sexta-feira, 26 de agosto de 2011

Simphony nº 1, nº 2, nº 3, nº 4 - Luís de Freitas Branco


Piano concertos, João Domingos Bomtempo


Lieder, José Viana da Mota


Passeios de Estio, Ruy Coelho


Sonata a Tre, Armando José Fernandes


Madrigais Camonianos, Luis de Freitas Branco - Coro Gulbenkian


Música Coral, Fernando Lopes-Graça - Coro Gulbenkian


quinta-feira, 5 de maio de 2011

LUÍS DE FREITAS BRANCO - SYMPHONIC POEMS

LUÍS DE FREITAS BRANCO


SYMPHONIC POEMS
Antero de Quental | Paraísos Artificiais
Vathek | Solemnia Verba


Budapest Philharmonic Orchestra
András Kórodi

Hungarian Symphonic Orchestra
Gyula Németh


Details:


POEMAS SINFÓNICOS / SYMPHONIC POEMS

1 ANTERO DE QUENTAL 12´43”
Budapest Philharmonic Orchestra - András Kórodi

2 PARAÍSOS ARTIFICIAIS 11´51”
Hungarian Symphonic Orchestra - Gyula Németh

VATHEK
Budapest Philharmonic Orchestra - András Kórodi
3 Toque de Introdução 2´09”
4 Tema e Prólogo 4´19”
5 Variação I 1´55”
6 Variação II 3´45” 
7 Variação III 1´03” 
8 Variação IV 4´51”
9 Variação V 4´07”
10 Epílogo 4´32”
11 SOLEMNIA VERBA 15´16”
Hungarian Symphonic Orchestra - Gyula Németh

Total playing time 64´31”

Antero de Quental by João de Freitas Branco

As became his habit, Luís de Freitas Branco entered, just after the closing measures of the score of his symphonic poem “Depois duma leitura de Antero de Quental” (“After a reading of Antero de Quental”), the date when he completed them: January 1, 1908. He was only sixteen years old at the time, and had been so for only eighty days. Also dating from this same period are the Sonata for violin and piano, the Albumblatter for solo piano, the pieces for voice and piano, A Formosura (Camões) and the Canção Portuguesa, from popular verses, as well as two other symphonic poems with literary inspiration, Depois de uma leitura de Júlio Dinis and Depois duma leitura de Guerra Junqueiro.
The rubric, “After a reading...” is from Liszt. Later, Luís de Freitas Branco preferred to title the symphonic poem recorded here as simply, Antero de Quental, to avoid confusion with another work of his, the musical representation of the sonnet, Solemnía Verba, composed in 1952. The second orchestral composition related to Antero de Quental, although representative of its composer, did not, in any way diminish the significance of the first. The earlier work not only translates an uncommon maturity, but also, without losing sight of the priorities associated with Vianna da Motta’s Symphony - “Á Pátria”, constitutes (as far as I know) the most successful example in the history of Portuguese music until that time of the assimilation of the Wagnerian style as it moved towards expressionism. Here, one recognizes affinities with Schoenberg’s music prior to the complete dissolution of tonality - despite Luís de Freitas Branco having no direct influence from the future creator of serial dodecaphony. 
It should be noted that the determinant vectors of the later evolution of Luís de Freitas Branco would not follow the same path. The ideas of the adolescent would, for some time, remain quite different from those which eventually come to characterize the fifty or sixty year old composer; however, some constants were already present, in particular the cult of the Southern European, the Latin (of which, however, not even a trace is to be found in the symphonic poem, Antero de Quental). From the interview published in the journal Novidades (March 17, 1911): “I have, I believe, a great interest in proving to my country, that I am, fundamentally, through my art, Portuguese. Yesterday, when José Júlio Rodrigues was heard alluding to my musical kinship, he spoke of Mussorgsky and Debussy. It is true that I have been greatly inspired by the processes of those great musicians - as I could not help but be - in order to situate myself in my own time. But, the truth is that unconsciously, and as my friend, the critic, has noted, a Southern-European foundation exists in my work, which does not come from those two months - which is in my blood.” What Luís de Freitas Branco then confided to the interviewer seems particularly helpful in understanding the ideas from which the symphonic poem Antero de Quental grew: “And so, the aim that I can imagine, is to adequately adapt the profound religiosity of our people to the current phase of music, essentially psychological and idealistic, free from any shackles of form or rule”.
Free from any shackles of form or rule. This is what is most important to keep in mind, so that one doesn’t try to find, among the pages of Antero de Quental, the classical norms that the composer imposes on himself when writing sonatas and symphonies. It is a freedom that is, in any case, relative, as the fairly standard instrumentation demonstrates: 3 flutes, 2 oboes, English horn, 2 clarinets in A, bass clarinet, 2 bassoons, 4 horns in F, 3 trumpets in Bb, 3 trombones and tuba, timpani, harp and the 5 usual sections of strings. 
The work, whose duration is nearly 12 minutes, offers the listener a sequence of oneiric images, like an agitated but continuous dream, disturbed, but ongoing, reaching, quite near its center, a peak of intensity and, in the end, becoming serene, more through exhaustion or resignation than liberation. It is quite deliberate that this subjective view is not directly confronted with any presumably inspiring reading here. Today, some information about the score as an autonomous musical entity, even though succinct, offered for the objectifying correction of the mere psycho-auditory impressions of literary association, seems preferable to the more descriptive type of preparation of the listener.

