Donatella Debolini soprano

Duccio Bianchi e Stefano Brondi guitar

Federic Mompou

 

Combat del somni

 

1• Damunt de tu només les flors

2• Aquesta nit un mateix vent

3• Jo et pressentia com la mar

 

Francisco Ernani Braga

 

Cinco cancônes nordrchinas

 

4• O'Kinimbá - Canción de Makumba

5• Capim di pranta - Canción Jongo

6• Nigue-nigue-ninhas - Canción de cuna afro-brasileña, araiba do Norte

7• Sâo Joâo-dâ-râ-râo - Canción de ronda infantil, Pianí

8• Engenho novo! - Canción de trbajo

 

Heitor Villa-Lobos

 

9• Samba classico

 

Canconês tipicas brasileras

 

10• Môkocê cê-maká

11• Nozani-ná

12• Papae curumiassú

13• Xangó

14• Estrella é lua nova

15• Viola quebrada

16• Adeus Ema

17• Palida madona

18• Tu passaste por este jardim

19• Caboca de caxangá

The association between voice and guitar has been cultivated in both classical music in popular music: it touches the opposite poles of artistic refinement of the most extreme and brisk practicality. Identify the characteristics of voice and guitar duo by many composers (a long imaginary line connecting Carl Maria von Weber to Benjamin Britten and Peter Maxwell Davies and poets from their music), the last two centuries has formed a repertoire of non-small , ranging from sentimental all'arietta lied, from carefree seguidilla to dramatic and introspective song. Not content with this remarkable musical heritage, the restless guitar but they continue to explore the repertoire of others, and that is what also happens in the case of this disc, where original music for voice and piano are offered with a new look for voice and two guitars. Obviously, the sacrifices that a guitar duo piano requires a text is much less than that would require a solo guitar, and we are not referring only to the quantitative - much more protected by the duo, but also and above all, the orchestration effect that, in the case in question, not only is much richer than that available to single guitar, but also comes in the original suit challenging the piano, which can potentially win it yes, but not in coloristic variety and polychrome transparency.

Federico Mompou (Barcelona, 1893 - 1987) is one of the musicians of the twentieth century veiled criticism from the injury and a history marked by the ideological sectarianism. His work - in many ways compared to that of Gabriel Fauré - can be defined in the intimate sense of the word, acknowledging that an unusual depth of musical thought within reach - apparently limited - the music or the lyrical piano and voice piano. The title of a collection of Mompou piano, touching the oxymoron, reveals more fully than any description of the character and style of the author: Music Callado. The rejection of all forms of rhetoric, all bombast, of all artifice, the formal choice that always points to the immediacy of expression, and essentiality of the means, give the music of the original author and lonely a transparency and a unique preciousness . Mompou also wrote for guitar, enriching the original repertoire of the instrument with the splendid suite of Compostela and the diptych Canción y Danza No 13. The song cycle for voice and piano titled in Catalan somni of Combat (Fight of the dream) was created on poems of the poet Catalan J. Janés: the warmth of his sensual love songs, rather than ignite the flame of erotic poetry, is purified in crystal-clear images, almost metaphysical. The music of Mompou, thereby avoiding any queuing strophic, extends in a continuous flow of liquid sound, a clarity that touches the mystery at the very moment when you open the splendor of light (not a coincidence that Vladimir Jankélévitch felt fascinated the music of Mompou no less than of Debussy). In lyrical Damunt de tu nomes les flors the vocal line is supported by a fabric ethereal piano, a true celebration of the beauty of sound as a metaphor of the beauty of black women from flowers. The lyric Aquesta nit a mateix vent inspired the composer to find an intellectual lightweight, and the absence of gravity manifests itself mainly in the central section, where the metric is almost imperceptible crawl. In the song Jo et pressentia com la mar the music instead of taking direction and movement, but always in the absence of an objective ground, outstretched in the indication of what motivates her, and at the same time transcends it. Undoubtedly, in these passages the specific sound of the piano has an irreplaceable value, but it is equally true that the two guitars work in the right direction poetic.