BRUMAS

I-Tunes:

Ângela Silva - soprano

Paulo Guerreiro - horn

Francisco Sassetti - piano

The cd Bumas was presented at the Palácio Foz in the past 19th May 2010. 

This new release brings together works of Eurico Carrapatoso, Rebello António Neves, João Francisco Nascimento, Vasco Pearce de Azevedo and António Victorino D\'Almeida.

Details:

Eurico Carrapatoso (1962) 

Melodias em forma de bruma:

(melodias populares dos Açores) 

1. Olhos negros (Terceira) (sop+cor+pn) 03’40’’

2. Bravo (Terceira) (pn+cor) 02’32’’

3. Líria (Terceira) (sop+cor+pn) 02’31’’

4. Balho micaelense (S. Miguel) (sop+cor+pn) 01’19’’

5. Ó meu bem (Terceira) (sop+cor+pn) 03’29’’

6. Sericotão (Graciosa) (pn+cor) 01’07’’ 

7. Choradinha (Graciosa) (sop+cor+pn) 02’52’’

António Rebello Neves (1874-1957) 

8. Ecos da Serra (Bernardo Passos) (sop+pn) 01’58’’

9. Partindo-se (João Roiz Castel-Branco) (sop+pn) 01’38’’

10. Cantiga de embalar (António Botto) (sop+pn) 01’51’’

11. Embalando um coração (Bernardo Passos) (sop+pn) 02’48’’

12. À luz dos olhos teus (Schiappa Roby) (sop+pn) 02’11’’

João Francisco Nascimento (1957) 

(melodia popular de Mértola - Baixo Alentejo)

13. Nossa Senhora das Neves (sop+cor+pn) 03’21’’

14. Gabriela (sop+cor+pn) 01’44’’

Vasco Pearce de Azevedo (1961) 

(melodia popular da Beira Baixa)

15. Salvaterra me desterra (sop+pn) 02’35’’

(melodia popular de S. Miguel - Açores) 

16. Bela Aurora (sop+cor+pn) 02’40’’

António Victorino D´Almeida (1940) 

Três canções op 91 sobre textos

de José Carlos Gonzalez:

17. Por vezes uma nuvem (sop+cor+pn) 01’28’’

18. Uma longa despedida (sop+cor+pn) 01’54’’

19. O malabarista (sop+cor+pn) 02’14’’

20. Vocalizo (sop+cor+pn) 02’34’’

Eurico Carrapatoso

Portuguese composer Eurico Carrapatoso (b. 1962) graduated from Universidade in Porto with a degree in History in 1985. In that same year, he began his musical studies with Borges Coelho, Fernando Lapa and Cândido Lima. In 1988, he began his composition studies with Constança Capdeville. His final studies were with Jorge Peixinho from 1991-93 at the Conservatório Nacional, where he graduated with highest honors. Carrapatoso has taught composition at the Escola Superior de Música and the Academia de Orquestra in Lisbon. Since 1989, he has taught Analysis and Techniques of Composition at the Conservatório Nacional in Lisbon. His works have been performed by most major ensembles and orchestras in Portugal, Europe and Americas (Brazil, USA). He has won several awards, including the Lopes-Graça Prize (1998) and the Francisco de Lacerda Prize (1999); in addition, his works have represented Portugal three times at the UNESCO International Rostrum of Composers (Paris: 1998, 1999 and 2006). In May 2001 he won the Identidade Nacional Prize. In June 2004 he was decorated by the President of the Portuguese Republic with the Commendation of the Order of the Infante Dom Henrique.

Sete melodias em forma de bruma

(traditional melodies from Azores)

This work was ordered by the Direcção Regional de Cultura of Azores.

It consists of harmonisations over traditional melodies from Azores that was written in 1998 and performed for the first time by Ana Ferraz (soprano), Gabriela Canavilhas (piano) and António Costa (trompa) at Expo 98.

It is dedicated to the earthquake victims in Faial that occurred 9th July, 1998.

The tone is melancholic resembling mysterious brumes over that magical archipelago. Those Isles are also painted by blue and green. 

This is one more step in my personal discovery, feeling myself very portuguese, in direction of my musical graal.

Eurico Carrapatoso, Dez, 2009

Tradução para inglês de Ângela Silva

Rebello Neves

Rebello Neves (1874-1957) - He was born in Tavira and died

in Faro, where he spent the greater part of his life.

He mostly composed song for voice and piano with texts of portuguese writers, specially from the region of Algarve. Besides, he was pianist and conductor, directing school choirs and orchestras from Algarve.

