Teresa Berganza, Juan Antonio Alvarez Parejo - Villa-Lobos* / Braga* / Guastavino* – Untitled
| Label: | Claves – Claves D 8401, Claves – Cla D 8401 |
|---|---|
| Format: | Vinyl, LP |
| Country: | Switzerland |
| Released: | |
| Genre: | Latin, Classical, Folk, World, & Country |
| Style: | Modern |
Tracklist
| A1 | Heitor Villa-Lobos– | Viola Quebrada | 4:57 |
| A2 | Heitor Villa-Lobos– | Adeus Êma | 1:50 |
| A3 | Heitor Villa-Lobos– | Cançâo Do Poeta Do Século XVIII | 1:32 |
| A4 | Heitor Villa-Lobos– | Samba Classico | 3:47 |
| A5 | Heitor Villa-Lobos– | Desejo | 0:40 |
| A6 | Heitor Villa-Lobos– | Xangô | 1:10 |
| A7 | Francisco Ernani Braga*– | O'Kinimbá | 2:06 |
| A8 | Francisco Ernani Braga*– | Capim Di Pranta | 2:06 |
| A9 | Francisco Ernani Braga*– | Nigue-nigue-ninhas | 2:09 |
| A10 | Francisco Ernani Braga*– | Sâo Joâo-dâ-ra-râo | 3:04 |
| A11 | Francisco Ernani Braga*– | Engenho Novo | 1:36 |
| A12 | Francisco Ernani Braga*– | A Casinha Pequenina | 2:52 |
| B1 | Carlos Guastavino– | Milonga De Dos Hermanos | 2:38 |
| B2 | Carlos Guastavino– | Hermano | 3:35 |
| B3 | Carlos Guastavino– | Mi Viña De Chapanay | 2:47 |
| B4 | Carlos Guastavino– | La Rosa Y El Sauce | 2:35 |
| B5 | Carlos Guastavino– | Pampamapa | 3:50 |
| B6 | Carlos Guastavino– | Se Equivocó La Paloma | 2:26 |
| B7 | Carlos Guastavino– | Abismo De Sed | 3:22 |
| B8 | Carlos Guastavino– | Bonita Rama De Sauce | 2:38 |
| B9 | Carlos Guastavino– | El Sampedrino | 3:44 |
Credits
- Mezzo-soprano Vocals – Teresa Berganza
- Piano – Juan Antonio Alvarez Parejo
Notes
This record presents a selection of songs by three South American composers; two of them, Braga and Villa-Lobos, are Brazilians, Guastavino is Argentine. The name Villa-Lobos is widely known, as he is considered the main exponent of South American music in our century. His astonishing success in Paris during the twenties can be easily explained: The spontaneous and naive combination of the exotic traits of his vernacular musical idiom (based on folk music) with traditional European music was enthusiastically appreciated. Through the interrelation of the two traditions he helped to establish South American music in it's own right.
A1 - Modinha de M de A
A2 - «Minas Geraes»
A6 - Canto fetiche de Makumba do Brasil
A7 - Canción de Makumba
A8 - Canción Jongo
A9 - Canción de cuna afro-brasileña
A10 - Canción de ronda infantil, Pianí
A11 - Canción de trabajo, Río Grande do Norte
A12 - Canción amorosa
B2 - Canción del Sur
B3 - Cueca
B5 - Aire de Huella
B7 - Zamba
B8 - Canción
B9 - Canción Pampeana
Gatefold cover
A1 - Modinha de M de A
A2 - «Minas Geraes»
A6 - Canto fetiche de Makumba do Brasil
A7 - Canción de Makumba
A8 - Canción Jongo
A9 - Canción de cuna afro-brasileña
A10 - Canción de ronda infantil, Pianí
A11 - Canción de trabajo, Río Grande do Norte
A12 - Canción amorosa
B2 - Canción del Sur
B3 - Cueca
B5 - Aire de Huella
B7 - Zamba
B8 - Canción
B9 - Canción Pampeana
Gatefold cover