PARAÍSOS ARTIFICAIS by Humberto d'Ávila

Two pages by Luís de Freitas Branco, the fourth piece in the Albumblatter (1907) and the Four poems of Baudelaire (1909), are one of the first to herald the influence of impressionism that would find its most expressive crystallization within Freitas Branco’s output in the symphonic poem Paraísos Artificiais (Artificial Paradises), dated 1910.
The relation of the musical work to the text that inspired it, the Confessions of an English Opium-Eater by Thomas de Quincey, manifests the strong literary refinement of its twenty-year-old composer. It was a literary refinement projected in his musical output of the time: already present in the series of symphonic meditations, Depois duma leitura de Antero de Quental and Depois duma leitura de Júlio Dinis (both from 1908) and in the songs on poetry of Bauldelaire; and it would again surface in Vathek, variations on an oriental theme, based on a tale by William Beckford, as well as in the musical settings of verses by poets such as Camões, Antero, Mallarmé, Maeterlinck and others.
In Paraísos Artificiais, which adopts its title from the French translation of Baudelaire, the visions and sensations that assail a mind perturbed by opium are evoked rather than described: 
“I seemed to be far above the noises of the earth. Here there was that hope which flourishes at the margin of life’s pathways, reconciled with the peace of the grave. Subtle and powerful opium creates images superior to the art of Pheidias and Praxiteles, it builds cities and temples with the splendor of Babylon and Hecatompylos, it makes the faces, long since soiled by ash and dust, which look down upon us, radiant, and finally offers us the key to Paradise.
Every night I felt myself disappear, not metaphorically, into abysses from which it would be impossible to emerge. Images of former times resuscitated and placed before my eyes, like ghosts dressed in my old sufferings, became instantly recognizable to me”.
The score, premiered in the concerts by Pedro Blanch, in 1913, caused a great public scandal. The work is organized in three parts: exposition, development and recapitulation.
A short introduction, Lento, where the characteristic glissandi in two harps may already be heard, precedes the first part, itself built on two principal themes: one in the oboe (Moderadamente animado), to which the clarinet answers, and the other, repeated in the horn and developed in the violins. After a fermata, the second section (Moderato) establishes a clearly impressionistic atmosphere, to which the sistrum immediately lends the allusion of a dream. All of this is amplified with timbral effects (chords from the celesta, and the insistence on harp glissandos), until the hallucination becomes complete through an orchestral crescendo. The third section, (Lento), recapitulates the thematic material, but, as the “images of former times” appear before the opium-eater, they are now deformed, with a misshapen harmonization that very shortly dissolves into a brief, nebulous and nocturnal conclusion.