Ângela Silva, Jan, 2010

Five Portuguese Songs 

These five songs composed by my great-grandfather (Ecos da Serra, Partindo-se, Cantiga de Embalar, Embalando um coração e À luz dos Olhos Teus) belong to a song compilation published in May, 1946 for Algarve Region. This edition was an initiative by the president Dr. Jose Correia do Nascimento , after taken a deliberation in Dez, 1944 for Municipal Chamber of Faro. He was influenced by the homage paid to Rebello Neves and decided to create the “City Medal” to award the people that deserve the honour to be distinguished in the city of Faro. The first medal was created for Maestro Rebello Neves.

In these songs there is a great simplicity and melody richness where we can find different characteristics of his music: Sadness in Partindo-se, rural character in Ecos da Serra (rural but with great vocal demand for the soprano part who should own a sweet and flexible high range), melancholy at À luz dos teus olhos (slow valse character) or sweetness in Embalando um coração and in Cantiga de Embalar (dedicated to “his granddaughter “, my mother).

Vasco Pearce de Azevedo – Fev, 2010

Tradução para inglês de Ângela Silva

João Francisco Nascimento

Portuguese composer João Francisco Nascimento (b. 1957) graduated from Universidade Técnica de Lisboa with a degree in Physical Education in 1984.

He taught Physical Education in several institutions such as Fundação Liga Portuguesa dos Deficientes Motores. In 1993 he began his musical studies with Eurico Carrapatoso at Academia de Amadores de Música. In 1997, he began

his composition studies with António Pinho Vargas and Christopher Bochmann at the Escola Superior de Música de Lisboa. From 2005-08 he made a master\'s degree with Christopher Bochmann at the Universidade Nova de Lisboa where he graduated with highest honors. Since 2003, he has taught Analysis and Techniques of Composition at the Conservatório Regional de Évora. Since 2006, he has taught Musical Analysis and History of Music at the Instituto

Superior de Estudos Interculturais e Transdisciplinares (Instituto Piaget –\'D0Almada). His works have been performed by most major ensembles and orchestras in Portugal.

Nossa Senhoras das Neves

“Nossa Senhora das Neves” is a song of Alentejo, the region of Beja, mentioned in the book “Moments vocals of Baixo Alentejo” of João Ranita of Nazareth. Tell us about our mother and God’s mother, linking us to “Mother Nature”, to the immensity of the plain land that collects, protects and embraces calmly travel adventure in it. 

Ilhas, December 8, 2009

Gabriela

Gabriela was a very young girl, who for many years ago used to take the train line in Estoril. Dark-skinned, curly long hair and his smile were so infectious that the old hermit could not resist smiling when secretly watched her running away having the rain her companion. 

Ilhas, December 8, 2009

Vasco Pearce de Azevedo

Born in Lisbon, Vasco Pearce de Azevedo finished his Bachelor Degree in Composition at the Lisbon Superior School of Music, having studied with Christopher Bochmann and Constança Capdeville. He frequented several Master Classes in conducting having worked with Jean-Sébastien Béreau, Ernst Schelle, Jenö Rehak, and Octav Calleya (orchestral conducting) and with Erwin List, Josep Prats, Johann Duijck, Laszlo Heltay, Edgar Saramago, and José Robert (choral conducting). Vasco Azevedo received his Master’s Degree in orchestral and choral conducting at the University of Cincinnati, under the supervision of Gerhard Samuel, Christopher Zimmermann, Elmer Thomas, and John Leman. He obtained, in 1997, the 3rd Prize in the IIIº International Conducting Competition Maestro Pedro de Freitas Branco, and in 1996, a Honourable Mention in the 2nd Fundação Oriente International Competition for Young Orchestra Conductors. In 1988, in the “Novos Valores da Cultura” Competition, he obtained the 1º Prize in Choral Music with the Syntagma Musicum Choir, and a Honorable Mention in Composition with the piece “3 Pantoneças in Memoriam Alban Berg”. 

Vasco Azevedo was Principal Conductor of the Portuguese Musical Youth Orquestra (1992–95), and is since 1995, Principal Conductor and Music Director of the Lisbon Sinfonietta. Vasco Azevedo has been guest conducting the Portuguese Symphony Orchestra, the Lisbon Metropolitan Orchestra, the OPorto Classical Orchestra, the OPorto National Orchestra, the Filarmonia das Beiras, the Algarve Orchestra, the Viana do Castelo Professional School of Music Orchestra, the Artave Orchestra, the Sinfónica Juvenil, and the Portuguese Schools of Music Orchestra. In 1999, he conducted the première of “Dançares” by Fernando Lopes-Graça and the portuguese première of “Agon” by Stravinsky, with the Portuguese National Ballet Company. He is currently a teacher at the Lisbon Superior School of Music. He also has a Degree in Electrotechnical Engeneering.

