On Friday 17 July 2009 Filipa Van Eck and myself will be performing a concert in tribute to the 50th anniversary of the death of Heitor Villa-Lobos, and also in celebration of the 13th anniversary of the CPLP, or Comunidade dos Paises de Lingua Portuguesa (Community of Portuguese speaking Countries), a type of Portuguese commonwealth that includes all Portuguese speaking countries such as Angola, Mozambique, East Timor, Brazil etc. The concert will be held at the University in Maputo. The concert will also feature solo piano works by Villa-Lobos.
O vosso canto vem do fundo do Sertao, como uma brisa amolecendo o coracao – “Your songs come from the depths of the forest, like a breeze softening my heart.” These words by Brazilian poet Manuel Bandeira – speaking of a beloved to a bird in the forest – could apply to Villa-Lobos. His vocal music has not been adequately explored in recital or on recordings. Sheet Music is not readily available. Therefore putting together a selection of songs is not an easy task. But there is much of value and beauty to explore.
We will, of course, be performing the composer’s signature-work for voice, the Bachianas Brasileiras #5. Filipa will be singing the complete work, the Canitlena as well as the 2nd movement – added in 1945 – Dansa (Martelo) to the text by Manuel Bandeira.
“Melodia Sentimental” was an obvious choice, but we could not find the Sheet Music in time. I include recorded materials of it here simply because I think it is a wonderful piece that I will perform as soon as get a copy of the music. This work has become so popular that some find it difficult to decide if it is a Folk Song that became classical or if it’s a classical song that has become so popular as to have entered the folk tradition. As is typical with the music of this composer, the music can sustain a variety of different performance styles. It has been arranged for classical ensembles, and performed by popular and classical singers alike. I personally adore this clip of Maria Bethania listening to and singing along to her own recording of “Melodia Sentimental” .
Narrowing the gap between classical and popular
In a recent issue of the Rio de Janeiro Musician’s Union (SindMusi) newsletter, Musical, the pianist, arranger and composer Cláudio Dauelsberg was interviewed about the release of two new CD’s in two very different styles, Ventos do Norte (North Winds – MPB) and Bach, recorded with the Moscow Chamber Orchestra.
He says, “More and more we are seeing the barrier breaking down between popular and classical… Each (of these) areas has a lot to offer to the other and it’s really cool for us to allow that encounter. But it’s a challenge to dive in with intensity and profundity in the two areas.”
Brazilian music is founded upon the syncretism of European, African and Indigenous Amerindian musical traditions which all contribute to its uniqueness. In The Brazilian Sound, Chris McGowan and Ricardo Pessanha provide some additional insights (1998):
“Most Brazilian music shares three outstanding qualities. It has an intense lyricism tied to its Portuguese heritage that often makes for beautiful, highly expressive melodies, enhanced by the fact that Portuguese is one of the most musical tongues on earth and no small gift to the ballad singer. Second, a high level of poetry is present in the lyrics of much Brazilian popular music. And last, vibrant Afro-Brazilian rhythms energize most Brazilian songs, from samba to baião.”
These elements are to be fund in abundance in the songs Filipa Van Eck will be performing in Mozambique:
Cancao do Poeta do Seculo XVIII (Song of a poet of the 18th Century)
Cancao do Poeta do Seculo XVIII (sung here in a clip by Teresa Berganza with Juan Antonio Alvarez Parejo on piano in 1984) is a beautiful song that walks the trapeze between art-song and popular ballad – like so many of this composer’s works. A gentle candombe rhythm introduces a yearning melody that seems to reflect the text by Alfredo Ferreira perfectly. The poet dreams of walking in the moonlight with his beloved. The moon is a symbol of love and hope, but alas, it is also out of reach.
“Evocação” – the 7th song in the series “Modinhas e Canções” – is filled with deep feeling and longing. It is a powerful song in which the poet is delirious with love. “I live to cry my love for you”, the poet says, and is enfolded in a starlit dream of ecstasy. Here is a version sung by tenor Daniel Inamorato. This is a very serious and “classical” interpretation, which I enjoy, but I do think some more expressive freedom would add to the passion of the song. The lilting 6/8 opening is almost Neapolitan in it’s simplicity, but the modulation to the minor in the slow section is most affecting, with the climax of the song reaching almost suicidal passion.
