Villa-Lobos (Crianças Famosas) (Portuguese Edition)

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The wind shakes the petals Petals that distracted Let themselves be shaken Shakes the wind the petals That distracted let themselves Let themselves be shaken Meeting myself second after second General considerations: He was very excited to try it out, and as soon as I arrived at his house he started to play and sing. The melody is accessible and catchy, yet the text and the music are nonetheless deeply interrelated. The impression is of a waltz, and the chords change with the bars, making clear and steady harmonic rhythm.

One day while he was shaving, it occurred to him that the song had to be very simple instead. He went to the piano and wrote it right away. Text background and interpretation: The text is set syllabically. There are no problems of prosodic adjustment. There is a noticeable change in the prosodic contour from the first part, where there is a syllable for each quarter note, to the second part, where there is a syllable for each dotted half note, or in general, a syllable for each measure.

The form is AAB, with a repeat of the entire piece and a short coda. The vocal line motif is reutilized in this part, creating unity. The word segundo second is repeated eight times, making the voice sound like a second instrument. Besides the rallentandi in the end of the sections, the tempo is steady marked allegretto. It starts and finishes in D major. There is an important suspension on measure 19 in the vocal line, from E4 to D, right before the melody leaps upward toward the word auto-encontro self- I am considering the central C in the piano as C4.

Overall the texture is transparent, so both the pianist and the singer must exercise restraint. The low range of this song is deceptive: The performer cannot be worried with the length of the phrases and can simply let the long notes at the end of phrases die. The second part should be interpreted with joy, since meeting oneself is the goal of someone who felt as feeble as petals in the wind.

In the coda, the performer is still using mostly head voice, leaving the impression of soft petals. Restituo estas chaves Title translation: I return these keys. Date and place of composition: Carlos Drummond de Andrade was one of the greatest poets of Brazil. Born in Itabira, Minas Gerais, in , Drummond was a poet aligned with the ideals of the s modernists.

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He believed that rhyme is useless unless there is a clear association of ideas. He was obsessive and perfectionist, and a master of the short poem. University of Arizona Press, , 2. In art song, the frequent use of poems with the classic structure typical of Parnasianismo and the cult of the belles-lettres present in Brazilian literature in the beginning of the twentieth century delayed the development of a song more connected to the colloquial language, and therefore more accessible.

He is trying to trick her into feeling guilty and giving up the idea of the break up. The rhythm in the vocal line is full of syncopations. This fact requires special attention from the performer, since the accents are many times on the weak beat. In order to make the prosody work, rhythmic precision needs to be accompanied by natural flow of the text. The performer needs to speak the phrase many times in the written rhythm to erase unnatural accents on unaccented syllables or too much stress on accented syllables.

For example, in mm. There is also an interesting moment of tone painting. The change of harmony in the second stanza is very significant. The voice moves to a Bb on com certeza with certainty , a joke with the singer, who will certainly be unsure of this sudden change. The rest of the text continues to have an underlying dialogue with the performers: Even though this is basically a ballad, the frequent use of syncopation both in the vocal and in the piano parts is an indication of the national character of the song.

If one considers the vocalise as the refrain, then the form would be ABCB with a 5-measure coda. There is also an introduction of 10 measures, which is marked calmo, muito expressivo, ending in a rallentando and marcato.

The first stanza starts in measure 11 and ends on measure Then the rest of the song is divided in ten-measure parts: The character is in love, but will not admit it openly, using subterfuges to express his sentiments. He did not make any specific marks for what kind of sound or vowel he wants, so for the first one I suggest the [u] sound, a continuation of the last sound that comes before in cativeiro.

In the repeat, I think it makes more sense to repeat the [u] sound. It is an awkward moment for both of them, until he cannot wait anymore and says: Rua Aurora Title translation: Dawn Street Date and place of composition: About a third of his production was poetry. Mama, give me that moon, To be forgotten and unknown Like those street names, soon.

