[:en]
SÉRGIO MOLINA (1967)
SWEET MINEIRA SOBRE TEMAS DE MILTON NASCIMENTO* (1998)
- Ponta de Areia, San Vicente & Variações 5:09
- Interlúdio no Cais 2:16
- Sonata Cravo e Canela 4:06
RADAMÉS GNATTALI (1906-1988)
QUARTETO Nº1 (1939)
- Allegro Moderato 5:44
- Andante 3:30
- Presto 1:31
- Allegro Moderato 3:40
RODRIGO VITTA (1971)
- 8. SONATA (1997)* 5:37
- PAISAGEM BRASILEIRA Nº4 – “URBANA” (2004)* 2:59
PAULO TINÉ (1970)
- NOITE ESCURA (1997)* 5:14
- PRESENÇA (2003)* 3:30
DOUGLAS LORA (1978)
MARACASALSA (2003-4)*
- Toccata 4:20
- Fuga 4:24
TOM JOBIM (1927-1994)
CRÔNICA DA CASA ASSASSINADA (1971)
(adaptação: João Luiz)
- Trem para Cordisburgo 1:22
- Chora Coração 2:27
- Jardim Abandonado 2:49
- Milagre e Palhaços 1:47
tempo total: 61:04
* peças dedicadas ao Quaternaglia / pieces dedicated to Quaternaglia
faixas / tracks: 4-7 – primeira gravação mundial (versão do autor para quatro violões) / first world recording (author version for four guitars)
faixas / tracks: 1-3 e 8-13 – primeira gravação mundial das obras / first world recording of the pieces
The idea of using themes of the Brazilian composer and popular singer Milton Nascimento (1942) to create a new piece for guitar quartet was suggested by the composer Leo Brouwer. The talk that inspired Sweet Mineira occurred in Montevideo (Uruguay), just after Quaternaglia had recorded the complete work for four guitars written by the Cuban composer (CD-JHO, 1995). Sérgio Molina – a guitarist and Bachelor in Composition of São Paulo University whose teacher was Willy Corrêa de Oliveira – is the author of a versatile production that includes mainly popular songs and chamber music. He worked based on four Milton’s themes, three of them mentioned by Brouwer. The first movement is “Ponta de Areia” (Sand Point), a beautiful pentatonic song that tells the story of an abandoned railroad on the way between Minas Gerais and Bahia (two Brazilian States). This song dialogues and fuses with “San Vicente” (Saint Vincent), the report of a “strange dream” that fills with “glass” and “cut” the Latin American subjectivity. The lyrics of both songs were written by Fernando Brant. The second and third movements – with lyrics by Ronaldo Bastos – are “Cais” (Pier) and “Cravo e Canela” (Clove and Cinnamon): “Cais” shows the necessity of “inventing the limits to be able to be free”, as well as of “creating the dreamer to be able to dream”, and “Cravo e Canela” shows with humor and piquancy the various “spices” of the typical food of Minas Gerais. In the almost classic sonata form chosen for the last movement, Molina mentions, ironically, the beginning of the recapitulation of the first movement of Appassionata op.57 by Beethoven: a low C note – persistently repeated – interferes in the theme, bothers its appearance; but the theme returns and ends by imposing itself, as if nothing had happened. San Vicente, Cais and Cravo e Canela were released by Milton in the historical LP Clube da Esquina (1972) while Ponta de Areia was launched in his Minas album (1975).
Paulo Tiné, a composer and guitarist, also graduated at São Paulo University, studied classical guitar with Edelton Gloeden and attended the Composition and Music Esthetics courses by Ricardo Rizek. His solo guitar pieces are very interesting and have been edited in Europe by Martin Müller Edition. Noite Escura (Dark Night), inspired by a poem written by the mystic San Juan de la Cruz (1542-1591), reveals the composer’s view of the Spanish music, while Presença (Presence) is a choro that began as a homage to the Brazilian composer and performer Egberto Gismonti (reminding the harmony of his piece Sete Anéis), but soon gained its own life, incorporating specific characteristics of Tiné’s work, such as lightness and swing in the thematic material, detailed transitions between the sections, original modulations, and a dynamic form, constantly developing.
