BRASILEIRO
NELSON FREIRE, Piano
Decca 478 3533 / *****
This
is a sparkling anthology of piano music from the homeland of celebrated
Brazilian pianist Nelson Freire. Brazil ’s most famous composer Heitor Villa-Lobos
(1887-1959) accounts for 16 of the 30 tracks, all short pieces with strong
melodic threads and infectious rhythmic interest. In Alma Brasileira (Soul of
Brazil), Caboclo’s Legend, Saudades de Selvas Brasileiras (Longing for the Brazilian Jungle) No.2 and Valsa da Dor (Waltz of Grief),
the listener is introduced to the spirit of “saudade”, a state of mind
understood only by Brazilians equating with nostalgia and yearning. In Carnaval das Criancas (Children’s Carnival) and movements from Cirandas, Prole do Bebe (Doll’s Family)
and Guia Pratico (Practical Guide), the simplicity of
childhood songs is the main focus.
The
other composers are less well known, but Carmago Guarneri’s Danca Negra, Alexandre Levy’s Tango Brasileiro , Joaquim Netto’s Minha Terra (My Country) and Francisco Mignone’s Congada occupy a similar ethno-musical pigeon hole as Cuban
composer Ernesto Lecuona’s famous dances. Freire lavishes much love and
missionary zeal in these numbers and there is rarely a moment in the 74 minutes
that sounds repetitious or outlives its welcome. This album is very enjoyable
and hence ardently recommended.
BOOK IT:
NELSON FREIRE @
21st Singapore
School of the Arts
Concert Hall
Tickets available at
SISTIC
IN 27 PIECES
THE HILARY HAHN ENCORES
HILARY HAHN, Violin
CORY SMYTHE, Piano
Deutsche Grammophon 479
1725 (2 CDs) / *****
Just a few years back, the American violinist
Hilary Hahn commissioned 26 composers worldwide to write an encore piece for
violin and piano lasting about five minutes in playing time. A further work was
selected from a field of over 400 “blind” entries. The results are fascinating
but somewhat predictable. Presumably every composer wishes to have his or her
piece performed more than once, hence all chose the tonal and aurally
accessible path. From Briton Mark-Anthony Turnage’s Hilary’s Hoedown (2 minutes) to Azeri Franghiz Ali-Zadeh’s Impulse (6 minutes), the pieces fall
roughly into three broad categories: scherzo-like and virtuosic, still and
ruminative, and ethnically-influenced in the case of Asian composers.
Hahn’s technical armamentarium seems limitless
as she negotiates a multitude of styles, flavours and moods. For a sample of
diversity, try Avner Dorman’s toccata-like and minimalistic Memory Games, the raga-simulations of
Kala Ramnath’s Aalap and Tarana,
Michiru Oshima’s sentimental Memories,
David del Tredici’s meditative and hymn-like Farewell, or bluegrass fiddling in Mason Bates’s Ford’s Farm. Nowhere does she and her
piano-partner sound less than committed. Enough of Bach, Paganini or Ysaye to close a
concert. Thanks to Hahn, these new encores will be winningly received.
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