In this work he presents himself in a more philosophical and resigned way. Andrade gives as the source of inspiration the thirteenth- century poet Martin Codax. The Creative Works London: Associated University Presses, , He uses the name of his street Lopes Chaves to express his fear: The texture is syllabic. The lyrics fit well to the vocal part. The only prosodic adjustment I considered is on the last line: The song is through-composed, even though there is a certain amount of repetition, the overall impression is that of a natural flow of new ideas.

The first two phrases use related material, only modified when the prosody makes it necessary. There are three sections: The tonality is D major. The texture is transparent, and the piano and the vocal parts alternate in a constant dialogue. The motif present in the piano part right on the first measure gives unity to the whole song and provides the ambience ex. From the beginning the singer must pay attention to the different rhythmic cells portrayed by the composer.

Many of them are similar three eight-notes, triplets, and one eight-note plus two sixteenth-notes. The dialogue between the piano and the voice, and the clear texture makes any mistake audible. It is important to be precise and perform exactly as it is written. It is also important to pay attention on the attack of rua in the second to last measure.

In an attack like this, the uvular [r] must be clear, otherwise it will sound like an American [h]. His experience as a performer and lyricist of popular song gives him the appropriate timing and use of popular prolation. This time Bellodi already had the text ready. He had given it to another composer who later declined to work on the text. In its original form, it starts with the most general and striking view of the city, its buildings — but in the next verse Bellodi shifts his attention to the people, with the acknowledgement of the biggest group of immigrants in the city, the Italians mille cuore , of which Bellodi is part.

He knows that only poets can see the beauty of a city known for its business, its hordes of people rushing from one place to the other, and its characteristic urban anonymity. The invisible sun is a reality of a city cloaked in smog. Saint and serpent, only a true Paulistano knows the danger and the delight of living in such a place. From the beginning, the pace is dictated by the eighth-notes, so the phrasing needs to be carefully delivered and the accents need to be clear. Most of the time, the accents are in place with the downbeats: Starting on measure 48, the rhythmic accompaniment also changes the vocal delivery.

Right away, the impression one must have is of duplets against the strongly syncopated rhythm of the piano. From then on, the most difficult aspect of the song is to keep the articulation clear and the rhythm precise, even more when the piano part is doubling. Many times, the singer will have the syncopation alone, while the piano stresses the downbeats. That means the syncopation can vary as it would in a samba performance; the priority is that articulation and prosody remain clear. There is a 4-measure bridge and the third part starts on measure , going straight to the end on measure The pace is set by a steady eighth-note pattern, and goes from a lento on the first three measures, to a moderato when the vocal line starts in measure 4.

The use of triplets in the piano part on measure 14 coincides with the words pressa rush and passos steps , giving the impression of steps rushing without compromising the lyrical ambience. In the second part, the typical levada flow of samba appears in the left hand of the piano part in a samba group, this rhythmic cell is performed by the tamborim , leaving the right hand for the bass the surdo in a samba group.

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The interpreter needs to keep the pace, have ginga enough to be convincing, and show passion and joy. Although there is only a piano in the accompaniment, the singer needs to imagine a full bateria behind him a male singer is traditionally the choice for this genre. The expected tone color is darker, so a baritone would be the best choice the range from A3 to E5 already makes that choice obvious. I suggest opening the mouth horizontally and keeping a strong connection between the soft palate and the upper teeth; for a classically trained singer, it would be a fine line between full sound and shouting.

Se procurar bem Title translation: If you search well Date and place of composition: Carlos Drummond de Andrade Original text: If you search well you end up finding Not the doubtful meaning of life But the inexplicable poetry of life. At first sight, this is the simplest song of the set. He performed the song three times: First exactly what is on the score; second, an improvisation at the piano with no vocal part, and third performing the typical bossa nova rhythm, which coincides with the syncopations in the vocal part. Drummond was the master of the short poem, and in this one he managed to say a lot with only three lines.

The strongly syncopated vocal line already places the accents in the correct places, so the performer needs not to stress any more, but deliver the text in a natural way. The song is through-composed. Its 28 measures apparently are not divided in sections. There is an 8-measure introduction. The song is written with a simple accompaniment, where the piano part often has no more than whole notes to play. With the correct accompaniment though, this song can be transformed into bossa nova.