Rodrigo Vitta and Douglas Lora are talented musicians graduated in Music Composition at University FIAM / FAAM in São Paulo, both guided by Ricardo Rizek. Vitta, an admirer of the Second Viennese School, takes the risk of always being on the “tonality boundaries”: his work is not nationalist, his view of Brazil is influenced by Alban Berg’s strict harmonic structures as well as by Schoenberg’s pre- dodecaphonic period. Sonata, written for Quaternaglia in 1997, was orchestrated in 2000, becoming the first movement of the Sinfonia Brasileira, a piece awarded at the celebration contest of Brazil’s 500 years. Paisagem Brasileira n.4 (Brazilian Landscape), entitled “Urbana”, was inspired by the work of the Brazilian plastic artist Nele Azevedo, who sculpts little ice men who are placed in chosen spots of big cities: in the middle of the urban chaos, the miniatures simply melt, causing an inexplicable feeling due to their fragility. The first three pieces of the series called “Paisagens Brasileiras”, respectively entitled “Mangue”, “Cerrado”, and “Caatinga” – were written for string orchestra. Unlike Vitta, who also works as a conductor, Lora has a consistent guitar background as a result of his hard work with the guitar teacher Henrique Pinto. His work, mainly directed to guitar, includes solo guitar pieces, duos and trios. The idiomatic character of his writing is immediately revealed in Maracasalsa, his first work for guitar quartet, written for Quaternaglia. The piece shows a virtuoso fusion between the Brazilian rhythm Maracatu and the Latin American Salsa, using the Baroque forms of the toccata and fuga.
Tom Jobim’s songs are so powerful that they frequently dazzle his movie soundtracks. But cinema is present throughout all the poetic course of the composer born in Rio de Janeiro, from Orfeu Negro (1959), at the beginning of his career, to the trilogy Eu te amo (1981), Gabriela (1983) and Fonte da Saudade (1987). Crônica da Casa Assassinada (Chronicle of the Murdered House), based on a homonym novel written by Lúcio Cardoso (1912-1968) published in 1959, was composed by Jobim especially for the movie A Casa Assassinada (The Murdered House, 1971), by Paulo César Saraceni, awarded at the First Cinema Festival of Gramado. The adaptation made by João Luiz highlights the main parts of the soundtrack registered by Tom in his LP Matita Perê (1973), including “Trem para Cordisburgo” (Train to Cordisburgo), a reference to the city were the famous Brazilian writer Guimarães Rosa was born, and “Chora Coração” (Cry Heart), with lyrics by Vinicius de Moraes.
Nowadays it is easy to talk about Radamés Ganattali’s work. Not because it has already been sufficiently studied, but because the musical world is becoming more and more gnattalian. Frequently attacked during his life by the nationalists and the vanguard, as well as by the popular and classical musicians, the composer was born in Porto Alegre and lived most of his life in Rio de Janeiro. His urban and very ironic view of Brazil, his fluency and the emphasis put on pacific fusions of different musical languages announced, in more than 50 years, the postmodern esthetics environment we are experiencing today. Most of the publications about the guitar repertoire of the 20th century mention his two Toccata em Ritmo de Samba, Danza Brasileira, the 10 Estudos (for solo guitar), the four concertos for guitar and orchestra and the concert for two guitars and orchestra, besides his pieces for two guitars, guitar and piano and guitar and flute. The piece performed here by Quaternaglia – its first world recording – was written by Radamés in 1980: a version for guitar quartet based on his String Quartet n. 1 suggested by the Brazilian guitarist and composer Sérgio Assad.
