Symphony No.10 "Sumé Pater Patrium: Sinfonia Ameríndia" - Heitor Villa-Lobos скачать в хорошем качестве

Symphony No.10 "Sumé Pater Patrium: Sinfonia Ameríndia" - Heitor Villa-Lobos

Stuttgart Radio Symphony Orchestra, Members of the Staatsopernchor Stuttgart and SWR Vokalensemble Stuttgart conducted by Carl St Clair. Henryk Böhm as the baritone and Jürgen Linn as the Bass-Baritone. I - The Earth and Its Creatures. Allegro: 0:00 II - War Cry. Lento: 9:37 III - Lurupichuna. Scherzo. Allegretto scherzando: 20:16 IV - The Voice of the Earth and the Appearance of Anchieta. Lento: 27:14 V - Glory in Heaven, and Peace on Earth. Poco allegro: 57:49 Villa-Lobos Symphony No.10 was composed between 1952-3, commissioned to celebrate the 400th anniversary of the founding of the city of São Paulo. It was premiered at the Théâtre des Champs-Élysées in Paris on April 4 of 1957, performed by the Orchestre National et Choeur de la Radiodiffusion Française conducted by the composer with Jean Giraudeau (tenor), Camille Maurane (baritone), and Jacques Chalude (bass). The Brazilian premiere took place six months later in São Paulo’s Theatro Municipal. The score is dedicated to Mindinha (Arminda Neves d'Almeida), the composer's companion for the last 23 years of his life. In five movements, this work is the longest in the symphonic output of the composer, and yet the description 'Oratorio for soloists, chorus and orchestra' makes amply clear that it is not a choral symphony, like Beethoven's Ninth. Indeed, it is more akin to Mahler's Eighth or Janáček's Glagolitic Mass. Effectively a hybrid, it is memorable for its stylistic variety and breath, drawing on several different sources of Brazilian music. An hour-long piece, rich in atmospheric passages, and one that reflects a clash of cultures with a breath of scope that is, at times, larger than life itself. Villa-Lobos was also notorious for the extravagant demands he made on orchestral musicians, and this work is no exception. The writing for strings and voices is extremely difficult, all winds and brass are tripled or quadrupled, the percussion section is vast and there are significant parts for piano, harps and organ. The text is a historical record made by Father José de Anchieta of his conversion of native people to Christianity and is in Latin, Portuguese, and Tupí, an indigenous language. José de Anchieta was a Jesuit priest who worked indefatigably to protect the indigenous peoples from the slavery and oppression of the Portuguese colonists. Father Anchieta suffered from a spinal condition but, all the same, he climbed the coastal mountain range to the plateau, where, on 25 January 1554, he celebrated Mass for the foundation of the town that would eventually become the metropolis of São Paulo. The first movement is purely orchestral, not following a standard structure. It begins with a chaotic polytonal introduction, from which several themes emerge; some of these recur in later movements. Villa-Lobos tends to depict the primitive state through ostinatos based on repeated notes, narrow intervals, parallelism and echoes of pentatonic scales. The colourful and luscious nature of the music seems to evocate the jungles of Brazil themselves. One particularly important motif consists of neighbouring notes followed by a descending fifth, and appears in a modified form in the second movement. A long crescendo ends the allegro with a triumphal coda. The second movement is structured in ternary form. It opens with a solemn introduction, after which a deeply lyrical and melancholic main theme is exposed by clarinet. It is a lament for lost innocence in which the chorus sings wordless melodies. The central section opens with a rhythmic variation of the material, which becomes increasingly dissonant and agitated. After a diminuendo, the main theme is recapitulated by strings, and the wordless singing continues. The bass then begins a brief solo, representing the Voice of the Earth, who calls on the natives to take their weapons and become masters of the Earth. A gentle coda ends the lento. The third movement is scherzo-like but also very free in form. It begins with a rhythmic and lively main theme, propulsed underneath by an ostinato figure. It continuously transforms as it unfolds. The chorus sings settings of Tupi texts found in XVIII and XIX century travel journals, suggesting the evolution of monkeys into builders of houses; the inference being that this only happened with the arrival of the Europeans. The choral texture is essentially reliant on parallelisms and a question-response structure. After some wordless singing from the baritone and chorus, a powerful climax is reached on the final lines of the poem, with which the scherzo ends. [Musical analysis continued in the comments section]. [Activate subtitles to follow the lyrics]. Picture: Photograph of "Christ the Redeemer" (1922-31) with Moon in the background. Musical analysis partially written by myself. Sources: https://tinyurl.com/2yke8uas, https://tinyurl.com/2xpyyyro and https://tinyurl.com/2bvvvdm4 Unfortunately, the score is not freely available.