All the pianist has to do is read the whole notes with the typical bossa nova rhythm. Actually, one can hardly have any clue from the introduction, where the pace is dictated by the quarter note accompaniment on the left hand and the melody on the right hand; only the closed chords often with the seventh, typical of a bossa guitar, give a hint of what is to come. The harmony is also deceptive, a common trait in bossa nova songs. The first measure gives the impression we are in Eb major, whereas actually we are in C minor, which only appears on the third measure through a diatonic move of the bass.

Any extra stress or full voice in this song is going to be out of place. The singer needs to use head voice, but there is no need for falsetto. There must be irony in the voice: Sem nome Title translation: With no name Date and place of composition: The ending line was the excuse he needed to finally compose a song in that style. The result is close to Cole Porter songs, since the introduction works well separated from the rest. The thesis was about her experience presenting a radio program about the blues.

After she was done, she felt empty and tired, so the poem was the catharsis she needed. The syllabic texture does not present any problems for a singer familiarized with the rules of Brazilian Portuguese diction. This song, as mentioned before, has influence from the blues. There is an introduction of 21 measures. On measure 22, the second part begins, which portrays the refrain intercalated with verses that change each time. The second time, a walking bass is introduced.

This formula only changes on measure 71, when the coda starts, presenting an almost free rhythm. Further characteristics borrowed from blues style are in the constant presence of accents in the weak beats and triplets alternating with two eighth- notes. The song starts in C major, but switches to C minor after the introduction, but the contest between Eb and E natural never ends. In spite of that, freedom must be balanced with good taste and logic.

The singer is allowed to experiment with more popular deliveries only after they know all the notes written. The introduction, for example, needs at first to be very precise. The singer should try to improvise at the end only if they feel comfortable. An ending at the C5 instead of C4 is acceptable. Each note has to be felt and the overall feeling has to be of spontaneity. Suffice to say, a pure bel canto technique is not proper particularly in this song. The singer must use a jazzy interpretation, with much more frontal resonance and less space in the back, with subtle lifting of the soft palate and lowering of the larynx.

Choro urbano Title translation: Urban choro Date and place of composition: The music was composed as a piano solo that can easily be transcribed for a choro group. Only the night is a time for entertainment, full of seduction and distraction to ease the pain. The accents are well placed and reflect a careful concern with the rhythmic cells. Therefore the lyricist needs to be very careful with the words he chooses for certain passages. Large leaps are common. In this song, right in the first measure of the voice m.

The text is very well chosen, since the accent of both the word and the phrase are placed in this note. Furthermore, the sequence of two eight-notes and a quarter note, with the downbeat on the second eight-note is typical of choro. The whole coda is a clear scene of people rushing in the streets to get to work, an image typical of most big cities. The genre is clearly a choro, recognized from the first measure by the typical rhythmic shape of four eight-notes, the downbeat in the bass where the acoustic guitar would be and the last three notes up in the staff where the cavaquinho would be.

This rhythmic contour is the basis of the whole song. The voice, uncommon in choros, will substitute the flute or clarinet. This choro was originally composed for piano and has versions for piano and flute and choro group acoustic guitar, cavaquinho, flute and tambourine. There are 74 measures divided in five sections: The rhythmic material is based on the first vocal cell and reworked on subsequent verses ex. The singer must not forget that in this song the vocal line was originally for flute. The articulation, therefore, needs to be very detached and clear. In the coda, the articulation needs to be very precise, and the pianist and the singer need to be in perfect harmony for the accelerando.

The last two measures should not reflect any extra emotion. Alma da natureza Title translation: The text was written with a specific prosody in mind. Alma da natureza is a manifesto in support of the preservation of the environment pers. The major mode and the text give the impression of an idyllic paradise. It is the ideal escape for a life in which pollution, noise and traffic are everyday concerns. For a paulistano, the Amazon is the final frontier, further away than New York or London. The melodic contour can be interpreted as a long phrase painting of the river in the forest.