Produção e Distribuição: Paulus
Produção Executiva: Tom Queiroz
Gravação: Estúdio Paulus e Cia do Gato nos dias 11, 12, 13, 18 e 20 de
maio de 2004
Engenheiro de som: José Luiz Costa (Gato)
Edição: Rodrigo Azambuja
Masterização: Percival Grossi
Consultor Musical: Henrique Pinto
Produtores: Ricardo e Igor Pecego
Fotos: Gal Oppido
Projeto gráfico:
Violões / guitars: Sergio Abreu (Brasil)
Fernando Lima – 1987 / João Luiz – 1997
Fabio Ramazzina – 2003 / Sidney Molina (7 strings) – 1997
SÉRGIO MOLINA (1967)
SWEET MINEIRA SOBRE TEMAS DE MILTON NASCIMENTO* (1998)
- Ponta de Areia, San Vicente & Variações 5:09
- Interlúdio no Cais 2:16
- Sonata Cravo e Canela 4:06
RADAMÉS GNATTALI (1906-1988)
QUARTETO Nº1 (1939)
- Allegro Moderato 5:44
- Andante 3:30
- Presto 1:31
- Allegro Moderato 3:40
RODRIGO VITTA (1971)
- 8. SONATA (1997)* 5:37
- PAISAGEM BRASILEIRA Nº4 – “URBANA” (2004)* 2:59
PAULO TINÉ (1970)
- NOITE ESCURA (1997)* 5:14
- PRESENÇA (2003)* 3:30
DOUGLAS LORA (1978)
MARACASALSA (2003-4)*
- Toccata 4:20
- Fuga 4:24
TOM JOBIM (1927-1994)
CRÔNICA DA CASA ASSASSINADA (1971)
(adaptação: João Luiz)
- Trem para Cordisburgo 1:22
- Chora Coração 2:27
- Jardim Abandonado 2:49
- Milagre e Palhaços 1:47
tempo total: 61:04
* peças dedicadas ao Quaternaglia / pieces dedicated to Quaternaglia
faixas / tracks: 4-7 – primeira gravação mundial (versão do autor para quatro violões) / first world recording (author version for four guitars)
faixas / tracks: 1-3 e 8-13 – primeira gravação mundial das obras / first world recording of the pieces
A idéia de utilizar temas do compositor e cantor popular brasileiro Milton Nascimento (1942) na elaboração de uma nova obra para quarteto de violões foi uma sugestão direta do compositor Leo Brouwer. A conversa que inspirou Sweet Mineira ocorreu em Montevideu (Uruguai), logo após o Quaternaglia ter gravado a obra integral para quatro violões do compositor cubano (CD-JHO, 1995). Sérgio Molina, violonista e Bacharel em Composição pela Universidade São Paulo na classe de Willy Corrêa de Oliveira – e autor de uma versátil produção que inclui sobretudo canções populares e música de câmara – trabalhou a partir de quatro temas de Milton, três dos quais mencionados por Brouwer. No primeiro movimento dialogam e fundem-se “Ponta de Areia”, uma bela melodia pentatônica que conta a história de uma ferrovia abandonada no caminho entre Minas Gerais e Bahia, e “San Vicente”, o relato de um “sonho estranho” que faz preencher de “vidro” e “corte” a subjetividade latino-americana. Ambas as canções contam com versos escritos por Fernando Brant. Segue-se – com versos de Ronaldo Bastos – “Cais”, cuja letra carregada de tensão pontua a necessidade de “inventar os limites para poder se soltar”, de “inventar o sonhador para poder sonhar”, e “Cravo e Canela”, que enumera com humor e malícia os mais variados “temperos” da culinária mineira. Na forma sonata quase clássica adotada para esse movimento final, Molina cita, ironicamente, o início da re-exposição do primeiro movimento da sonata Appassionata op.57 de Beethoven: uma nota dó grave – obstinadamente repetida – interfere no tema, atrapalha o seu re-surgimento; mas, apesar do incômodo, ele insiste em voltar e acaba finalmente se impondo, como se nada tivesse ocorrido. “San Vicente”, “Cais” e “Cravo e Canela” foram lançadas por Milton no histórico LP Clube da Esquina (1972), enquanto que “Ponta de Areia” surgiu no disco Minas (1975).
Paulo Tiné, compositor e guitarrista, também se formou na Universidade São Paulo, tendo estudado violão com Edelton Gloeden e freqüentado os cursos de Composição e Estética de Ricardo Rizek. Suas peças para violão solo têm grande interesse, e têm sido editadas na Europa pela Martin Müller Edition. Noite Escura, inspirada em poema homônimo do místico carmelita San Juan de la Cruz (1542-1591), revela a visão bastante pessoal que o compositor tem da música espanhola, enquanto que Presença é um choro que começou como uma homenagem ao compositor e instrumentista brasileiro Egberto Gismonti – citando a harmonia de sua peça Sete Anéis –, mas logo ganhou vida própria, incorporando características específicas da produção de Tiné, como leveza e swing no material temático, minuciosas transições entre as seções, modulações originais, e uma forma dinâmica, em constante desenvolvimento.