VATHEK by Nuno Barreiros

The tempestuous premiere, in 1913, of the symphonic poem Paraísos Artificiais (Artificial Paradises, based on “Confessions of an English Opium-Eater” by Thomas de Quincey), whose language vividly shocked most of its audience at the old Theatre of the Republic of Lisbon, is an important and meaningful event in the history of Portuguese modern art. In the same year as the premiere of Paraísos Artificiais, Luís de Freitas Branco was at work on Vathek, another symphonic poem, inspired by the eponymous tale by William Beckford (1760-1944), a writer closely linked with Portugal because of his prolonged stay in that country, as well as the diary and various letters and recollections in which he notably, and at times provokingly, describes and comments on Portuguese society of the time.
The story in question, originally written in French, notwithstanding the fact that its author was English (the English version was not by Beckford), was much later the object of interest in a preface written by Mallarmé. Reflecting the allure of exoticism and orientalism which spread throughout Europe in the 18th-Century, manifest in the Lettres Persannes of Montesquieu or in Mozart’s Die Entführung aus dem Serail, constituted, after all, a literary approach - in terms of morality, and in some ways, satire as well - to the world of fables. In this manner, other mental schemes or allegories were sought after, ones that diverged from the Western imagination, with its traditions and its patterns of thought largely imbued with Greco-Roman rationalism. This doesn’t mean, however, that one will not find some parallels with myths or symbols rooted in the culture and legends of the West peaking through the famous tale by Beckford. In fact, there is something nearly Faustian (as there is something autobiographical in relation to Beckford himself) in the character of Vathek who seeks knowledge and power and delves into sensuality. 
Having ascended the throne at a very young age, the new Caliph of the Abassids, son of Motassem and grandson of Haroun AI-Rachid, Vathek awakens the people’s hope for a long and happy reign, due the his distinctive qualities.
Finding the palace built by his father insufficient in size, Vathek orders that five additional wings should be built, or rather, five additional palaces, each one destined to one of the five senses. In the first palace, designated “Eternal Feast” or “the Insatiable,” the tables are always overflowing with the most refined foods and the most delicate wines, while the finest liquors flow from never-drying fountains. The second palace, the “Time of Melody” or the “Nectar of the Soul,” was inhabited by the best poets and musicians. The “Delight of the Eyes” or “The Support of Memory” was the name given to the third palace, where the most precious rarities and a gallery of paintings and seemingly animated statues were on display. The palace of Perfumes, also known as the “Incentive to Pleasure,” was divided in various rooms. Aromatic lamps remained lit even during the day. And in order to dissipate such intoxication, the one who reigned there could descend into a grand garden full of suave and comforting breezes. The fifth palace was called the “Retreat of Mirth” or the “Dangerous”. There could be found groups of enchanting young maidens charged with distracting the Caliph and his guests.
Vathek did not deliver himself only to pleasure and sensuality. He yearned for knowledge, to know everything, even the “sciences that do not exist”. Well-studied, he enjoyed arguing with the wisest minds, but always under the condition that he had to be right.
The morality of the story alludes to the “punishment of unbridled passions and cruel acts” and the “punishment of blind curiosity, which wishes to penetrate beyond the limits that the Creator has placed on human knowledge; of the ambition which, wishing to reach the science reserved for the most pure intellects, reaches only an insensate pride.” Thus the story ends: “the Caliph Vathek saw himself imprisoned by remorse and an endless pain for his thousand crimes; and the humble, the despised Gulchenrouz passed centuries in the sweet tranquility and well-being of infancy. 
In his symphonic poem, Luís de Freitas Branco, did not attempt to describe or follow the vicissitudes of William Beckford’s narrative in detail. He limited himself principally to the generic attributes of the various palaces, which he sought to evoke musically. In the final pages of the score (Epilogue), he conjures the Caliph’s sentence to earthly existence, and in a certain manner, the concluding moral of the tale, thus refusing a triumphant and grandiose close. This accounts for the relative sobriety of the “Epilogue” when compared with the sonorous pungency and brilliance of the majority of the previous sections. This final point in the work seems closer to the resigned or somewhat disenchanted endings of Richard Strauss, although the spirit and the style of work by the Portuguese composer operate in quite different registers. 
In Vathek Luís de Freitas Branco used an authentic Arab theme, transcribed in Ambros’s History of Music, and constructed the work as a variation form, where the variations contrast greatly from one another and are treated with a firm sense of orchestral color. Each variation corresponds to one of the palaces ordered built by the Caliph. An introductory fanfare is sounded before the first exposition of the theme, which is, notably, one of the most characteristic and daring pages in terms of harmonic language. The character of the work is predominantly impressionistic, but one may also observe several expressionist streaks (e.g. in the 1st variation - “Eternal Feast”), as well as the certain influence of the Wagnerian climax. Already, some passages approach true atonality. Two chords that incorporate all twelve chromatic tones, obtained through the rigorous superposition of perfect fourths, deserve highlight as much for the rarity of such a construction at the time, as for their timbral effect. However, the most curiously evolved sequence resides in the 3rd variation (“Delight of the Eyes”). It is a fugato in 59 parts given to the strings, whose significance is truly historic in the realm of Portuguese musical production - and quite possibly in the broader history of music as well. Referring to the value of this page, as well as the entire score of which it forms a part, the composer Jorge Peixinho writes in unequivocal terms: “today, the symphonic poem Vathek represents the culminating point in the production of Luís de Freitas Branco, at once his boldest and most original work. It is the work in which the dialectic between form and material is resolved in the most perfect and integrated manner, and without a doubt, the most beautiful piece of music written in Portugal since the beginning of the 19th - century. The famous fugato in 59 real parts signals the unique foresight of Luís de Freitas Branco: a musical micro-cosmos that would be discovered and systematized only much later. As the composer employed a classical contrapuntal procedure and applied it to a number of real voices that surpass the possibilities of individual polyphonic listening, he dialectically transcended the formal process of fugato to arrive at a state of texture, something completely unheard of at the time. The previously mentioned variation lasts little more than a minute, and that minute is exactly the only minute when music in Portugal reaches the level of importance of the other arts of the same historical period - the best - the poetry of a Pessoa and of a Sá Carneiro, the best painting by a Sousa Cardoso or an Almada. The constructive imagination of Freitas Branco is not limited to the previously alluded to “fugato” variation, however, and reveals itself in many other aspects throughout Vathek; it is enough to recall the end of the final variation, where the preparation of a virtual re-exposition leads unexpectedly to a final chord which could not have been foreseen.”
After 1940, the composer subjected some parts of Vathek to revision or substantial modification - this was not the case, however, in the famous 3rd variation.

