It is fascinating
to discover how important it was for young Brazilian women
to have the ability to play the piano. From the mid-eighteenth
century onwards it was a means of boosting their eligibility
for marriage. This inevitably led to a number of women composers
of piano music in Brazil, of which this disc introduces
eight from the late-nineteenth century to the end of the
twentieth.
Most of the
pieces are short and light, suggesting perhaps that they
- at least the composers represented here - weren’t particularly
drawn to substantial works of more depth. There is a mix
of local and European influences in this mostly Romantic
disc, which doesn’t necessarily convince the listener that
there is much more out there to look out for, but which
certainly makes for pleasant listening.
The disc opens
with two brief works by Maria Helena Rosas Fernandes, of
whom I would like to have heard a little more. The imaginative
harmonic content of these two short pieces, Prelúdio
and Valsa provide some of the most interesting writing
on the disc; the almost overriding influence of Chopin can
plainly be heard within the subtly chromatic and guitar-like
accompaniment.
Based on a Brazilian
folk tune, the five variations on Mucama Bonita of
1978 by Kilza Setti are not the most inventive, with only
the shortest and simplest of themes to work with. A return
to the influence of Chopin blended with rich harmony that
would almost be at home in a cocktail lounge, is found in
the more interesting Valse-Chôro No. 2 by Adelaide
Pereira da Silva. This work is the second of a series of
ten that charts the evolution of the waltz in Brazil since
the eighteenth century. Composed only a year later in 1966
the Suite No. 2 also by da Silva is a convincing
portrait of the wide range of Brazilian musical influence.
Three short
pieces by the earliest composer on this disc, Chiquinha
Gonzaga, focus on three genres – the maxixe, the waltz and
the polka. The maxixe was associated with poverty and immorality
and is therefore disguised with the title Brazilian Tango.
The music of Nininha Gregori follows, and rather than being
particularly progressive further depicts aspects of Brazilian
life.
The Arabesco
by Maria Luiza Priolli provides a short relief from the
nationalistic nature of the music on this disc, which returns
with her Lundu Carioca that follows. While the Suite
Nordestina by Clarisse Leite continues the Brazilian
influence the final work on the disc by Branca Bilhar, Samba
Sertanejo, is representative of a type of salon music
from the early twentieth century that is improvisatory in
nature.
Luciana Soares
- of whom there is no biography in the booklet - gives musical,
interesting and seemingly accurate performances, which are
complemented by a clean recorded sound, not lacking in depth.
Adam Binks
for
details
Luciana Soares (piano)
