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António Victorino d’Almeida e Luíz Avellar arrebataram espectacularmente o público


Numa sala repleta de um público especial, muito interessado em ver e ouvir o resultado do anunciado duelo de pianos, António Victorino d’Almeida, maestro, pianista e compositor e o brasileiro Luíz Avellar, também na condição de pianista e compositor, deram um concerto memorável.
Coube a Luíz Avellar abrir as “hostilidades” dando largas a sua imaginação criativa, tocando a solo, um improviso com tema e variações que instalou na sala um ambiente muito acolhedor, para o concerto.
António Victorino d’Almeida, também teve o seu momento solístico, interpretando a música que no momento lhe ocorria para o seu improviso.
Uma vez postos frente a frente, o Festival de Música da Maia teve um dos momentos mais irrepetíveis de toda a edição do ano 2010.
Os dois músicos, senhores de um talento poderoso, iniciaram um diálogo intenso, por vezes densamente sinfónico, apesar de estarem apenas e aparentemente limitados aos seus pianos.
Os contrastes dinâmicos que conseguiram, a expressividade dos seus fraseados e a energia criativa com que percutiram vibrantemente a maioria dos acordes nos teclados, levaram o público ao rubro.
Em certos momentos, o concerto parecia ser uma viagem na História da Música, dadas as evocações formais do barroco, do romantismo, impressionismo ou formas mais contemporâneas, sendo fácil reconhecer, aqui e ali, Bach, Vivaldi, Scarlatti, Mozart, Beethoven, Schubert, Brahms, Chopin, Stravinsky, Tchaicovsky, Chostakovich, Schoenberg, entre outros grandes compositores e, naturalmente, o próprio António Victorino d’ Almeida.
Pelo meio houve ainda lugar à boa disposição, com hilariantes momentos de fino recorte humorístico, com caricaturas musicais muito divertidas de excertos de temas da música popular portuguesa, tocados em forma de concerto, pondo o público a aplaudir com desprendidas gargalhadas.
Esta abordagem proposta pelo Maestro António Victorino d’ Almeida e partilhada com Luíz Avellar é de certo modo inovadora, pela forma descontraída e festiva com que a Música acontece para gáudio do público.

Victor Dias

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NUM 1196

MIGUEL TORGA – POESIA

Aurelino Costa – voz

Victorino D’Almeida – piano

Os textos de Miguel Torga, mesmo que se refiram a temáticas urbanas, deixam sempre transparecer uma cultura da natureza, como se as palavras brotassem da terra e do granito das serras.

Contudo, essa força telúrica oscila entre a rudeza dos sons e uma comovente ternura pelos seres e pelas coisas da vida.

Dir-se-ia que é fácil encontrar uma resposta musical para as imagens literárias.

Por outro lado, Aurelino Costa transmite-nos de uma forma admiravelmente impressiva a mensagem dos poetas, nomeadamente a de Miguel Torga, e a junção da música improvisada à solidez dos textos escritos torna-se quase intuitiva, tão natural no calor de um palco como na teórica frieza de um estúdio de gravação.

Por tudo isto, é sempre para mim uma experiência fascinante trabalhar em conjunto com este extraordinário declamador

António Victorino D’Almeida

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NUM 1140

Title: Peças Portuguesas e Japonesas Para Piano Solo

Artist: Yuki Rodrigues

Composers: Luiz Costa, Cláudio Carneyro, Eurico Carrapatoso, José Vianna da Motta,  Kôsaku Yamada, Kunihiko Hashimoto, Carlos Seixas, Yuki Rodrigues, Michio Miyagi

Luiz Costa

Luiz Costa is one of the most interesting composers of the Portuguese musical modernism. Luiz Costa was born in 1879 in S. Pedro de Fralães (Minho), and died in 1960 in Porto, where he lived most of his life. His birthplace was of great importance in shaping his personality as a composer, inspiring him constantly. In this fourth piece of the cycle “Telas Campesinas, op. 6”, “Roda o Vento nas Searas”, Luiz Costa re-creates in a magnificent way the natural atmosphere of his region of birth. It is a descriptive and impressionist music.

Cláudio Carneyro

Cláudio Carneyro was born in Porto in 1895, son of the great painter António Carneiro, he died in 1963. He began his musical studies in his hometown, and continued them in Paris with Widor and Dukas.