SOLEMNIA VERBA by Humberto d'Ávila

In this work from 1951, Luís de Freitas Branco returned to Antero de Quental, with a reading of the sonnet Solemnia Verba:

To my heart I spoke these words: See how many
Vain pathways we have walked together! Now,
From this cold and austere height, behold
The deserts that have watered our lamenting…
Dust and ash replace flowers and delights!
There is night, where once was the light of Spring!
Behold the world at your feet and despair,
sower of shadows and deceitfulness!
However, my heart, made valiant 
In the school of repeated strife 
And turned believer through the use of pain,

Answered: From this height I am able to see Love!
Living was not in vain, for, if this is life,
Then the anguish and despair were not overmuch.

(1880-1884)

On the first page of the score, which is dated the night of November 4, 1951, the composer wrote, as he had done some forty-five years earlier on another page: Depois duma leitura de Antero de Quental (“After a reading of Antero de Quental”). In order to avoid confusion with the other work bearing this title, the composer suggested, in the last years of his life, to call the earlier work simply Antero de Quental. The first usage, however, has its own weight, and it seems that the first title remains definitive for the earlier work and that the second piece is generally referred to simply by the name of which it was already known: Solemnia Verba (Solemn Words).
The density of thought in the sonnet inspires the seriousness of expression observed in the score, to which the composer gave the form, so dear to him, of theme and variations (a form already employed in Vathek). This allowed him to closely mirror the development of the poetic text, finding a musical counterpart for every step. Thus, each variation is illustrated with its respective lines of poetry, which serve as an epigraph or appear, at times, during the course of the music, with an intentionality that obliges the musical rhythm to adhere itself to that of the words.
The work is composed of an Introduction and seven Variations.
In the Introduction ("Disse ao meu coração"), Largo, a backdrop of tremolos and arpeggiations beginning in half the violoncellos is joined by other instrumental forces in a gradual crescendo which is not only one of dynamics but also one of accumulation. This prepares a shadowy atmosphere where an austere theme is heard successively in bassoon, the other half of the violoncellos, bass clarinet and horn. 
The 1st variation (“Olha por quantos caminhos vãos andámos!”), Adagio, evokes, through the means of a dark dialogue between trombone and trumpet in their low registers, the sad landscape described in the first stanza. In the 2nd variation ("Pó e cinzas"), Andante sostenuto, another crescendo passes the listener from the previous desolation into a brief but animated peroration, which underscores the poem’s expression ("Onde houve flor e encantos") and comes to a climax on the final word. The 3rd variation, Moderato, receives a full instrumentation and establishes a transitional environment over an ostinato in the winds. The 4th variation ("E noite"), Adagio, with a truly pastoral tone, assumes a lyrical expressiveness with broad phrasing, intoned by violas and cellos. In the 5th variation, Animato, the tonality becomes clearer, in step with the appearance of the sense of melancholy passion in its allusion to "Onde foi luz de Primavera!" A 6th variation, Largamente, is an essentially harmonic passage, chorale-like, where, through various dramatic shadings, the accents of "Olha a teus pés o mundo... e desespera" glide past, followed by “Semeador de sombras e quebrantos!” in solo strings. The 7th variation ("Porém o coração, feito valente na escola da tortura repetida"), a passage in the tempo of the tides, crowns the work with a rhythmic progression, whose growing exaltation at the line "Respondeu, " is transformed (Adagio sostenuto) into a vibrant chant, in which the final lesson of the sonnet can nearly be heard, syllable by syllable: "D'esta altura vejo o Amor!”
An energetic coda, Piú lento, concludes the work with a cadence on elevated planes, moving from very soft to quite loud.