The syllabic texture and the quarter note pace make a steady flow of notes or of water. In the piano, the sequence of arpeggios can also be visualized as a river, even more a river from the Amazon region, which characteristically runs in a sinuous way. The song is a ballad, and there are no explicit Brazilian characteristics. There are 64 measures divided in two sections, with a short introduction of four measures.

This song depends on keeping the tempo and not slowing down. The pianist has to play a little on the fast side so the singer can complete the phrases with vigor. One needs to understand the point of view of the environmentalist and fight for the cause. A more overt classical technique is accepted here, and the singer needs to cover well the sustained E5 and F5 in measures 33, 56 and , even more because the vowels are [u] and [e]. The singer needs to keep the soft palate raised and the direction of the sound vertical.

Imaginary ball Date and place of composition: The whole concept of the text is the paradox between the ethereal world created by the dancer, and the performer own imagination, which is revealed in the last line. The ballroom dance is an image of an idyllic European sensibility, which is ever present in the collective mind of the Brazilian middle class.

Dancing round and round creates a mental state appropriate to the achievement of a sort of delirium. The texture is syllabic and does not offer any adjustment problems. All the accents are in the downbeat, leaving the syncopations for the weak syllables. Therefore it is important that the singer does not stress the syncopations in any way. The general form of the song is an ABA, with an introduction and a coda, in C major.

Here, the popular influence comes from the samba-song. The vocal line presents many features of this influence. The syncopation before the third beat and the sinuous vocal line with big leaps mm. The accompaniment is straightforward, and it reiterates the accents on beats 1 and 3, but two eighth-notes instead of only a quarter note in the first beat soften the overall impact of the bass, which is another feature of samba-song. Sometimes, the syncopation before the third beat also appears on the piano part mm.

The heritage of the samba-song and the art song from the s makes this piece apt to be interpreted in a more classical manner. The tone color still needs to be lyrical and there are no spots for overtly dramatic delivery. The singer should use mixed voice all the time in order to create a steady tone that will not change during the many leaps the tortuous vocal line offers.

Baritones and mezzo-sopranos should, instead, sing the alternative D5. Valsinha de roda Title translation: A direct translation here is impossible, so the title is an adaptation. It already made its way into the subconscious of the Brazilian singer, and it is one of the favorites in the Brazilian art song repertoire despite the fact that it was never published.

The bittersweet ending is a reflection of saudade, a Portuguese word that represents both nostalgia for times past and longing for distant or lost love. As always, the popular prolation is more appropriate. The syllabic texture does not present any problems of prosodic adjustment. The song has 85 measures divided in three clear sections, with an introduction and a bridge between the second and third section. The result is a shortly expanded ABA. The introduction begins with only one note A, the fifth of D minor being repeated by the right hand of the pianist. The effect is of one waking up from, or perhaps falling into, a dream.

In the second measure, the addition of the G creates a second, which increases the tension. The bass is directed to D, passing first through Eb and C , extending the suspense for the entrance of the singer in measure 7. The singer needs to connect to his or her own childhood and be moved by the effective story. A more lyrical tone color is adequate here, but a fair amount of head voice is necessary to keep the atmosphere of nostalgia. Special attention must be paid to the high notes. Both pianist and singer should feel free to use tempo rubato when necessary. Sina de cantador Title translation: Um velho uma velha viola Que um dia eu encontrei Abriram de vez a gaiola E um cantador me tornei E hoje por todos os cantos Meu canto se espalha no ar E funde sorrisos e prantos Ensinando o povo a cantar Eh vida eh voz, eh sina de cantador Eh vida, verso divino de nosso senhor!

In this translation I will use the general term guitar. Its characteristics are based on the violeiro style of telling stories in epic poems. It is also typical to start in a slow fashion and increase the tempo to achieve a high point at the end. The Northeastern song Disparada won a TV Festival in the s with the exact same characteristics and theme. The poem tells a typical story of a cantador, a traveling singer that goes from village to village, improvising stories and songs with his viola, much in the fashion of a medieval troubadour.

Since these cantadores frequently use modes in their songs, it was suggested that there is a relationship with medieval minstrels, though the demonstration of such a connection would require further research. These singers also often sing desafios, a type of duel with another violeiro another name for cantador , in a manner that could be compared to the Trinidadian picong. The story also is an ode to music itself, since the singer was basically saved from a life of pain by music.

