Americanos. Duo Brasilis
Davson de Sousa, flauta. Ana Claudia Brito, piano.
There was never, ever since the Baroque, Bach incorporated as popular dance rhythms spillage, or Classic, in which Mozart was Papageno sing like a Viennese street, clear boundaries between the classical and popular, and That is what the ‘Duo Brasilis’ goes to prove again in this recital in which collects the best of both worlds in a melodious repertoire pieces from Brazil, walk into Argentina and the United States.
The idea of the pianist Francisca Aquino and bassist Ricardo Vasconcellos, members of the ‘Duo Assunto Grave’, is given in a treatment chamber music compositions drawn to the music of popular taste. It’s what they do in Gosto de Brasil, published in September 1999 by Ludwin Music Publishers of California. In addition to the original bass and piano, there are also versions for violin, viola, cello and piano transcription for flute and presented in this recording. Implemented in Brazil and other countries by American saxophonist cxomo musicians Mike Tracy, Gosto de Brazil contributed to enhance the reputation of instrumentalist-composer duo Aquino-Vasconcellos. Of them is also the listener on this CD, two other pieces very charming Brazilian: Santa Teresa and Beira-Mar.
Dedicated to the flutist Raul Costa D’Avila, who opened, the Seresta for solo flute by Edmundo Villani-Cortes was first performed in Fortaleza, on September 27, 2002 during the International Festival of Flute Players. This short piece has perfectly summarized the characteristics of writing Villani-Cortes give such a special place in contemporary Brazilian music, spontaneity, ease of melody, complete lack of concern fit into this or that tendency, and a very personal way writing which always balances between classical and popular.
Tables Tangueros, Argentine composer Jose Carli, Pastor Siegfried dedicated to the painter, was originally written for string sextet. The version heard here was adapted subsequently at the request of the flutist Jorge de la Veja. The paintings depict female four types: the brown woman is cheerful, playful in the Belle Epoque Buenos Aires (1890-1910) used to frequent the dance halls of the neighborhoods (common in the Argentine slang pejorative call, but also affectionately, a woman’s brown). The Waltz of the Ostinato Grela describes a young woman, romantic, waiting for a Prince Charming, who probably will never come. The melody is full of the same notes repeated in the melody of the bass. The Musette who dreams of leaving the poor neighborhood where he lives and away from him forever. The Blonde, a blonde foreign, probably works in a cabaret, where he sees his life flash slowly and sadly that fate awaiting release from their sufferings. None of the tables has a direct connection with the musical pieces, but served simply to put them into music.