Ref.: PS 5016


JOLY BRAGA SANTOS - QUARTETO COM PIANO op. 26 | TRIO COM PIANO op. 58 | SEXTETO DE CORDAS op. 59

Aníbal Lima | Cecília Branco |
 Leonor Braga Santos | António José Miranda | Paulo Gaio Lima | 
Irene Lima | António Faca Rosado

Joly Braga Santos (1924-1988), internationally recognized as one of the great symphonists of the mid-twentieth century, was equally gifted as a composer of chamber music. This CD, part of the series of recordings that make up the PortugalSom catalogue, provides the opportunity for a more varied appreciation of Braga Santos’s talent via three chamber works that convincingly demonstrate his ever-evolving compositional trajectory: the Quartet with Piano, op. 26 (1957), the Trio with Piano, op. 58 (1985), String Sextet op. 59. These works are performed with the conviction and authority of Portuguese interpreters close to the composer (his daughter among them), including the musicians who gave the premiere of op. 59. An essential disc for the listener hoping to have a comprehensive understanding of this multifaceted composer in particular and twentieth century Portuguese chamber music in general.

Details:

Joly Braga Santos

QUARTET WITH PIANO op. 26

1 Quarteto com piano op. 26 / Quartet with Piano op. 26 15´29”

TRIO WITH PIANO op. 58
2 Largo 5´44”
3 Allegro 6´23”
4 Adagio 13´06”

STRING SEXTET op. 59 
5 Molto Largo 8´17”
6 Allegro ben marcato, ma non troppo 6´16”
7 Andante - Allegro 5´13”

Total playing time 60´34”

www.dgartes.pt

Aníbal Lima, violin
Cecília Branco, violin
Leonor Braga Santos, viola
António José Miranda, viola
Paulo Gaio Lima, violoncello 
Irene Lima, violoncello
António Faca Rosado, piano


Ref.: PS 5015


LIEDER - JOSÉ VIANA DA MOTA

ELVIRA ARCHER, Soprano
ANTON ILLEMBERGER, Piano


LIEDER

José Viana da Mota


Elvira Archer, soprano

Anton Illemberger, piano


Details:

LIEDER
José Viana da Mota


1 Das Bächlein 2´18”

2 Frühlingsregen 4´33”
3 Sonntag 2´32”
4 Wiegenlied 3´33” 
5 Geffunden 1´23”
6 Gute Nacht 2´33”
7 Im Volkston 1´24”
8 Die Jungfrau Im Walde 4´07”
9 In Der Dämmerrung 2´37”
10 Erfüllung 2´36”
11 Umflort, Gehüllt In Trauern 3´02”
12 Johannistag 2´05” 
13 Das Lied Vom Falkensteiner 1´02”
14 Ein Briefelein 1´16”
15 Monikas Traum 2´47”
16 A Estrela 1´57”
17 Canção Perdida 3´50”


Total playing time 44´37”

Ref.: PS 5014


ARMANDO JOSÉ FERNANDES - SONATA A TRE / PIANO QUARTET

ARMANDO JOSÉ FERNANDES


PORTUGALSOM is a collection of disks dedicated to the dissemination of Portuguese music. The collection originated in 1978 with the founding of the National Recording Library (Discoteca Básica Nacional) which, in 1987, became the recording label PortugalSom, a partner with the publisher Strauss, now defunct.
It includes about 100 titles dedicated to Portuguese composers, performers as well as to traditional Portuguese music. This project continues, now in partnership with the publisher Numérica, who will re-release some discontinued titles as well as publish new titles of contemporary authors who do not yet appear in the collection.




