song, perhaps from the earth to the woman. In this
two-song cycle, "Dos canciones," the composer defied precise Argentine cultural
borders when he combined the Neruda poem with a country fable or
Romancillo, uniting porteños with provincias, city people and country folk,
who historically do not mix. We hope this gesture invokes the revolutionary,
humanitarian spirit of Neruda.

Opening the recording is the cycle "Cuatro canciones," premiered by the
composer and contralto Beatriz Costa in July 1991, in the Salón Dorado at the
Teatro Colón. It offers a metaphysical speculation on the permanency of art by
poet Francisco Luis Bernádez, which serves as an introduction to the
extreme emotional highs and lows of première Spanish-language Romantic
poet Gustavo Adolfo Bécquer. Bécquer chronicles the loves of his brief, intense
life through his passionate poetry. "Si al mercer" is unique in Sciammarella’s work
for its musical onomatopoeia. The piano is the wind, twisting and undulating,
as it wafts the burning breath and whispered love-words of the poet to
his beloved. In the most famous of Spanish-language poems, "Volverán," lines
which begin as lyrical love poetry subtly pivot to skewer Bécquer’s love for her
coldness and narcissism. Finally, in Sciammarella’s tango-style setting of "Hoy
como ayer, Bécquer explodes with scrappy, sardonic irony.
Piezas breves," a multi-movement work for piano, published in 1956, was
premiered by the composer on May 21, 1953, in Buenos Aires.

The beauty of the simple poetry of Javier’s "Cantigas de amigo" is its
universality: that lovers and friends can part but find each other, still, through
dream, memory and the sounds they shared.

Argentina’s renowned tango subtly influences and enlivens many
Sciammarella works. In an informal interview, Sciammarella admits that the
acute listener can always find the tango’s rhythm in the porteño’s (inhabitant of
Buenos Aires) speech cadence and language. Though written in 1972/79, the
"Credo," from the "Ballet Credo," did not receive a premiere until 1990. As with
all works herein, except "Cantigas," this is its first recording. The tango flavor
emerges in the second movement, perverse, dark, humorous and urbane. As in
both the tango bailado (danced) and cantado (sung), Sciammarella recreates
the tango’s unexpected contrasts and movements that, for him, reproduce the
very sound and feel of his beloved Buenos Aires.

K. Jensen/D. McNaron



to write a review

Michael Huebner

The Music of Valdo Sciammarella. From The Birmingham News, Birmingham, AL, Mich
Composer Valdo Sciammarella is practically unknown outside his native Argentina. An Amazon search for recordings turned up three entries -- scanty selections among other Latin American works.

Leave it to the adventurous Birmingham soprano Diane McNaron to shed long-overdue light on sumptuous vocal music by a 86-year-old composer. In fact, McNaron has devoted an entire CD to Sciammarella's music, including three song collections, a suite of piano pieces and a piano quartet.

Sciammarella's vocal collections on the album emanate from the sensual poetry of Gustavo Adolfo Becquer, Pablo Neruda and Francisco Javier, and his musical language falls right in line -- romantic, evocative and visceral. The piano in the "Si al mecer," the ethereal second song of "Cuatro Canciones," portrays a delicate "whispering wind." Yearning harmonies swell to emotional highs in "Volveran," McNaron singing "ardent words of love" with heartfelt emotion. "Hoy como ayer" is set in minor-key angst in a slow tango rhythm.

The nearly voyeuristic sensuality of Pablo Neruda's poem, "Campesina," builds to soaring passion. Eight short settings of Francisco Javier's poetry exhibit a vast romantic range in "Cantigas de amigo," from the somber "Amigo, te auerdas?" to the reflective "Sonreias, amigo."

McNaron gives each song a life of its own. Her bold interpretations may have opened a door for singers in search of great art songs. Pianist Heather Coltman provides balance and freshness with her sensitive accompaniment.

Another side of Sciammarella is represented in his instrumental music. A set of short piano pieces, played authoritatively by Coltman, vacillates from Stravinky-esque rhythmic play to unabashed dissonance. A piano quartet, featuring violinist Karen Bentley Pollick, violist Melanie Richardson Rogers,cellist Craig Hultgren and pianist Adam Bowles traverses from sweeping chromaticism to bouncy cabaret rhythms to a tense finale.

