We have included in this repertoire several examples of Western European music, which also influenced our musical culture in Brazil. For the interpretation of this repertoire, which spreads along seven hundred years of instrumental music, we use copies of recorders from the renaissance and baroque. We also use twenty-century models, including a recorder that uses electronic capabilities for sound manipulation.
Ricardo Kanji & Cesar Villavicencio play on this album.
Repertoire | Composers
Notas – Medieval music The pieces we play here are called notas. Sources seem to suggest that these French dances were a mixture between other two dances called estampies and puncta. Written in a polyphonic manner and festive in spirit, they were possibly used by the aristocracy and by the people in general. They made part of the daily lives of society at the end of the fourteenth century.
Orlando Gibbons (Oxford 1583 – Canterbury 1625) was one of the most important composers at the beginning of the seventeenth century in England. The fantasias that we perform in this CD were edited in 1620. They were composed following the model of the English fantasia. Having the same time signature from beginning to end and successive entrances of the voices in imitation, it delivers a particular homogeneity that results from very delicate changes between imitative sections. We see these pieces as musical adventures in which the incredible metamorphosis in its structure could be compared to M.C.Escher’s engravings. In this track we use copies of sixteen-century recorders in g.
Georg Philipp Telemann (Magdeburg 1681- Hamburg 1767) was the most prolific composer of its time. He contributed immensely to the expansion of chamber music in eighteenth century Germany. From his huge production, the “Sonates Sans Basse, à deux Flutes traverses, ou à deux Violons, ou à deux Flutes à bec”, published in Hamburg in 1727, is an example of the creativity and richness of his compositions. Their noble simplicity inspires a spirited and vigorous performance. For his Sonata III we use copies of J. Denner, a luthier from Nuremberg, who most possibly provided the instruments that Bach and Telemann had available at the time.
Pierre Danican Philidor (Paris 1681 – Paris 1731) was a member of a big family of instrumentalists and composers who made great success in the French court. When he was sixteen years of age he was accepted at the grande écurie, and later took part of the chapelle royale. In 1712 he joined the famous chambre du roi, becoming one of Louis XIV favorite musicians.
The six suites for two flûte traversière, edited in Paris between 1717 and 1718, precious examples of typical French style, have the particularity of including written detailed ornamentation, including flattements (a finger vibrato). For this Deuxiéme Suitte we use two Flûtes de Voix or voice flutes. These are recorders in d suitable for performing this repertoire originally written for the flûte traversière, or flûte allemande.
Modulus X – Improvisação contemporânea We have witnessed many instrumental changes throughout the history of music. The preoccupation with overcoming standing barriers in the search for new ways for expressing ourselves by using sounds is maybe intrinsic to the creation of new manners of musical expression. We see the use of electronics as an instrumental development. The so-called e-recorder is used in this track. This instrument was developed by Villavicencio at the Institute of Sonology in The Hague, The Netherlands, and consists of a counterbass recorder built by Herbert Paetzold in Germany, where an electronic system was incorporated. The e-recorder transforms sound live through a set of twenty sensors. Also, the tenor recorder used in Modulus X was built by F. Von Huene with the intention of creating a more suitable instrument for the performance of contemporary music. It has more sound volume and its range can reach three octaves. The result is the merging of electronic sounds in counterpoint to acoustic sounds.