Details:


ARMANDO JOSÉ FERNANDES - 1889/1986

SONATA A TRE
PIANO QUARTET

TRIO BOMTEMPO:
Manuel Villuendas, violin
Clélia Vital, cello
Nella Maissa, piano

Barbara Friedhoff, violeta

SONATA A TRE
1 I - Allegro 5´29”
2 II - Scherzo / Allegro Comodo 3´29”
3 III - Aria / Andante Sostenuto 3´39”
4 IV - Rondo / Allegro Festivo 5´00” 

PIANO QUARTET
5 I - Allegro Molto 5´52”
6 II - Allegro Moderato 5´19”
7 III - Adagio Cantabile 6´40”
8 IV - Allegretto Grazioso 4´29”

Total playing time 40´24”



Ref.: PS 5013



THE PRINCESS WITH THE IRON SHOES/ SUMMER WALKS/VIOLIN SONATAS 1 AND 2

RUY COELHO


PORTUGALSOM is a collection of disks dedicated to the dissemination of Portuguese music. The collection originated in 1978 with the founding of the National Recording Library (Discoteca Básica Nacional) which, in 1987, became the recording label PortugalSom, a partner with the publisher Strauss, now defunct.
It includes about 100 titles dedicated to Portuguese composers, performers as well as to traditional Portuguese music. This project continues, now in partnership with the publisher Numérica, who will re-release some discontinued titles as well as publish new titles of contemporary authors who do not yet appear in the collection.



Details:

RUY COELHO

THE PRINCESS WITH THE IRON SHOES

SUMMER WALKS

RDP Symphony Orchestra 
Silva Pereira - conductor


VIOLIN SONATAS Nrs 1 and 2

Vasco Barbosa, violin

Grazi Barbosa, piano



1 A PRINCESA DOS SAPATOS DE FERRO 11´16”


PASSEIOS DE ESTIO

2 À Noitinha em Condeixa 2´41”

3 Dança Nocturna em Condeixa 0´40”
4 Mouraria 2´42”
5 Velha Canção 1´46”
6 Dança do Sul (Algarve) 0´30”
7 No Tejo 2´25”
8 As Crianças Brincam nos Jardins 1´44”
9 Lisboa na Noite de S. João 3´01”



SONATA PARA VIOLINO E PIANO Nº 1

10 I - Allegro Deciso 6´24”

11 II - Adagio 3´37”
12 III - Scherzo 2´21”
13 IV - Finale 5´13”



SONATA PARA VIOLINO E PIANO Nº 2

14 I - Recitativo 5´15”

15 II - Poco Lento 6´06”
16 III - Allegro Deciso 6´17”



Total playing time 65´15”


Ref.: PS 5012



CHORAL MUSIC - FERNANDO LOPES-GRAÇA

CORO GULBENKIAN


CHORAL MUSIC
Fernando Lopes-Graça

Gulbenkian Choir
Conductor: Jorge Matta



Details:


CHORAL MUSIC
Fernando Lopes-Graça

DOS ROMANCES VIEJOS
1 Romance de Rosa Fresca 2´40”
2 Romance de Fontefrida 2´05”

EM LOUVOR DO SOL
3 Em Louvor do Sol 2´50”
4 Enxada à Terra 2´43”
5 PARA AS RAPARIGAS DE COIMBRA 3´34”

QUATRO REDONDILHAS DE CAMÕES
6 Se Helena Apartar 2´31”
7 Falso Cavaleiro Ingrato 2´49”
8 Tende-me Mão Nele 1´58”
9 Verdes são os Campos 1´59”

TRÊS LÍRICAS CASTELHANAS DE CAMÕES
10 Ojos, Herido me Habeis 3´26”
11 De Vuestros Ojos Centellas 1´29”
12 Dó la mi Ventura? 3´48”