This life is what most people coming from such a background can expect; the Northeastern desert is the poorest region in Brazil. The belief that music comes from God is also a common feature in these regions. The singer represents the cantador, a character already defined by a popular prolation.

The prosody is typically syllabic and most of the times there is no need for adjustments, since the accents are already in place; this is one of the advantages to work with a lyricist that will adapt his words to an already composed melodic line. A few times, though, the singer will have to make adjustments and de-emphasize certain downbeats: All the others accents are in place. The only adjustment the singer needs to pay attention to are the elisions. In colloquial Brazilian Portuguese, when there are two vowels in only one beat, there will be essentially two results: The form is strophic: Each stanza has 24 measures.

There is an introduction of 12 measures, which is repeated after the second and third stanzas, and a coda of 24 measures. Since the form is strophic and the musical material does not vary much, the variation is on the dynamics, tempo and tonality. The introduction makes plenty use of these rhythms. The absence of the downbeat right on the first measure is a typical feature that makes everything in the first two measures a prelude to the syncopation at the end of the second measure. Every two measures there is a strong syncopation culminating with the second beat syncopations of measures 10, 11 and The vivo character delivers what the song is going to become.

On the third stanza, the tempo primo opens new rhythmic possibilities to the piano part, since the vocal line remains essentially the same. Now the eight-note is the preferred beat. Nevertheless, there are a few moments of word painting. On measure 24 with the pick up , it is the first time the melody changes considerably, achieving a new range level E5.

On measure , the word Deus God is well placed on C5. The harmonic scheme is simple. The rhythmic vocal line often transits around the tonic. The song starts in E major, but on the second stanza modulates to F major. It is a simple but effective method to increase tension. This song presents many challenges to the singer, mainly in the faster sections. The articulation needs to be very detached so the words can be well understood.

Even in the slow tempo, the singer cannot take so much time in delivering the words. There is here a need for a vocal persona. The suffering is past, and now the singer needs to feel the joy, which can only appear in a more overt way in the refrain eh vida, eh voz etc. The rhythmic precision and articulation will do the rest. A frontal and bright emission would also be advisable. It is important for the singer to feel the beat since the first stanza. Even though the tessitura of the song stretches up to the a5, the range is set on the middle type voice, and being the cantador a male character, it would be preferable, but not essential that the singer is a baritone or a low tenor.

His experience as a jazz pianist, arranger and improviser, as well as his close contact with many popular styles, sets him apart from most classical composers. Much like the Brazilian culture he comes from, he absorbs and employs all sources at his disposal. He is able to follow one of the most important concepts of Nacionalismo, as elaborated by Andrade's writings: Despite almost complete indifference from the media and the public, he kept composing for the best reason: It is no longer simply the source of samba, bossa nova, and carnival: A renewed interest of a new generation of singers in Brazilian art song can help revitalize the market and force institutions to republish the extensive repertoire of the twentieth century.

A recent new edition of the complete songs by Alberto Nepomuceno could mark the beginning of such a trend. Moreover, the urban song of Brazil is the most respected cultural commodity inside and outside the country, due to its capacity of interaction between cosmopolitanism and tradition, literature and music, folklore and technology, and classical and popular influences.

On the other hand, classical composers with popular influence are being rediscovered and recorded by popular and classical performers. The next natural step is the recognition, among private and public institutions, of the necessity of the publication of his songs, so that a wider public may have the chance to interpret and listen to this music that so completely represents the Brazilian soul.

The first thing I would like to know is what motivated you to start composing. What motivated me to write was the will to do it. Let me see… I always had intuitively the feeling that if I wanted to make music I could do it. You know, I listened to songs and thought that if I wanted to do it I think I can. But I never intended to be officially a composer. I compose because I like and the first thing I did was… I used to play the guitar and the first piece I ever wrote was a Spanish fantasia for the guitar.

