Emmanuele Beart

José Antônio de Almeida Prado was one of the most prolific and creative Brazilian composers of the second half of the 20th century, finding inspiration in everything from the birdsong and forests of his native country to a contemplation of the galaxies. The evocative Le Livre magique de Xangô is considered a foundational work in Almeida Prado’s final, eclectic postmodern phase, during which folk music also re-emerged in works such as Das Cirandas. The lively Solo Violin Sonata and lyrical Capriccio both explore the violin’s full expressive potential, while The Four Seasons tests the skill of younger players.

Heitor Villa-Lobos’s three violin sonatas date from a key period in his career: the moment at which he matured as a composer, established his personal idiom and achieved his first professional triumphs. Each sonata shares some influence from French late Romanticism or Impressionism, as well as revealing Villa-Lobos’s skill as a string player. The First Violin Sonata’s subtitle of Désespérance (‘Despair’) suits its melancholy lyricism, while the ‘infinite abundance of musical ideas’ in the Second Violin Sonata is characterised by a wide range of emotions. The sophisticated Third Violin Sonata is steeped in the influence of Debussy, but also anticipates Villa-Lobos’s new directions in the 1920s.

Sentimental, dynamic, exuberant, multi-talented and extremely eclectic, Francisco Mignone, whose Italian background brought a sense of universality to his musical nationalism, was a leading figure in the Brazilian music scene during the 20th century. The Clarinet Concertino and Bassoon Concertino share a nationalist idiom: the dialogues between soloist and orchestra extend into expressive duets with the exciting use of rapid embolada – a Brazilian form of poetry and song. The elegant Guitar Concerto is filled with drama and vitality, while the Violin Concerto was summed up by one critic as ‘the greatest work of this challenging genre in the history of Brazilian music.'

Marco Enrico Bossi gained fame as one of the most influential Italian organ virtuosos of his day, and as a composer who helped lay the foundations for a new tradition of instrumental music in a country dominated by opera. Bossi’s First Violin Sonata has cyclical forms and a density of ideas that put it in line with César Franck’s famous sonata, with melodies as expressive as those of Rachmaninov. The Second Violin Sonata recalls a Classical style that refers more to Beethoven and Brahms while displaying the eloquence of Bossi’s personal idiom. Both of these works reveal a composer whose chamber music stands equal to the most renowned works produced in the late 19th century.