Archive for the ‘ Música ’ Category

‘Aspheres’, by Jos d’Almeida

From composer Jos d’Almeida, born on this day in 1962, his third album Aspheres.

 

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‘Lamento de Íole’, de Jacopo Peri

De Jacopo Peri [20 Agosto 1561 – 12 Agosto 1633], compositor pioneiro do estilo recitativo, com origem na Grécia Antiga e que se viria a transformar naquilo a que hoje chamamos ópera, o ‘Lamento de Íole’, com a voz de Montserrat Figueras e o cravo de Ton Koopman.


Héracles, que havia morto o Rei Eurytus e saqueado a cidade de Oechalia com intenção de levar a sua bela filha Iole como noiva, encarregou Filoctetes (então amante de Iole) de comunicar à Princesa a sua decisão de a desposar. Sabendo da relação entre Iole e Filoctetes, Hércules impõe o casamento como forma de poupar a vida ao desgraçado amante. Dejanira decide então ajudar Iole, oferecendo-lhe a túnica ensanguentada do centauro Nesso, trespassado por uma seta envenenadade de Héracles ao tentar violar Dejanira; Agonizante, Nesso dissera a Dejanira que a túnica com o seu sangue tinha poderes mágicos e que se Héracles a usasse,ser-lhe-ia novamente fiel. Porém, a túnica estava impregnada de um terrível veneno e, no dia do casamento, quando Iole oferece a túnica a Héracles, este, ao vesti-la, percebe que o veneno se infiltra no corpo. Desesperado, Héracles lança-se às chamas e sobe ao Monte Olimpo, onde se juntou a Zeus.

Concerto para flauta de Frederico II, ‘o Grande’

Frederico II, ‘o Grande’ [24 Janeiro 1712, Berlim – 17 Agosto 1786, Potsdam]




Sonatas do Rosário de Biber, por Lina Tur Bonet

Em 1676, Heinrich Ignaz Franz Biber [1644-1704] escreveu sobre a sua “fé em instrumentos de cordas”, expressão que adquiriu maior evidência nas Sonatas do Mistério ou do Rosário.

Sonata X – Crucificação
MUSIca ALcheMIca – Lina Tur Bonet, Enrike Solinís, Patxi Montero, Daniel Oyarzábal

‘Sueña La Alhambra’ – Enrique Morente, Pat Metheny, Juan Habichuela

Em Morente ‎– Sueña La Alhambra [2005], Enrique Morente, um dos grandes de Espanha, canta ‘Donde Habite El Olvido’ do poeta Luís Cernuda, acompanhado pela filha Estrella Morente e pela guitarra de Pat Metheny, que hoje completa 65 anos.
É um tema maravilhoso!


Juan Habichuela [Granada, 12 Agosto 1933 – Madrid, 30 Junho 2016], oriundo de uma família de notáveis guitarristas de flamenco, participa no tema ‘Taranto Veneno’.

‘Four for Trane’, de Archie Shepp

O primeiro trabalho em nome próprio de Archie Shepp “Four for Trane”, foi gravado em 10 Agosto 1964 (Impulse). Dos cinco temas que compõem o álbum, apenas “Rufus” tem a autoria de Shepp, tendo os restantes quatro sido compostos por John Coltrane.

Alan Shorter – flugelhorn | John Tchicai – alto saxophone | Archie Shepp – tenor saxophone
Roswell Rudd – trombone, arranger | Reggie Workman – double bass | Charles Moffett – drums

In Memoriam Charlie Haden [6 Ago 1937 – 11 Jul 2014]

“Every Day (I Thank You)”
Pat Metheny, guitar | Charlie Haden, bass | Jack DeJohnette drums
Dewey Redman tenor saxophone | Michael Brecker tenor saxophone
From Pat Metheny 80/81 | recorded May 1980, Oslo | 2004 ECM :rarum IX

Somewhere around in here it occurred to me that I had made four or five records and was so concerned with developing a band and a way of thinking and playing that was attempting to offer alternative views to the implications of the larger jazz tradition that I had somewhat neglected to address in a recording environment the music that I had played the most and longest in its more conventional setting.

I had always loved the playing of both Charlie Haden and Dewey Redman and had gotten to know both of them from the days when I was playing with Gary Burton and they were playing with Keith Jarrett and the two bands would occasionally do gigs together around the States. I had recently met and played with the amazingly gifted Mike Brecker who seemed to be an underutilized musical force at that time, and I had known Jack Dejohnette for a few years by then and had always hoped to do something with him.

Jack and Charlie had never played together before this session, nor had Dewey and Mike, but part of the idea was to set up these new connections between people who were real favorites to me and to see if what I thought could happen between all of us might work.

This piece “Everyday (I Thank You)” was written for this session in a hotel room in Bremen, Germany late one night after a gig. Mike Brecker has often talked about how he felt this record was a turning point for him, that he discovered something on this date about the way he played that affected things that he did later. To me, this is one of his finest recordings and the way he played this piece was really special and beyond anything I had hoped for. Charlie and Jack proved to be a magic combination, later utilized as a rhythm section by lots of people. And this record began a recording association and a deepened friendship between Charlie and I that has proven to be one of the most important relationships in my life. And one the best parts of this date was how much fun we all had making it – it was probably the most pleasant experience of all of the recording sessions I had during the ECM days.
Pat Metheny’s notes for the 2004 ECM :rarum IX

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