I created a story that a toreador that died and there was a funeral march and everything. And then when I began to study piano… Maybe the first piece I wrote for the piano was a waltz, because I had a friend… a young man, a very good friend that played serenades with the guitar and we were always together. I never wrote it, and I can hardly remember the melody. I remember it was in C minor… sings LS: But your musical learning was essentially as a pianist then? I could say that my learning was not a musical one. It was like… Or maybe not a learning in the ideal sense.

My father played the flute. My mother played the piano, but soon after I was born they had to sell the piano because they were in financial difficulties. But my mother liked music too. And I remember I liked to stay in front of the radio playing the tambourine. He had come to town for a concert and afterwards he visited home, because my dad was also a flutist. I played the tambourine with him. I think I was three years old. Then, when I was nine or ten, I had an older brother that played the guitar. My dad played waltzes, my brother accompanied and I said I wanted to play too.

So he bought a toy size cavaquinho. When he played, I used to look what was the position of his hands and I would imitate. I think that my brother traveled. He went to North America with the Air Force during the war. So what he knew about playing the guitar I learned looking at him doing it. Then, when I was seventeen or so, I wanted to play some things that would not work in the guitar. My nails are too weak for me to be a good guitarist. So I wanted to start studying the piano. And when you started to write music, do you remember being influenced by any composer in particular, or there was someone you identified with, or people you thought you could compose the same way?

Actually, the reference I have is myself. So I look in the instrument what I want to find. Now, of course influences exist. I liked Chopin very much; my dad had a few records and all. And popular music too. That time, radio was not like it is today. The broadcasters were informed people and enjoyed to promote culture.

And the programming that they did, even more being a country town, like Juiz de Fora… Their own taste was decisive in programming. It was not this thing of the recording company demanding, the media demanding this or that. If I listened to the radio, it was popular music of Brazil or light classical music. Also during the war, the Glenn Miller orchestra was very popular. There were many musicals in the movies. Fred Astaire danced and sang. Romantic movies always had music too. Sometimes there were influences that you would not expect, since music was in your everyday life.

At the same time, my mum used to listen to a lot of soap opera on the radio. The soundtrack was made of classical music. The soundtrack was that famous serenade by Tchaikovsky he sings. They used music from Ravel, Tchaikovsky. Suddenly, I heard a theme that was very familiar, in a part that starts kind of fast he sings , and I recognized because it was soap opera soundtrack. They used Ravel, Stravinsky as soundtrack too. So you hear these things and it ends up influencing you. What comes first, the music or the lyrics? Because everybody has the impression that the music you make… You choose the poetry to make the music.

But I have many songs that the opposite happened. I made the music and the person put the lyrics. With Laerte, the two songs I made with him I sent the music and he put the words. And then there are my songs. In general I make both at the same time. I sing and accompany myself, the poetry carries itself and them both came together. I have a few songs with my own lyrics I made like this.

What about the poetry of famous writers? How do you choose? Maybe they are even easier, since they have a rhythm… You imagine a musical cell and that cell fits in Eleazar de Carvalho: Now, there are other songs you imagine a musical phrase that fits in the phrase of the prosody, but the next one is completely out of sync with the first. Then you have to do some exercise. Exactly how it is written. Regina Mesquita sang it. And a baritone can sing it too. So I have many strategies. For example, sometimes I get the poem and I try to sing it.

Sometimes I just sing and accompany myself and soon I find an idea that works. But sometimes it works in a passage and not in another one. Sometimes I start from the middle, like in my opera Poranduba. I get a phrase in the middle and the phrase suggests me some music and then I make what comes before and after that. Other times I take a passage I consider the high point. Then I take it as reference. Sometimes I take a text that is not really poetry, it is more a literary text, like in Sem Nome.

If you read the original text it is not exactly like it is written. I then put the refrain and I added the other things as variation. Each poetry is a new problem. It would not work. He then gave it to me and I started. I did the opposite. The verse that was at the end, I put in the beginning and the one that was in the beginning I put at the end. Until today nobody ever complained. Sometimes I repeat a word, because the musical phrase suggests, but I always prioritize the fluency of the music. I manage to make the fluency of the musical phrase not to loose ground to the prosody.

