“As a recorded object, this extensive work doesn’t disappoint the highest expectations. The optimal technical quality of the recording and editing and the high artistic level of the instrumental interpretations are factors that also contribute to the credibility of the final product.
The corollary is simple: light has just been shed on one of the most important undertakings ever in the realm of the discography of Portuguese composers.”
Alejandro Erlich-Oliva
Lisbon, April 25, 2003
Details:
This sample of my chamber music remains greatly indebted to several persons, without whose friendship and work it could not have become a reality.
I’m referring obviously to the musicians who performed it, to the copyists who copied it, to the technicians who recorded it and to the publisher who published it, in the person of Fernando Augusto Rocha, my friend and dedicated collaborator.
Without his help and precious participation, all this would continue to exist only in a drawer, beside so many others – and what’s more – who knows who would find it.
Obviously I want to thank the former Minister of Culture, Dr. Manuel Maria Carrilho, whose grant allowed me funding to see that these hand-written works could be copied on the computer and from there – and only from there – could be conveniently read and performed by the musicians.
I would also like to pay a word of justly deserved recognition to a fictional figure – his name is Coronel Bombarda... – who, strangely enough, helped to create a television program whose compensation brought the indispensable pecuniary means needed to subsidize the vast part of the recording and editing work.
I will say no more about this character, it is enough that some will understand the message…
Meanwhile, all this requires another dedication to four figures - these are real - who, each in his own way, and always in the right moment, collaborated towards the realization of this project in an invaluable manner: to my wife, Sybil, to Bárbara Guimarães, to Maria o Céu Guerra and to Madalena Garcia Reis.
As for the pieces chosen, the selection did not always obey criteria of special preference – there are many other works that I would like to wrest from the shadow of the drawer. Instead, they were chosen due to circumstances varying from moment to moment, in particular, things like the availability of musicians, studios, and prepared copies.
I will limit myself to furnish some brief references about the reasons that have most determined the inclusion of each composition.
CD I
1. Meditações irrequietas sobre um dia de Abril, op. 50
2. “Un rêve d’un rêve” op. 38
3. O gato Barnabé, op. 46
4/9. O cerejal, op.60
10. À memória do meu sótão, op.120
11. Inquietação na pandeireta, op.122
CD II
1. Dom João e a máscara, op.80
2. The woman in the moon, op.110
3. Fragmento II, op.71
4/10. Música antiga, op.37
11/13. Três Bagatelas, op.29, op.117, op.125
14. O número do trapézio, op.73
CD III
1. Piaf, op.69
2/4. Sonata for viola and piano, op. 94
5/9. Sonata for horn and piano (“Wiener Sonate”), op.98
Ref.: NUM_1109 - CD TRIPLO
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