I fell in love with Brazilian music when I was a teenager. Jobim, Nascimento, Veloso and many more enchanted me with the way their music harmonized with their sensuous language. So, I was delighted to be invited to Post-Classical Ensemble’s November concerts at the Kennedy Center Terrace Theater: Legends of Brazil: A Musical Celebration for 200 Years of Friendship.
PostClassical Ensemble takes the audience on a journey with each program—in this case, a 200-year musical adventure. Music director Angel Gil-Ordóñez conducted an opera overture by Padre José Mauricio Nunes Garcia (1767-1830), a biracial priest who rose to become Master of the Royal Chapel when the King of Portugal and his court took refuge from Napoleon in Rio de Janeiro. A prolific composer, Father Garcia also managed to father six children—but that’s another story.
We also learned about Francisco Mignone, one of the most famous Brazilian classical composers of the 20th century.
And what concert of Brazilian music is complete without some popular songs from the likes of Ernesto Nazareth, Jobim and others, performed by the sultry voice of Elin Melgarejo (who turned out to be Swedish!)
Moving into the present, we heard a Sonata for Viola and Piano by André Mehmari featuring the composer at the piano and violist Tatjana Mead Chamis. The duo and ensemble ended the concert with the world premiere of a tongue-in-cheek new work by Mehmari titled: Rag-Chorado: A Celebratory Humoreske blending Joplin and Nazareth, and even hints of Beethoven’s Fifth!
This joyful tribute to the Brazilian sound reminded me why I fell in love with this music so many years ago, and why that wonderfully musical language still speaks to me.
Post-Classical Ensemble kicks off the new year on January 13 with a concert titled: “Amazing Grace: Fire and Light”, honoring American Indian composer Jerod Impichchaachaaha’ Tate who will take audiences on a journey celebrating his Chickasaw heritage featuring selections from his cantata Standing Bear and Fire and Light. The program also includes Barber’s nostalgic Knoxville: Summer of 1915.
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