Pablo Bardin

Tribuna Musical, Buenos Aires, domingo, julio 3, 2011
The Music of Valdo Sciammarella. Songs and chamber music from Argentina. Diane McNaron, soprano; Heather Coltman, piano. Karen Bentley Pollick, violin; Melanie Richardson Rogers, viola; Craig Hultgren, cello; Adam Bowles, piano. Hoot/Wisdom Recordings, Florida Atlantic University. 2008.

This CD was sent to me by soprano Diane McNaron and it is a precious document of a very good cross-section of Valdo Sciammarella´s chamber production. It is also an act of homage from USA musicians to a valuable Argentine composer.

There are a few good records of Argentine vocal music that have had international distribution, such as those of tenor Raúl Giménez and baritone Víctor Torres. And local Argentine labels such as IRCO and Tradition, as well as Miami-based but Argentine-run Testigo, have given us an interesting discographical repertoire. But in this case it is the welcome and meritorious production of a Florida university and American interpreters that have obviously done a labor of love on behalf of a South American creator.

Valdo Sciammarella was born in 1924, so he is now in his late eighties. Both as teacher, pianist, choir conductor and composer, he has done an immense job over the decades, especially at the Teatro Colón of Buenos Aires.

The pieces selected in the CD come from the Fifties ("Dos canciones" –"Two songs"- 1952 revised 1975; "Piezas breves para piano" -"Small piano pieces"- 1956; and "Cantigas de amigo" –"Songs of my friend"- 1951), the Seventies ("Credo Quartet" for piano and strings, 1972 rev. 1979) and the Eighties ("Cuatro canciones" – "Four songs"- 1988 rev. 1997), so they provide an ample panorama of his sensibility and artisanship. A very well-filled CD, it lasts 75 minutes.

Although "Sciammarella" is an Italian family name, he has always shown much interest in Argentina´s Spanish roots. This is clearly visible in the deliberate archaism of the "Romancillo del niño perdido" ("Ballad of a lost child"). But the second of the "Dos canciones" is based on a poem by the great Chilean Pablo Neruda, beautiful but harsh; in it is the phrase that gives title to this CD, "rosas de pulpa con rosas de cal" ("soft, fleshy roses mixed with roses of limestone dust", according to Kelly Jensen´s translation in the booklet that accompanies the CD).

The "Cantigas de amigo" are quite well-known in Argentina, certainly one of the scores that established the composer´s reputation. With charming texts by Francisco Javier, poet but also a distinguished man of the theatre, it evokes the Medieval "Cantigas" (remember the great compilation "Cantigas de Alfonso el Sabio"). This is again music of subtle charm and Spanish perfume, the only score previously recorded.

The much later "Cuatro canciones" reveals a deeper, metaphysical strain in the composer´s art. An Argentine poet, Francisco Luis Bernárdez, "offers a metaphysical speculation on the permanency of Art", according to Jensen and McNaron, and I quite agree. And then, three of the famous "Rhymes" by Gustavo Adolfo Bécquer, a true Spanish Romantic."Si al mecer las azules campanillas de tu balcón" ("If when the blue bellflowers on your balcony sway") is traversed by the musical evocation of the wind. Then, his most often quoted rhyme, "Volverán las oscuras golondrinas" ("Once again, the dark swallows will appear"), where the swallows and then the honeysuckle are metaphors of good times past, as the poet laments the end of a love affair. Finally, "Hoy como ayer" ("Today like yesterday"), a disenchanted, bitter poem, set by the composer with tango inflexions, another deep influence on a man that has lived most of his long life in Buenos Aires.

The ten "Piezas breves" are graceful vignettes in the good tradition of the better salon music. Finally, the "Credo quartet" comes curiously enough from a ballet, written in 1972/9 but only premiered in 1990. There´s a tango flavor in the middle movement, "Allegro spiritoso"; the slow movements that begin and end the quartet are meditative, beautiful chamber music.

Sciammarella was never a revolutionary, even in his most dramatic works. In Argentina he is particularly appreciated for his enchanting opera "Marianita limeña", a comedy in colonial Lima on Palma´s "Tradiciones peruanas", with music of vernal freshness and tinged with a natural comprehension of nostalgic times.

The whole record is the work of conscientious, valuable artists. Ms McNaron comes across as a vivid soprano of splendid intonation and beautiful timbre, surely interesting to watch on stage for she has a strong dramatic sense. Only her diction could be improved, though it is clear. She is quite well accompanied by Heather Coltman. There's also good ensemble work in the quartet.