Bela Aurora (traditional melody from Azores)

This is an harmonization of a melody from S. Miguel at Azores.

This melancholic melody is made by the soprano part, practically free of alterations, while the horn plays a complementary role presenting some material in contrapunto with the voice. 

In which of these three strophes are used different harmonisations; the first is written in a diatonic minor tone, the second is also written in a minor tone including some chromatics elements – it is the most dense of the three versions (also happens that the melody changes a little bit to emphasize the pain); the last one written in a relative major tone with some chromatisms, is the brightest of the three strophes.

In the short introduction preceding the soprano part, the horn exposes the theme based in a melody inversion while the piano accompaniment anticipates the harmonization that comes after the voice.

Vasco Pearce de Azevedo – Dez, 2009

Tradução em inglês por Angela Silva

Salvaterra me desterra (traditional melody from Beira Baixa)

The first version of “Salvaterra me desterra” was composed in July, 1988, when Maria Ana Lourenço asked me to write an harmonization of a portuguese popular song for contralto.

That time she needed a portuguese piece for an International Singing Competition in Cervera (Spain) and I decided to write an harmonization typical of the 20th century portuguese composers that emphasizes a pure and simple melody. In July, 1989, I decided to adapt the piano part for five voices (SMzATB), keeping the melody in a solo part (contralto or baritone). This orchestration is also available in a third version for Viola and String Orchestra, similar to the choir version I made before.

Vasco Pearce de Azevedo – Dez, 2009

Tradução em inglês por Angela Silva

António Victorino D’Almeida

António Victorino D’Almeida was born in Lisbon on May 21, 1940. A student of Campos Coelho, he completed his superior studies in piano at the National Conservatory of Lisbon, graduating with high honors. He then studied in Vienna, where he received his degree, with highest honors, from the Superior School of Music in Vienna (today, the School of Music), studying with Karl Schiske.

As a concert artist, he developed an intense international career, which placed him among the finest Portuguese pianists of his time, but this activity was inevitably reduced after D’Almeida accepted the post of cultural attaché in Vienna.

His principal activity is, however, composition. Certainly one of the most prolific of Portuguese composers - his works include music for piano solo, piano with other instruments, chamber music, works for orchestra and orchestra with choir, vocal music ranging from Lieder to opera, as well as much music for inema and theater. His music has received praise from such illustrious figures as Hans Swarowski, Godfried von Einem,

João de Freitas Branco or Dimitri Shostakovich.

At the moment, there are nine CD’s, published on the label, Numérica, devoted entirely to the music of António Victorino D’Almeida. Some the most recent of these include “Sinfonia Nº2 | Concertino”, “Sinfonia Nº 3 | Sinfonia Nº 4”, Dinis e Isabel and other Chamber Works” as well as “Sacred Music.” In addition to these, further recordings, by the Opus Ensemble for example, also include works from D’Almeida’s pen.

Três canções op 91 sobre textos de José Carlos Gonzalez e Vocalizo

José Carlos González stands, in my opinion, among the great poets of his generation, part of the famous group associated with café Gelo, so relevant to the surrealist movement in Portugal.

He was a man who displayed an extreme sensitivity to music, a deep connoisseur of the musical repertoire, and his poetry – which, in some cases, directly approaches works by great composers, as is the case of Schubert’s “Octet”… - is clothed in a rhythm and in an expressive language that makes it particularly musical…

Regrettably, there was not enough time for me to produce more Lieder to texts by this author, who was, at the same time a great personal friend – the three presented here are the only ones that exist…

It may be observed that I seek to be coherent in my belief that no instrument is more important than any other, that everything depends on the exact moment in which instruments intervene so that their characteristics may take part in the musical interplay – and I never make an exception for the voice.

For me, this also completely excludes the highly reductive idea of so-called accompaniment: in the music which I make, no one accompanies anyone else, so that everyone is a soloist, in this or that passage…

So, when writing for voice, piano and horn, I may also be writing for horn, piano and voice – or piano, voice and horn…- since no element is, by nature, more salient than the others.

There exist, of course, instruments which are inherently more or less discreet than others, but that is merely a question of character...

And that fact that the voice pronounces the words does not mean, from my point of view, that the other instruments are not interpreting the meaning of the text. 

In fact, the Vocalizo was also composed to a text of José Carlos González, whose sense is in the very music, so much so, that I remember quite clearly having explained to him that in this specific case, I would even remove his words. 

