brazilian belle époque; belle époque brasileira; aurelio cavalcanti; valse lent; flauta e piano; flute and piano; duo limiares; robervaldo linhares; sara lima; pianeiros; choro;

BRAZILIAN BELLE ÉPOQUE
Prof. Dr. Robervaldo Linhares Rosa (EMAC/UFG)

The Brazilian Belle Époque, is much more than limited to a historical period, it represents a rich moment in the national culture in which centers that were until then seemingly irreconcilable were open to a type of fundamental production to listen and think about the Brazilian Culture. This situation is highlighted by the visibility of the dichotomous experience of Brazilian society and, especially that of the capital of the Republic at the fin de siècle, Rio de Janeiro, understood here as the metonymy of Brazil, which makes dwelling on the binary relations rare at this historic moment. Out of this relationship, we can mention: tradition and modernity, popular and high cultures, and popular urban and concert music. As part of this great effervescence of cultural context, musical production grew rapidly. It is noted that a consolidated music press already existed in the country that was completely in tune with the market. Also the presence of a growing demand for entertainment music, and European dances existed in the Brazilian territory, such as the polka, schottisch, and waltz. An abundance of repertoire from the early twentieth century is almost exclusively made up of dance music for the entertainment of the city dwellers. We have the presence of names that were famous in their time and today are almost forgotten, like Aurelio Cavalcanti (1874-1915), Eduardo Souto (1882-1942), Patápio Silva (1880-1907) and others, who are notably recognized as pillars of national music, such as Francisca Gonzaga (1847-1935) and Ernesto Nazareth (1863-1934). Incidentally, many of these musicians were pianeiros, professional pianists who rented themselves out to play in private balls, teahouses, cinemas, and many other places. On the one hand, we had a historical juncture where many pieces were published, on the other, we find that a significant part of this repertoire is still unknown by the Brazilian public. It is therefore crucial that this joi de vivre inherent to the Brazilian Belle Époque is known in its most tangible dimension, the musical, which in itself already invites us to realize the temporality of a different historical juncture than that which we live. Such a perception, highly powerful and meaningful, is essential for the Brazilian musical and cultural memory. Nothing is better than the appreciation of the pieces for flute and piano, here interpreted by Duo Limiares who have already presented this repertory in several cities in Brazil, always with great acclaim by the public.

DUO LIMIARES
Flute: Sara Lima
Piano and arrangement: Robervaldo Linhares Rosa
CD: Flauta e piano na belle époque brasileira (2016)
Audio recording and mixing: Rogerio Bicalho
Video: Jordana Jardim

* this cd is part of the research project registered at the Federal University of Goiás MUSIC FOR PIANO OF BRAZILIAN BELLE ÉPOQUE, by Prof. Dr. Robervaldo Linhares Rosa.


www.robervaldo.com.br

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