And I already noticed there is no danger. Because if you hurt the fluency of the musical phrase, you make a song all broken because of the prosody, what happens? It becomes a song very difficult to assimilate. And then it ends up restricted to a small group of initiated. And when you put the poem in front of you and you already have a melody that works, do you harmonize together? Because afterwards, when I am writing the definite version, it is another job I do: Then I make the most of the melody, repeat things on the piano part, and go from there.

I mean, it is a different kind of work. But in this work, I try to write the piano part so if the pianist will practice, he will find a certain consistency. I mean, the guy who will play will feel OK playing that accompaniment. And in a way the accompaniment can also help the voice. Because there are other composers I see, that are great, but sometimes they make an accompaniment that is too complicated, too complex, that is difficult for the pianist to play and instead of helping the singer, it damages.

He puts a lot of dissonance, too much counterpoint, and I try not to do that, I simplify a little. This time the singer will have difficulty with this note, so I will compose in a way that this note will sound here in the harmony, so he can notice and take it there. I make a lot of analysis like that. So the last thing you do is to write note by note what is happening. Because there is no way. You loose the fluency… and the most difficult thing is to capture this fluency.

There are songs I take time to make. I keep trying and I stop. Then that day I believe and I write. It is a process that I mix the intuitive with the intellectual. And how do you decide when you are going to write? Do you work better when you work on your free time or when you have to finish an order? I heard a composer say that he only works by order. I am the opposite. I would only write what I like or what I am willing to do. In part this is stressing, but in part it is healthy. In the pressure of having to finish it, you sometimes do something you otherwise would not do.

Many songs I made by order that resulted very nice. But your favorites are the ones you did not compose by order. Depends on my disposition, the time I have.

Synonyms and antonyms of polichinelo in the Portuguese dictionary of synonyms

Sometimes I have to rush. Sometimes even rushed is fine. And what brings you to decide about the mood of the song? Maybe the way the poetry goes, the words, what is there suggests the music. It is very intuitive and personal. If you get many different composers and ask them to make music for a poem, they all are going to come up with something different, so the text affects each person in a different way.

Did it ever happen to you, as it is common in popular music, that the poet is right there with you when you are composing? Sometimes he calls me and says he has the lyrics for a song. Other times I tell him I have a song for him to put the text. If there is a musical phrase he thinks needs change, I can change a note, or elongate it.

Sometimes, someone gives me a poem and I make music exactly how the poem is. Then I have an idea and I tell the person I did something because of this and that, but in general it is something I did in a logical way. Normally the person accepts. Until today nobody ever said not to mess with the poetry. Most of the times they say that if I want to change something it is OK.

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There are composers that write in a given tonality and do not accept change. From what I saw of your work, you do not have much problem with that. Look, each interpreter makes music in a different way. Each singer has his own vocal tone, resources, sings better the high notes or the low notes, has more breath or not. Art song has a lot of transposition, right? Some composers are against, but the publishers want to reach a larger audience.

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You win and loose. Some singers are going to be better in the low range, others in the high range. Depends on the timbre, the interpreter, the song type. And talking about interpreters, do you have a favorite voice, or when you are composing you already think about who is going to sing, what voice type or singer? She premiered many of my songs: So since she is always nearby, I choose tonalities that are comfortable to her. Now, when it is an opera aria, and I need a special effect in a certain moment, then I choose a voice type proper for that moment. But art song is easier, since the range is narrower, more accessible.

When did you start to write songs? I think I was sixteen years old or so. But I only started to write more frequently after I turned sixty, because before I used to write because I liked, but I never had much time. I had to perform where it was possible and I started to write arrangements for TV. Sometimes I would compose, but it was hard to concentrate in larger pieces. I wrote more than a thousand arrangements. I spent five years at Tupi TV writing five, six arrangements a week. And do you have these arrangements filed somewhere?

They stayed at the Tupi archives. The TV went bankrupt in and the following week a truck came by and took the whole archive and took to paper recycling. And everything went away. Wonderful music, fantasias, Tupi TV had three orchestras that performed many musicals. Only in this country… VC: This was the most devastating thing I ever saw. There were very good arrangers, very good people that had done even more stuff than me. Record TV had a fire that burned a lot of stuff, but they managed to save a lot too.

