Terra Voce | Agua e Vinho

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World: World Fusion Brazilian: Chorinho Moods: Instrumental
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Agua e Vinho

by Terra Voce

In their third album the flute/cello duo explore musical links between the Old World of Spain and Portugal, to the New World of the Americas, featuring Brazilian choro, tangos by Astor Piazzolla, music by Egberto Gismonti, Kari Juusela, Marais, and more.
Genre: World: World Fusion
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  Song Share Time Download
1. Naquele Tempo
3:40 $0.99
2. Agua e Vinho
5:47 $0.99
3. Les folies d'Espagne
10:40 $0.99
4. Oscarina
4:48 $0.99
5. Bordel 1900
3:53 $0.99
6. Cafe 1930
6:39 $0.99
7. Night Club 1960
5:50 $0.99
8. Concert d'Aujourd'hui
3:02 $0.99
9. Lela
3:19 $0.99
10. Pagao
4:45 $0.99
11. Fado
4:34 $0.99
12. Araponga
1:54 $0.99
13. Arrasta Pe
3:07 $0.99
14. Lo Egin Zazu (Basque Lullaby)
1:30 $0.99
Downloads are available as MP3-320 files.


Album Notes
Pixinguinha (1897-1973) is a towering figure in the history of Brazilian music as a flutist, saxophonist, bandleader, and chôro composer. In this album we present three chôro he co-composed with flutist and bandmate Benedito Lacerda (1903-1958): Naquele Tempo (In Olden Days), Oscarina, and Pagão (Pagan).

Brazilian guitarist, pianist, and composer Egberto Gismonti studied composition formally with Nadia Boulanger and Jean Barraqué in Paris but then returned to Brazil determined to find his own free voice. Água e Vinho (Water and Wine), one of Gismonti’s most popular songs, was released in 1972 with lyrics by Geraldo Carneiro.

La Folia, meaning “wild amusement” in Portuguese, was a tune and dance that developed in the Iberian Peninsula in the Middle Ages. In the 16th and 17th centuries La Folia was a popular tune for improvisation and from that practice grew a number of famous sets of variations written by prominent Baroque composers. French court musician Marin Marais (1656-1728) wrote his set of thirty-two “couplets” on Les Folies d’Espagne in the late 17th century. We’ve arranged seventeen of them.

Histoire du Tango was composed in 1986 by Astor Piazzolla (1921-1992). This suite of four movements (Bordel 1900, Café 1930, Night-Club 1960, and Concert d'aujourd'hui) traces the history of the tango as it evolved from its roots in the streets and bordellos of Buenos Aires, to the gentler orchestra music of the cafés, to the wild “nuevo tango” in nightclubs, eventually evolving into modern concert hall music colored by the dissonances of 20th Century “classical” composers such as Stravinsky and Bartok.

We first heard Lela in a beautiful fado-style recording by Galician piper Carlos Nuñez with the great Portuguese singer Dulce Pontes. Upon researching the origins of the song, we discovered a mystery. While the Nuñez CD notes imply that it is a traditional Galician tune, it appears as if it was composed as music for a 1961 performance of a play by the Galician playwright Castelao. Since the commercial success of Nuñez and Pontes’ recording, competing claims have been made attributing the composition to Rosendo Mato Hermida (1914-1994) or José Miguel Santiago Sánchez. Because of the cultural significance of the song, a formal investigation has been launched to determine the truth.

Kari Henrik Juusela, a contemporary Finnish-American composer, wrote Fado as a duet for two cellos after returning from a trip to Portugal. Juusela found himself haunted by Portuguese fado music with its ringing Portuguese guitars and the anguished tales of lost sailors. He wanted to capture the mood of this music in his own composition. We heard a performance on YouTube and immediately thought it would be beautiful as a duet for alto flute and cello. We arranged it with the composer’s blessings.

Accordionist Luiz Gonzaga (1912-1989) was one of the pioneers of forró, a musical genre from northeast Brazil that sometimes crosses worlds with chôro. The traditional instrumentation is accordion, drum, and triangle. An araponga is a large tropical bird known for it’s high-pitched birdcall, which sounds kind of like a blacksmith rhythmically striking an anvil! In his tune Araponga, Gonzaga created that sound on his accordion as part of the rhythmic groove.

Waldir Azevedo (1923-1980) was a Brazilian bandleader, virtuoso cavaquinho player, and composer. We first explored some of his chôro on our first CD and our audience’s response to our arrangements inspired us to explore the wider world of chôro. The title Arrasta Pé (Drag the Foot) refers to a dance.

Andrew’s maternal grandmother, Alfrida Poco Teague (1905-1998), was the daughter of French-Basque immigrants. During Spain’s Franco years she was greatly concerned by the aggressive stamping out of minority cultures. She started a project of collecting the Basque folk songs she remembered and enlisted pianist Frank Ronald Evans to assist in recording, transcribing, and editing them for possible publication. Years ago we inherited the box of her notes from this project and in going through them we discovered this precious lullaby, Lo Egin Zazu / Basque Lullaby. Later we realized that it was not a traditional song but had been composed by Alfrida and Mr. Evans. In Alfrida’s notes she describes being inspired by a heartbreaking photo of a young Basque mother comforting her baby after the 1937 bombing and ruin of the Basque city of Guernika. She translated the title as meaning, “Sleep Little One, Sleep.”



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