Hekel Tavares - Piano Concerto No. 2 "In Brazilian Forms", Op. 105 (1938)

Hekel Tavares ( Rio Largo, September 16, 1896 - Rio de Janeiro, August 8, 1969 ) was a Brazilian composer, conductor and arranger. He studied piano with an aunt and, as a child, learned harmonica and cavaquinho, but his greatest passion was popular music, especially that which came from the desafios and reisados.
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Concerto para Piano e Orquestra em Formas Brasileiras N. 2, op. 105 (1938)
1. Modinha (Tempo de batuque - lento con simplicita)(0:00)
2. Ponteio (Largo - molto cantabile et expressivo) (6:29)
3. Maracatu (lento ma vigoroso) (13:15)
Arnaldo Cohen, piano and the Orquestra Sinfônica Petrobras Pró Música conducted by Roberto Tibiriçá
Live recording
Buy the sheet music at: sheetmusicplus
www.sheetmusicplus.com/title/...
Details by John Henken
The Piano Concerto received its premiere in 1939 from Antonietta Rudge, with the composer conducting. The following year Guiomar Novaes took up the Concerto, which also received U.S. performances by the Chicago Symphony, the NBC Symphony in New York, and the National Symphony in Washington, D.C. It was first recorded in 1952 by Felicja Blumenthal with the London Symphony Orchestra, Anatole Fistoulari conducting.
Each of the Concerto's three movements is identified with one of Tavares' "Brazilian forms." The first movement is a Modinha, a sentimental, popular song genre. The second is a Ponteio, the accompaniment for a type of improvised rhyming competition from northeastern Brazil, and the finale is a Maracatu, an Afro-Brazilian processional dance associated with Carnival in Pernambuco.
The opening movement begins with an introduction marked "Tempo di Batuque," referring to a percussion-based dance accompaniment. Indeed, the whole score is rich in percussion, including traditional instruments such as maracas, the afoché (another type of rattle), and the reco-reco (a wooden scraper). The Modinha itself is a liquid, sighing theme in minor mode, which contrasts sharply with a more crisply accented, rhythmic flourish in major. A little clarinet solo with a Gershwinesque glissando ushers in a condensed reprise. A fast coda of virtuosic give-and-take between the soloist and the orchestra closes the movement.
Pontos de desafio are challenge songs in which singers improvise over a repeating accompaniment, the ponteio. After a placid introduction, the second movement of Tavares' Piano Concerto features just this sort of form and texture, with several thematic "songs," often appearing in the orchestra over the piano accompaniment.
The Maracatu has its origins in the coronation celebrations of African kings, and the processional Carnival dance retains king, queen, and courtiers as characters. Tavares' movement reflects much of this, with a recitative-like introduction imitating the call-to-order of the dama-do-paço, the court mistress of ceremonies. The body of the movement features two slow, intense dances, which build in energy to a lively concluding dance of great exuberance and exaltation.

[@bowerdw]

Just the kind of Piano Concerto I love to listen to.

[@igdotto]

Very proud finding a brazilian composer in this channel. I am glad, people of various nations have enjoyed this composition too.

[@zionfortuna]

What an epic piece, truly a brazilian masterpiece!

[@ghuinink]

in the culinary world this is called "Fusion" a true gem of a concerto !

[@justadude641]

And that's what all Russian and Soviet composers did: fusion. The third tempo of Tchaikovsky 1st concerto is a Russian folk dance, Tavares just followed this technique.

[@nickmaestro]

Not too showy, just how I like my concertos. Rich solos where notes aren't drowned, and the orchestral effectively accompanies the piano.

[@FelipeFerreira7]

Isso é incrível!

[@lowe7471]

Great, fun piece. Thank you for posting this.

[@MAXIMBOARD]

Изумительная вещь! Спасибо)

[@SaintSaens0]

thanks! been waiting for a good score for this one!

[@mukilnarayanan]

Amazing!!

[@StefanGraz]

Beautiful!

[@rogerkorcia.girard5910]

On aimerait entendre ce"genre" de musique plus souvent . Pas vous ?????

[@Mr-Prasguerman]

🇧🇷

[@MrPDLopez]

Interesting that there are several positive comments and just 1 "like" mine :)

[@robert-skibelo]

Interesting. Thanks for posting. Please don't make the score disappear before the music ends (end of last movement).

[@bartjebartmans]

I have no idea what you are talking about. The score fades into the applause and photo of the composer.

[@robert-skibelo]

@@bartjebartmans On my computer the score disappears at 22:11 -- i.e. before the last three bars (Lento) have been played. The photo of the composer appears at 22:12 and stays for a while but in turn disappears before the last bar has been played, leaving me looking at your portrait and an advert for another video on a black background. [I am using KZbin in Firefox under Windows, if that matters.]

[@bartjebartmans]

@@robert-skibelo ok something went wrong with final edit. Originally I had the photo fade in with applause, this all disappeared. Mystery solved. I could re-upload it, but it is a minor glitch.

[@bartjebartmans]

Change applause in standing ovation.

[@robert-skibelo]

@@bartjebartmans Yes, it is a minor problem and doesn't justify a re-upload. I'm just glad to know it was a glitch and not something you do routinely.

[@andrewpetersen5272]

OK

[@Mr-Prasguerman]

22

[@ikschrijflangenamen]

62/84 time? What madness is this

[@bachtehude2437]

It means alternating measures of 6/8 and 2/4

[@pahalasyurgabarokah]

6/8 to 2/4 lol

[@ikschrijflangenamen]

That makes more sense :) Though I'm used to seeing that written as 6/8+2/4