As a stalwart surrealist, he immediately agreed. In fact, he even considered that it should be up to the listener to imagine those words and the ideas transmitted by the music, without being influenced by his own reading…

In this way, the current disc contains the four (and not three) Lieder which I wrote to texts by a great poet who remains insufficiently well known by the vast majority of people to be properly appreciated within the Portuguese cultural heritage.

António Victorino D’Almeida – Fev, 2010

Tradução em inglês por Fredrick Gifford

Ângela Silva (soprano) 

She was born in Lagos, Portugal.

Ângela Silva completed her Advanced Postgraduate Diploma in 2005 after two years TCM Fund scholarship at Trinity College of Music having studied Singing with John Wakefield. 

In 2006 she took part of an Opera Course under Margo Gibbs in London and also studied privately with Jeffrey Talbot and Jennifer Smith.

She graduated in Voice from Superior School of Music in Lisbon in 2002 and before studied at the Regional Conservatoire of Baixo Alentejo in Beja, Portugal.

Her complete roles in Opera and Oratoria include “Angel Gabriel” in Haydn´s Creation (Lisbon, 2009); ”Virgin Mary” in Cartageno´s Fatima, Hope Sign for Humanity (World première, tour across Portugal, 2007/08); “Lauretta/Gherardino” in Puccini´s Gianni Schicchi (London, 2006); “First Witch” in Purcell´s Dido and Aeneas (London, 2006); “Countess” in Mozart´s Marriage of Figaro (London, 2006); “Pamina” in Mozart´s Magic Flute (London, 2006); “Ninfe” in Monteverdi´s Orfeo (London, 2005); “Caíno” in Avondano´s La Morte de Abel (Portugal, 2001/02); “The Scientist” in Philip Glass´Corvo Branco (Portugal, 1998).

In opera scenes sung “Juliette” in Gounod´s Romeo et Juliette; “Fiordiligi”, “Despina” in Mozart´s Cosi fan Tutte; “Rosalinde” in J. Strauss´ Die Fledermaus; “Semiramide” in Rossini´s Semiramide; “Sophie” in Strauss´, Der Rosenkavalier; “Pamina” in Mozart´s Magic Flute; “Aspasia” in Mozart´s Mitridate; “Magda” in Puccini´s La Rondine; “First Kingsor´s Flower-Maiden” in Wagner´s Parsifal.

She has been performing works by A. Cartageno, recording for CD Ave Maria for soprano solo and choir by Bartolucci in Rome, Italy (2003). She performes several times as soloist with portugueses choirs and orchestras such as “Sinfonietta of Lisbon”, “Orchestra Filarmonia of Beiras”,”Capela Real”, “Orchestra of Cascais and Oeiras”, Metropolitan Orchestra of Lisbon, among others.

Appeared as soloist with the TCM cello ensemble in Arvo Pärt´s L´Abbé Agathon at the Creation- Recreation Festival in Fontevraux, France and sang around London with the conductor/organist Chris Foremann based at Shernhall Methodist Church.

Her experience in recital and chamber music is large and has sung around London in places such as Lauderdale House, St Alfege Church, Southwark Cathedral, St John´s Church, Page Centre Church, Regent Hall, Blackheath Halls, Royal Chappell, across Portugal and Spain. 

With other groups, as the lead singer, has been performing in Portugal (highlights for Aula Magna, CCB, Tivoli, Torre of Belem, Coliseu of Recreios, Rivoli, etc), Spain (highlight for Foyer of Liceu Theatre in Barcelona), Italy, UK (highlight for Barbican Hall), Greece, Belgium, and Korea.

She has also been singing for radio stations and TV such as Antena 1, Antena 2, SIC, RTP and Renascense Radio.

In 2006 was winner of the The Festival Singing Trophy, First Prize at the class Light Operatic, First Prize at the class Opera, Second Prize at the class Oratorio at “The London Festival of Music and Drama” and in 2007 was winner of The Pearl Butcher Cup, the Premier Challenge Cup, First Prize at the class Oratorio, First Prize at the class British Art Song, Second Prize at the class Opera and Second Prize at the class Lieder/melodie at “The London Festival of Music and Drama”.

At present she teaches Singing at the Conservatoire of Cascais

and Oeiras and at the Theatre School In Impetus.

Paulo Guerreiro (horn)

He graduated from ESART. He also is the first Horn at “Portuguese Symphony Orchestra” and a member of “Divino Sospiro Orchestra”. He studied under António Costa and Jonathan Luxton at Music School of National Conservatoire and at Superior Music School of Lisbon. In 1990 was an effective member of Youth Orchestra of European Community. 