Rodrigo Vitta e Douglas Lora são talentosos músicos formados pelas classes de composição do Uni FIAM / FAAM em São Paulo, ambos sob a orientação de Ricardo Rizek. Vitta, um admirador da Segunda Escola de Viena, assume os riscos de estar sempre “nas fronteiras da tonalidade”: sua obra nada tem de nacionalista, sua visão de Brasil passa pelo rigor harmônico de Alban Berg e pela fase pré-dodecafônica de Schoenberg. Sonata, escrita para o Quaternaglia em 1997, foi orquestrada em 2000, tornando-se o primeiro movimento da Sinfonia Brasileira, obra premiada em concurso comemorativo aos “500 anos” do Brasil. Já a Paisagem Brasileira n.4, intitulada “Urbana”, foi inspirada em obra na qual a artista plástica brasileira Nele Azevedo confecciona homenzinhos de gelo que são colocados em pontos escolhidos de grandes cidades: no meio do caos urbano, as miniaturas apenas derretem, e provocam um incômodo quase inexplicável diante de sua fragilidade. As três primeiras obras da série “Paisagens Brasileiras” – intituladas respectivamente “Mangue”, “Cerrado”, e “Caatinga” – foram escritas para orquestra de cordas. Ao contrário de Vitta – que se dedica também à regência –, Lora tem sólida formação violonística, obtida graças a vários anos de trabalho sob a orientação de Henrique Pinto. Sua produção – predominantemente voltada ao violão – inclui peças para violão solo, duo e trio de violões. O caráter idiomático de sua escrita revela-se de imediato em Maracasalsa, sua primeira obra para quarteto de violões: escrita para o Quaternaglia, a peça marca uma virtuosística fusão do maracatu brasileiro com a salsa latina a partir de um inesperado uso das formas barrocas da toccata e da fuga.
A força das canções de Tom Jobim é tamanha que ofusca freqüentemente suas trilhas de cinema. Mas o cinema percorre toda a trajetória poética do compositor carioca, desde Orfeu Negro (1959), no início de sua carreira, até a trilogia Eu te amo (1981), Gabriela (1983) e Fonte da Saudade (1987). Crônica da Casa Assassinada, baseada em romance homônimo de Lúcio Cardoso (1912-1968) publicado em 1959, foi composta por Jobim especialmente para o filme A Casa Assassinada (1971), de Paulo César Saraceni, tendo sido premiada no I Festival de Cinema de Gramado. A adaptação realizada por João Luiz destaca os principais trechos da trilha gravados por Tom em seu LP Matita Perê (1973), incluindo “Trem para Cordisburgo” – referência à cidade natal do escritor mineiro Guimarães Rosa – e “Chora Coração”, que recebeu versos de Vinicius de Moraes.
É mais fácil falar hoje da obra de Radamés Ganattali. Não porque sua produção já tenha sido suficientemente estudada, mas porque o mundo musical tem caminhado para se tornar cada vez mais gnattaliano. Freqüentemente perseguido em vida tanto pelos nacionalistas quanto pela vanguarda, tanto pelos músicos populares quanto pelos eruditos, o compositor nascido em Porto Alegre e que viveu a maior parte de sua vida no Rio de Janeiro tem encontrado lugar garantido no repertório deste início de século XXI. Sua visão urbana e altamente irônica do Brasil, fluência de escrita e ênfase em pacíficas fusões entre linguagens musicais contrastantes antecipou – em mais de 50 anos – o ambiente estético pós-moderno dos dias atuais. A maior parte das publicações sobre o repertório violonístico do século XX tem destacado a importância de obras tais como as duas Toccata em Ritmo de Samba, a Danza Brasileira, os 10 Estudos (para violão solo), os quatro concertos para violão e orquestra, o concerto para dois violões e orquestra, além de suas peças para dois violões, violão e piano e violão e flauta. A obra interpretada aqui pelo Quaternaglia em primeira gravação mundial é uma versão para quarteto de violões preparada pelo próprio Radamés em 1980 a partir de seu Quarteto de Cordas n. 1 por sugestão do violonista e compositor brasileiro Sérgio Assad.
Paulo Tiné, a composer and guitarist, also graduated at São Paulo University, studied classical guitar with Edelton Gloeden and attended the Composition and Music Esthetics courses by Ricardo Rizek. His solo guitar pieces are very interesting and have been edited in Europe by Martin Müller Edition. Noite Escura (Dark Night), inspired by a poem written by the mystic San Juan de la Cruz (1542-1591), reveals the composer’s view of the Spanish music, while Presença (Presence) is a choro that began as a homage to the Brazilian composer and performer Egberto Gismonti (reminding the harmony of his piece Sete Anéis), but soon gained its own life, incorporating specific characteristics of Tiné’s work, such as lightness and swing in the thematic material, detailed transitions between the sections, original modulations, and a dynamic form, constantly developing.
