Saudades do Brasil

Example of polytonality or extended tonality from Milhaud's Saudades do Brasil (1920)  Play , right hand in B major and left hand in G major, or both hands in extended G major.[1]

The Saudades do Brasil (1920), Op. 67, are a suite of twelve dances for piano by Darius Milhaud. Composed after Milhaud's visit to Latin America in 1917-1918, each dance is based on a duple tango or samba rhythm and bears the name of a neighborhood in Rio de Janeiro or a Brazilian city. The title of the suite uses the Portuguese term saudade.

The work is famous for featuring polytonality, though sections may also be considered extended tonality or, "harmonic color".[2]

There exists a transcription for orchestra with a brief added overture.

Structure

  1. Sorocaba (dedicated to Madame Regis de Oliveira)
  2. Botafogo (dedicated to Oswald Guerra)
  3. Leme (dedicated to Nininha Velloso-Guerra)
  4. Copacabana (dedicated to Godofredo Leão Velloso)
  5. Ipanema (dedicated to Arthur Rubinstein)
  6. Gavea (dedicated to Madame Henrique Oswald)
  7. Corcovado (dedicated to Madame Henri Hoppenot)
  8. Tijuca (dedicated to Ricardo Viñes)
  9. Sumare (dedicated to Henri Hoppenot)
  10. Paineras (dedicated to La Baronne Frachon)
  11. Laranjeiras (dedicated to Audrey Pann)
  12. Paysandu: (dedicated to Paul Claudel)

References

  1. ↑ Leeuw, Ton de (2005). Music of the Twentieth Century, p.87. ISBN 90-5356-765-8.
  2. ↑ Uncle Dave Lewis (2010). "Saudades do Brasil (12), suite of dances for piano, Op. 67", AllMusic.com.


This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.