At Tupi was deplorable, since it was not a fire. No accident, it was pure disregard. So most of your oeuvre was composed later. One or other extra gig I did would help. So I did not have to commit so much. Before that, if somebody called me to go running to make an arrangement for a recording, I would. I had family, kids, private school, doctor, things like that.

When people started to ask you for compositions? Only later, the past ten years or so. My first official recording happened when I was sixty-five years old already. Before that I had a few songs recorded, on occasion, but instrumental music only since Since then, more than 40 CDs were recorded. Suddenly people found out you were a composer and everybody started to go after you.

Yes, people started to get more interested and I started to write more. And you think of yourself as part of a style or school of composition? I was always excluded of such schools. I would show my works to the popular musicians, they thought it was too sophisticated and they did not show much interest. For example, the guy from Arlequim Publishers called me and he wanted to make a recording of more popular songs.

I did not pursue it. That was the problem: She had a recital, I managed to include a couple of songs in it. What is very strange, considering how many worldly renowned composers like Gershwin and Piazzola are also between classical and popular. Now they found out about Piazzola, the whole world records him. I think that this mix, in a country so mixed, is the way. You know Piazzola had many enemies in Argentine who thought his music was not tango. And among the classical musicians they thought it was tango, so they would not play it. Little by little it started to change.

I think your music would be well received in the United States because nowadays they are very interested in classical music with popular influences. And the composers there are more and more going in that direction.

The twentieth century was a century that was marked by events on the scientific areas, artistic areas, revolutions, movements to break with the past, and a search a little exaggerated to find the new, the different the strange, in a somewhat desperate way. In the s, for example, I could not look for a maestro to ask for him to perform one of my pieces. Because to be a new composer, you had to make experimental music, chance music, only that.

I am not condemning it. One has to research. The ones who do it are very dignified people that make a wonderful pioneer work, which I deeply respect. But I never intended to be a famous composer, from a school, a genius.

Meaning of "polichinelo" in the Portuguese dictionary

My thing was always to write what I liked. Anyway this popular character you manage to have in songs like Se Procurar Bem is the kind of thing that makes your music so different. Once I was at the Ourinhos Music Festival and we went out for dinner in a restaurant that had live music. I was there with the arrangement teacher, with the people from the classical area, all of them white haired guys.

The band was playing standards I used to play a lot. I asked to join them to make a jam session and everybody was surprised, because they are used to people who can only do that squared stuff, and Brazilian music is more than that. And with all those influences that sometimes are ignored. It is simple in appearance, but the effect is incredible. One day I was shaving and I thought it had to be very simple.

I went to the piano, wrote the idea and got it. The performer cannot be worried with the length of the phrases. Just let it die. He goes to the piano and demonstrates. Then he starts to sing and play Sem Nome, improvising at the end VC: You like this interpretation with verve. Yes, because with a lot of verve this song is a blast. Each note has to be felt. You also have to do this thing of accents in the weak beats.

Leave very loose, spontaneous. And geting the spirit of blues. What about Alma da Natureza? This one you have to be fluent. Even more at the end, when you go back to the tempo primo. The pianist has to play faster so you can get more relaxed. Thank you for the interview. First I would like to know how musical movements like bossa nova and tropicalismo affected your song composition. I started my professional life playing serenades, then I studied piano with the goal of learning classical music. At the same time, I always enjoyed popular music of good quality.

And there is a thin line that separates popular music of good quality from classical music. Even more in songs, because if you talk about instrumental music, then you have sonatas, symphonies, things that have a typical structure of concert music. Song generally has an ABA form, so in my music for voice this formal side prevails that is characteristic of both popular and classical music.

And in this characteristic form, there are the harmonic and melodic resources. These resources come from a kind of popular music that is influenced by impressionism and jazz. Jazz is very influenced by blues; blues scales and everything. And from the West Coast you have the white jazz that is influenced by impressionism. Then, Debussy himself was influenced by jazz.