Nesta Rua (This Street)
This appears to be a Villa-Lobos arrangement of a traditional melody arranged by Villa-Lobos, in fact, more than once. It appears as the 11th piece in the piano cycle Cirandinhas (1925) and again in the Cirandas of 1926. The piano arrangements are powerful virtuoso works, but their dramatic style appears not to fit the lyrics of the poem. The quasi-Indian percussive piano effects open the piano arrangements are totally absent in the vocal arrangement. Kiki Hamman traces the roots of this song to a Brazilian “cantiga” or lullaby. If Villa-Lobos can not stake claim to the haunting melody, he certainly gets the credit for a magnificent arrangement. Subtle polyrhythms and swaying triplets make performing this work an absolute pleasure. Again, it is a work that has popular undertones, and unfortunately gets less than satisfactory performances such as this version with Sandy Leah in which more than just the intonation is suspect.
Lundú Da Marqueza De Santos
The 2nd song form the group “Modinhas e Canções” (to a text by Triato Correa), reveals Villa-Lobos’ popular folk-inflected side. However it is a bit perplexing as a musical response to the text. The song is written in an up-beat Allegretto Tango rhythm, but the text by Triato Correa is a sad an desperate cry for a departed lover. “Everything in me is black and sad, Oh! this tremendous, tremendous punishment.” But the song is not black nor sad! This version with tenor Polane Brandão reveals the technical difficulty of the song, as well as one of a fundamental weakness in much of Villa-Lobos’ vocal writing: the piano doubles the voice melody throughout. This creates a problem with the balance as well as highlighting any intonation difficulties that there might be. In addition it limits the singer’s rhythmic freedom, which I consider vital to creating a folk-inspired quasi-Neapolitan song. Orchestrated versions do exist, but I am not sure if these are by Villa-Lobos. Bidu Sayao recorded two versions, and her lyricim is immediately apparent. Her clear voice and easy high notes still make her an ideal interpreter from a stylistic point of view:
“Lundú Da Marqueza De Santos” sung by Bidu Sayao (1)
“Lundú Da Marqueza De Santos” sung by Bidu Sayao (2)
Some recordings of Villa-Lobos’ vocal music and other useful links:
“Canção do Amor” and “Melodia Sentimental” from Villa-Lobos’ symphonic poem “Floresta do Amazonas” sung by Bidu Sayo in 1959. Villa-Lobos convinced Sayao to come out of retirement to record this work, composed with her voice in mind. The lyrics are given as well.
Cathy Berberian sings Xango The text has no particular meaning and is an anomatopaeic description of Amerindian drumming – “Xangô! Ôlê gondilê ôlálá… Gon gon gon gondilá! Xangô! Ôlé gondilé ôlêlê Gon gon gon gondilê!”
Traditional recreation of Xango: Xango, god of fire and thunder from the Afro Brazilian tradition of Candomble´. From the CD, “Sacred Songs and Chants of Candomble”
“Floresta” sung by Bidu Sayao
The “Birdsong” from “Amazon” sung by Bidu Sayao
Texts and translations of a selection of Villa-Lobos’ vocal works
A CD of Latin American Songs with Marina Tafur (Soprano) and Nigel Foster (Piano)
“Canción del marinero” sung by Alfredo Kraus
Balduína de Oliveira (Bidu) Sayão’s obituary and career summary
An appreciation of Bidu Sayao’s career
Filipa Van Eck’s Biography
Filipa van Eck (23) has completed her Bmus Western Classical Performance at UCT and has been training her voice with Sarita Stern since 2004. Filipa has won various prizes for singing at school, and completed her UNISA exams with distinctions. At UCT she has managed to be placed on the Dean’s Merit list for every year of study, and was the Class Medalist for 2004.
Filipa has sung in various chamber music concerts, her repertoire includes The Bachianas Brasileiras No.5 by Heitor Villa-Lobos, L’amero by Mozart and Der Hirt auf dem Felsen by Schubert; and was invited to perform as a soloist in Vivaldi’s Gloria with the Sotonga String Quartet in Napier; and Pergolesi’s Stabat Mater for Barry Smith and the Rupert Foundation for Music in March 2008.
Filipa has also performed around Cape Town for The Nine Club, Friends of Cape Town Opera, The Fishoek Music Society; and in Pretoria at the Portuguese Embassy in commemoration of the end of the Portuguese presidency of the European Union. She was chosen to perform a solo recital for Portuguese national day held at the Centre of the Book in 2007, and performed in Johannesburg with the Philharmonic Orchestra conducted by Richard Cock in a concert organized by the Oppenheimer Memorial Trust.
Filipa was nominated as a finalist in the 2007 and 2008 SCHOCK Foundation for Singing Competition, and the 2008 SCHOCK Chamber Music Competition held at the Baxter concert hall.
She will be performing in a concert version of Dido and Aeneas for Barry Smith in May, appearing as Octavian in Der Rosenkavalier in June, and in Janacek’s The Cunning Little Vixen with the UCT Opera School and Cape Town Opera.
She is currently completing her Masters in Music Performance at UCT.