At the moment he is a member of “The Flamen Quintet” with which performed in Portugal, at Macau International Music

Festival and also is a member of OrchestrUtopica. 

Taught Horn and Chamber Music at Professional Music School of Almada and was the coordinator of Instrument classes, Chamber Music classes and Music and New Technologies classes. He gave horn and chamber music courses for five years at Music Courses in Loures and together with Horn Teachers of O.S.P, gave a Masterclass at Professional School of Almada, where they worked all instruments of the Horn Family-Natural Horn, Wagner Horn and Harmony Horn.

Instructed also at Professional Arts School of Beira Interior (Covilhã), May, 2009, and at the Horn Congress at House of Music, Porto, 2008.

Presently, teaches Horn and Chamber Music at Music Institute “Jean Piaget” and at Superior Arts School (ESART) in Castelo Branco.

Presentations as soloist:

Youth Symphony Orchestra and Concerto nº 1 W.A.Mozart (1987); Concerto nº 3 W.A.Mozart (1989) and Loures Chamber Orchestra (1994); Concerto for two Horns of Vivaldi and Portuguese Symphony Orchestra (1996); Symphony Concertante W.A.Mozart with Sinfonietta Orchestra of Lisbon (1997) ; Concerto nº 4 W.A.Mozart ( 1997); Sonata for Trompa and Piano 1939 – Paul Hindemith with the pianist and conductor João Paulo Santos (1999); Recital for Antena 2 with works of Hindemith, C.S. Säens, R. Strauss e E. Bozza - with the pianist Francisco Sassetti (2001) ;First Horn Solo with the Portugueses Sinfonic Orchestra where he played the 5ª Symphony of Mahler with the solo part Obligato (2006); Concerto nº 3 de Mozart in Natural Horn with the Orchestra Divino Sospiro at “Music Days”-CCB Big Auditorium (2007); First Horn at opera production Siegfried of Richard Wagner at Nacional Theatre of S. Carlos where he played “Siegfried Horn Call” (2008); Serenade of B. Britten for Horn, Tenor and rchestra with Portugueses Symphony Orchestra (TNSC) and O Tenor Carlos Guilherme (2009); Sinfonia Concertante of W. A. Mozart with Divino Sospiro Orchestra at CCB Big Auditorium at Music Days ( 2009).

With Divino Sospiro Orchestra has been doing several concerts in Portugal and abroad, in Music Festivals such as in Japan at 2006, in Lisbon, Early Music Festival in Ambronay, Internacional Festival in Mafra, among others. Recorded two cds with the referred Orchestra.

Also recorded with the Baroque Orchestra Musicians of Tejo, one CD with opera arias.

Francisco Sassetti (piano)

He was born in Lisbon and started his musical studies with Maria Fernanda Costa.

He degreed in piano at National Conservatoire of Lisbon under Dinorah Leitão and graduated at Superior Music School of Lisbon under Tânia Acho. Later he studied with Eugene Pridonoff, at Conservatory of Music of Cincinnati University (USA) where he achieved a Master in Piano Performance (1995).

He also studied with Olga Prats, Marie Antoinette Levécque de Freitas Branco, Franck Weinstock, Sequeira Costa, Dmitri Papemo and Olivier Jacquon.

Started his performer career at S. Luis Theatre in Lisbon (1988) and since then plays solo or plays taking part of chamber music ensembles. He obtained scholarships by the Foundation Calouste Gulbenkian and by the University of Cincinnati. He won the first prize at Portuguese Musical Youth and recorded for the Classical Radio of Cincinnati. Lately he has been working with some best portuguese singers such as Elsa Saque, Carlos Guilherme, Teresa Cardoso de Meneses, Sandra Medeiros, Ana Ester Neves, Luís Rodrigues, Isabel Alcobia and also recorded with the german singer Ute Lemper in the french movie Aurelien and also played in Hamburg (Germany) with the portuguese fado singer Anabela. He also played in countries such as France, Belgium, Spain and Uruguai.

Worked with the conductors João Paulo Santos, Paulo Lourenço, Jorge Alves, José Robert, António Lourenço and Vasco Azevedo. In the role of musician-actor performed under direction of Paulo Matos, Paulo Lages and João de Melo Alvim.

Besides giving concerts, Francisco is also a piano teacher. Some of his students were awarded in some national competitions and presently are studying at Music Universities in Portugal. Taught at Chamber Loyal School and at Professional School of Almada. Since 1997, he takes part of Lisbon´s Superior Music School staff, working as an accompanist at the singing department. He also works as an accompanist at Nacional Superior Academy of Orchestra and at Professional

Music School of Metropolitan Orchestra in Lisbon.

Ref.: NUM 1197