Rodrigo Vitta and Douglas Lora are talented musicians graduated in Music Composition at University FIAM / FAAM in São Paulo, both guided by Ricardo Rizek. Vitta, an admirer of the Second Viennese School, takes the risk of always being on the “tonality boundaries”: his work is not nationalist, his view of Brazil is influenced by Alban Berg’s strict harmonic structures as well as by Schoenberg’s pre- dodecaphonic period. Sonata, written for Quaternaglia in 1997, was orchestrated in 2000, becoming the first movement of the Sinfonia Brasileira, a piece awarded at the celebration contest of Brazil’s 500 years. Paisagem Brasileira n.4 (Brazilian Landscape), entitled “Urbana”, was inspired by the work of the Brazilian plastic artist Nele Azevedo, who sculpts little ice men who are placed in chosen spots of big cities: in the middle of the urban chaos, the miniatures simply melt, causing an inexplicable feeling due to their fragility. The first three pieces of the series called “Paisagens Brasileiras”, respectively entitled “Mangue”, “Cerrado”, and “Caatinga” – were written for string orchestra. Unlike Vitta, who also works as a conductor, Lora has a consistent guitar background as a result of his hard work with the guitar teacher Henrique Pinto. His work, mainly directed to guitar, includes solo guitar pieces, duos and trios. The idiomatic character of his writing is immediately revealed in Maracasalsa, his first work for guitar quartet, written for Quaternaglia. The piece shows a virtuoso fusion between the Brazilian rhythm Maracatu and the Latin American Salsa, using the Baroque forms of the toccata and fuga.
Tom Jobim’s songs are so powerful that they frequently dazzle his movie soundtracks. But cinema is present throughout all the poetic course of the composer born in Rio de Janeiro, from Orfeu Negro (1959), at the beginning of his career, to the trilogy Eu te amo (1981), Gabriela (1983) and Fonte da Saudade (1987). Crônica da Casa Assassinada (Chronicle of the Murdered House), based on a homonym novel written by Lúcio Cardoso (1912-1968) published in 1959, was composed by Jobim especially for the movie A Casa Assassinada (The Murdered House, 1971), by Paulo César Saraceni, awarded at the First Cinema Festival of Gramado. The adaptation made by João Luiz highlights the main parts of the soundtrack registered by Tom in his LP Matita Perê (1973), including “Trem para Cordisburgo” (Train to Cordisburgo), a reference to the city were the famous Brazilian writer Guimarães Rosa was born, and “Chora Coração” (Cry Heart), with lyrics by Vinicius de Moraes.
Nowadays it is easy to talk about Radamés Ganattali’s work. Not because it has already been sufficiently studied, but because the musical world is becoming more and more gnattalian. Frequently attacked during his life by the nationalists and the vanguard, as well as by the popular and classical musicians, the composer was born in Porto Alegre and lived most of his life in Rio de Janeiro. His urban and very ironic view of Brazil, his fluency and the emphasis put on pacific fusions of different musical languages announced, in more than 50 years, the postmodern esthetics environment we are experiencing today. Most of the publications about the guitar repertoire of the 20th century mention his two Toccata em Ritmo de Samba, Danza Brasileira, the 10 Estudos (for solo guitar), the four concertos for guitar and orchestra and the concert for two guitars and orchestra, besides his pieces for two guitars, guitar and piano and guitar and flute. The piece performed here by Quaternaglia – its first world recording – was written by Radamés in 1980: a version for guitar quartet based on his String Quartet n. 1 suggested by the Brazilian guitarist and composer Sérgio Assad.
Produção e Distribuição: Paulus
Produção Executiva: Tom Queiroz
Gravação: Estúdio Paulus e Cia do Gato nos dias 11, 12, 13, 18 e 20 de
maio de 2004
Engenheiro de som: José Luiz Costa (Gato)
Edição: Rodrigo Azambuja
Masterização: Percival Grossi
Consultor Musical: Henrique Pinto
Produtores: Ricardo e Igor Pecego
Fotos: Gal Oppido
Projeto gráfico:
Violões / guitars: Sergio Abreu (Brasil)
Fernando Lima – 1987 / João Luiz – 1997
Fabio Ramazzina – 2003 / Sidney Molina (7 strings) – 1997