TRÊS ESCONJUROS
13 Contra os maus Encontros 1´08”
14 Contra os Maridos Transviados 1´16”
15 Contra as Trovoadas 2´04”

CANÇÕES DE MARINHEIROS
16 A Despedida do Marujo 1´41”
17 Levantar Ferro 1´22”
18 A Sorte do Marinheiro 1´07”
19 A Roupa do Marinheiro 1´05”
20 Os olhos do meu Amor 1´01”
21 Não Chores, Amor, não Chores 2´14”
22 O Vento do Noroeste 0´49”

Total playing time 45´42”

Sopranos
Clara Coelho, solista em 8 
Graziela Lé, solista em 8 
Marisa Figueira, solista em 8, 14
Mónica Santos, solista em 6, 14
Rosa Caldeira, solista em 6, 9
Susana Duarte, solista em 2, 5, 9, 14
Teresa Azevedo
Verónica Silva

Contraltos
Catarina Saraiva
Inês Martins 
Mafalda Borges Coelho, solista em 14
Manon Marques, solista em 8
Michelle Rollin, solista em 7, 8, 14
Patrícia Mendes, solista em 6
Tânia Valente, solista em 8

Tenores
Aníbal Coutinho, solista em 11
Filipe Faria
João Branco
João Custódio
João Paulo Moreira, solista em 5
Pedro Teixeira
Sérgio Peixoto

Baixos 
Artur Carneiro
Fernando Gomes
João Luis Paixão
José Pedro Bruto da Costa
Manuel Rebelo
Mário Almeida
Rui Borras



Ref.: PS 5011



MADRIGAIS CAMONIANOS - LUÍS DE FREITAS BRANCO

CORO GULBENKIAN


MADRIGAIS CAMONIANOS
Luís de Freitas Branco

Gulbenkian Choir
Conductor: Fernando Eldoro


FIRST RELEASE


Details:


MADRIGAIS CAMONIANOS
Luís de Freitas Branco

MADRIGAIS CAMONIANOS FOR A CAPPELLA MIXED CHOIR (1930-43)
1 I - Doces lembranças 3´39”
2 II - Qual tem a borboleta 2´09”
3 III - Eu cantei já 1´40”
4 IV - No mundo 1´12”
5 V - Que esperais 2´15”
6 VI - O céu, a terra 2´37”
7 VII - Alegres campos 1´35”
8 VIII - Num bosque 1´22”
9 IX - Pois meus olhos 2´32”
10 X - Como fizeste 2´53”


MADRIGAIS CAMONIANOS FOR A CAPPELLA MALE CHOIR (1943-49)

11 I - Se me desta terra fôr 1´52”
12 II - Verdes são as hortas 2´59”
13 III - Aquela cativa 1´39”
14 IV - Há uma questão 1´15”
15 V - O Fogo 2´51”
16 VI - Descalça vai pela neve 2´14”
17 VII - Menina não sei dizer 1´53”



MADRIGAIS CAMONIANOS PARA CORO MASCULINO A CAPPELLA (1943-49)

18 VIII - De que me serve 2´19”
19 IX - Campos bem aventurados 2´23”
20 X - Males 1´52”



MADRIGAIS CAMONIANOS FOR A CAPPELLA FEMALE CHOIR (1943-49)

21 I - Apartaram-se os meus olhos 2´40”
22 II - Saudade minha 1´07”
23 III - Falso cavaleiro ingrato 1´26”
24 IV - A dor que a minha alma sente 1´06”
25 V - Se a alma ver-se não pode 2´18” 
26 VI - Tende-me mão 1´27”
27 VII - Verdes são os campos 1´30”
28VIII - Pois dano me faz 3´42”



Total playing time 58´14”


Sopranos 

Clara Coelho
Graziela Lé
Mónica Santos
Raquel Alão
Rosa Caldeira
Susana Duarte
Verónica Silva



Contraltos 

Carolina Figueiredo
Joana Nascimento
Mafalda Borges Coelho
Michelle Rollin
Patrícia Mendes
Sónia Ferreira



Tenores 

Filipe Faria
João Branco
João Custódio
João Moreira
Rui Miranda
Sérgio Peixoto



Baixos 

Artur Carneiro
João Valeriano
José Bruto da Costa
Manuel Rebelo
Rui Baeta
Salvador Mascarenhas


Ref.: PS 5010