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Brazilian rhapsody

Daniel Barenboim*
Discos: MPB / Clásica

Disponible

Ficha técnica Discos

Sello	Warner Bros.
Estilo	MPB / Clásica
Año de Edición Original	2000
Instrumental

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Daniel Barenboim (piano)

Emmanuel Pahud (flauta), Larry Combs (clarinete), Alex Klein (oboe), Robert Kassinger (contrabajo), Cyro Baptista (percusión), Nikolaj Znaider (violín), Bebu Silvetti (arreglos).

Participación especial de: Milton Nascimento (voz).

"With tangos and Ellingtonia under his belt, this ever-curious occasional crossover classicist takes another break from the Berlin Staatsoper, the Chicago Symphony, and Bayreuth to dabble in an unfamiliar (to him) idiom. Though the results are about as spontaneous as a sunrise, this collection does cover a wide range of brief bits of Braziliana -from inevitable tunes by Ary Barroso, Luiz Bonfá, and Antonio Carlos Jobim to songs by Milton Nascimento and Caetano Veloso and classical selections by Heitor Villa-Lobos and Darius Milhaud. As the designated pianist, Barenboim doesn't improvise, nor does he sound terribly loose in these cautious, carefully wrought Bebu Silvetti arrangements for piano, three winds, violin, bass, and percussion. But Barenboim's small sextet (which includes some members of the Chicago Symphony) is kicked along by the quietly propulsive percussionist Cyro Baptista's samba and bossa nova grooves. Milton Nascimento gives the set some extra credibility with guest vocals on a song from his youth, "Travessia" (Bridges), as well as Jobim's "Eu Sei Que Vou Te Amar." Barenboim himself has his best moments when rendering Corcovado and Sumare from Milhaud's Saudades do Brasil solo as written -though again, he doesn't display much rhythmic feeling. This CD doesn't sound as if it is meant to be anything other than agreeably exotic background music, a project that looks a lot braver on paper than it actually sounds." Richard S. Ginell (allmusic.com)

"The ever-versatile Daniel Barenboim puts his baton on one side and returns to the recording studio as pianist, here not to play Haydn or Mozart, but to preside over a lightweight crossover programme, opening with the sparkling Tico-Tico – and very stylishly he plays it too, with a relaxed brilliance. He is immediately joined by Milton Nascimento, who provides the easy-going vocals; these are interspersed here with more harmonically bracing piano pieces by Milhaud, highly romantic numbers like Manha de carnaval (scored for violin and oboe as well as piano) and several quite charming pieces by Jobim, plus Lobo’s very personable Tristeza, in which that superb flautist, Emmanuel Pahud, adds his voice to the ensemble alongside a fine clarinettist. Villa-Lobos contributes the most famous of his Bachianas brasileiras, with the melody given first to oboe, then flute, before Barenboim takes over hauntingly; but the oboe returns for the reprise.
Several of these items have been featured in films, and that will indicate the kind of ripely evocative atmosphere of much of the writing, certainly always felicitiously arranged for the woodwind group, and usually with a not-too- insistent underlying rhythm section. The overall programme is quite seductive in its way, and Barenboim indulges himself in a very free presentation, not least in the languorous closing Bahia. The musicians gathered here are expert, the recording is excellent, and if you respond to this kind of Brazilian wallpaper music, this collection is very good of its kind, even if it’s not a CD I personally would add to my collection." Ivan March (Gramophone)