Along
the journey of musical discovery our preoccupations centre not
on the well-trodden tourist retreats but on those digressions
less known, unspoiled and far from the madding crowd. The music
of Ernesto Nazareth represents one such destination bestowing
new and undiscovered delights.
Born
in 1863, Nazareth was profoundly affected by two key
cultural influences.
During
his lifetime Brazilian musical and cultural tastes were based
on those prevalent in Europe.
This subordination did not, for a long period, allow genuinely
Brazilian classical music to blossom. Prejudice by the “establishment”
inhibited the development of indigenous classical music and
excluded it from current programmes of institutions such as
the National School of Music in Rio
de Janeiro. On one occasion an attempt to include four original compositions
by Nazareth
in the current programme of the School initiated such violent
reaction that police intervention was necessary. Even until
a few years ago very few pianists of serious intention dared
to include the music of Nazareth in their repertoire, since he was not reputed to be a ”classical”
composer.
Nazareth was not alone in having been strongly influenced by the folk music
of his native country. This had in common with fellow countryman
Heitor Villa-Lobos who on hearing the original compositions
of Nazareth pronounced them to be the very embodiment
of the soul of Brazil. Nazareth’s composition
“Tenebroso”(Gloomy) is accompanied by instructions for the player
to imitate the guitar in the lower register. This instruction
recurs in one of his most famous compositions “Odeon.” In the
composition “Plangente”(Lamenting) one hears echoes of the saudade
found in the fado. This form of music, imported to Portugal
from Brazil in the 19th century by
members of the king’s consort in exile there, ironically became
the national Portuguese music. (To explore the incredibly beautiful
fado listen to Post-Scriptum, Cristina Branco - Empreinte
digitale ED 13121).
In
his youth, Nazareth was commissioned to promote the
music of publishers, including his own, by playing in their
establishments. With the invention of the cinema arose the need
to accompany silent movies. Nazareth was given a contract by the Odeon
Theatre. Here his accompaniment with original compositions,
including “Odeon,” attracted many musicians who came just to
hear him play.
Nazareth’s output comprises predominantly Brazilian tangos and waltzes of which
he wrote more than eighty, and forty respectively. The titles
of his work are often humorous and refer to everyday situations
in Brazil, especially to the life of the cariocas or inhabitants of Rio de Janeiro. The influence of Chopin is
particularly evident in the waltzes eg. Turbilhão de Beijos
[track 7] brings to mind Op.69/1 “L’adieu” (Naxos
8.554539 - Idil Biret). He studied the composer’s scores in
order to teach himself improved methods of composition, and
often performed the works of Chopin on piano.
Nazareth died in 1934, during his lifetime having witnessed the emancipation
of the slaves, and establishment of the republic. His charming
music remains more powerful than any past debate on to which
particular genre it belongs.
As
one of Brazil’s most successful concert pianists,
Iara Behs is particularly well qualified to perform the music
of Nazareth. She is a fine player with excellent
empathy for the rhythms and nuances of her country’s indigenous
classical music. In addition she engenders audience interest
and curiosity in the works she is about to play through informative
introduction aided by knowledge of five languages in addition
to her native Portuguese.
It
may be more than co-incidental that some musicians appear to
excel particularly in interpretation of music composed by fellow
countrymen. If indeed such a relationship exists, no greater
validation could be provided than that of Nazareth/Behs.
In
a “perfect world” of classical music, new releases would contain
all new and relatively unknown music; comprise a balanced and
enjoyable programme; be exceptionally well performed and exhibit
high levels of technical and sonic excellence. This new recording
by Iara Behs fulfils all these criteria. An added bonus is the
erudite and unusually informative accompanying notes presented
by the performer. This is a recording that will bring joy to
disciples of fine music.
Zane Turner
see also Review
by Patrick Waller