C. Carneyro stands out in the Portuguese musical scene for his extraordinary expressive potentiality, becoming a unique example in all of the Portuguese music. “Pavana” was composed in 1937, evoking the 6th century polyphony, but always introducing his unmistakable musical style.

“Arpa Eolea”, composed in 1948, according to the author’s affirmation, is an “impressionism attempt” and an “isolated experience” in his artistic production. “Bailadeiras”, composed in 1946, is a popular inspired small piece based on a rhythmic background evoked by the tambourine.

Eurico Carrapatoso

(L’aire de l campo fai-mos sentir bien!)

Eurico Carrapatoso was born in 1962 in Bragança district and is, without a doubt, one of the most important composers of the contemporary Portuguese music. This cycle of three solo piano pieces, “L’aire de l campo”, based in 1996 materials, was composed in 2003. The first piece “Augas Bibas”, named after a small village, means “Living Waters” in the dialect of the region and is presented as an intimate piece. It begins with apparent serenity, but the introduction of dissonant elements leads to an intense drama, only to return to the serene initial ambience. The second piece, “Palaçôlo”, also a small village, enwind us in an “old nobility” atmosphere, nostalgic and magnificent. The third piece, “Prado Gaton”, also a small village near Augas Bibas and Palaçôlo, leads us to a metaphoric and penetrating silence, through the inner time of the piece, which is a cyclic time, an infinite time. The resonance interaction creates a crystalline atmosphere in whole the piece.

José Vianna da Motta

José Vianna da Motta was born in the 22nd of April 1868 at S. Tomé island. One year after the family decides to departure to Portugal, settling in Colares, and later in Lisbon. He leaves to Germany in 1882, with the purpose of studying with Liszt, Han von Bulow, among others distinguished teachers of the time. He his profoundly influenced, by the music and personality of Wagner, and a true lover and connoisseur of the German literature, especially Goethe.

He was a brilliant and erudite pianist, composer, musical critic and pedagogue.

Jointly with Luiz Freitas Branco, he had great importance in the reform of the music teaching in Portugal. This piece “Valsa Caprichosa”, is included in the cycle “ Cenas Portuguesas op. 9”, inspired by popular melodies, it has the lightness of the waltz, with a slight touch of humour.

Kôsaku Yamada

The song “Machibôke” (literally “Left Awaiting”), was composed by Kôsaku Yamada with lyrics by the poet Hakushû Kitahara. This poem is based in a Chinese children’s tale. The composer wrote the piece introduction inspired in the whistle used by the Chinese carters. The version presented in this recording is a solo piano adaptation.

Kunihiko Hashimoto

Kunihiko Hashimoto (1904-1949) wrote the piece “Yakyoku” (Nocturno) in October 1934. This well-known Japanese composer studied with Schonberg from 1934 to 1937. He had an intense musical activity both as a composer and maestro.

Carlos Seixas

José António Carlos de Seixas was born in Coimbra, 11th July 1704, descendant of a noble family he died in 1742. Arrived in Lisbon very young and most likely was in contact with Domenico Scarlatti, who lived in Portugal at the time. Seixas Toccatas show in fact, the influence of the master Scarlatti, but never losing his strong genuine Portuguese personality.

Yuki Rodrigues (Adaptation)

Written over two Japanese themes, “Sakura, Sakura” and “Kôjô no Tsuki”, this rhapsody is based in two of the most well known Japanese melodies. The theme “Sakura, Sakura” (cherry-tree, cherry-tree, in Japanese) is an ancient melody, by an un-known author, that celebrates the beauty of the cherry-tree, one of the symbols of Japan. The second theme “Kojo no Tsuki” (The Moon in the Ruin Castle) was composed by Taki Rentarô (1879-1903). This composer gained reputation, not only as a composer but also as a pianist. He lived briefly (23 years), and wrote mainly for singing, but also several pieces for piano.

Michio Miyagi

Michio Miyagi composed the piece “Haru no Umi” (Spring Sea) in 1929. Originally written for Koto and Shakuhachi (traditional Japanese instruments).

The author of the piano transcription performed in this recording is Norihiko Wada. This piece is a musical description of the Spring sea, the waves, the cry of the sea-gulls, the fog over the sea and the boats in motion.

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