Canções portuguesas
Label | Naxos – 8.574309 |
Format | CD, Stereo |
Barcode | 0747313430970 |
Country | Germany |
Released | 2024 |
Genre | Classical |
Style | Choral, Contemporary |
2 romances viejos | |||
1 | No. 1. Romance de Rosa Fresca | 2:39 | |
2 | No. 2. Romance de Fontefrid | 2:17 | |
Canções regionais portuguesas, série 10 | |||
3 | No. 8. Passarinha trigueira (Douro Litoral) | 1:56 | |
Canções regionais portuguesas, série 9 | |||
4 | No. 7. Romance da menina cativa (Trás-os-Montes) | 2:59 | |
5 | No. 9. Adeus, vila de Idanha (Beira Baixa) | 1:47 | |
Primeira cantata do Natal (excerpts) | |||
6 | No. 3. Do varão nasceu a vara (Beira Litoral) | 2:16 | |
7 | No. 4. Eu hei de dar ao Menino (Alto Alentejo) | 3:03 | |
8 | No. 7. Pela Noite de Natal (Beira Baixa, Alentejo) | 2:29 | |
9 | No. 10. Confusa, perdida | 1:34 | |
10 | No. 13. Os pastores, em Belém (Alto Douro) | 2:03 | |
11 | No. 16. Estas casas são mui altas (Janeiras, Beira Baixa) | 1:35 | |
12 | No. 18. Partidos são de Oriente (Reis, Trás-os-Montes) | 1:41 | |
13 | No. 19. Ai, acabadas são as festas (Reis, Beira Alta) | 1:32 | |
3 líricas castelhanas de Camões | |||
14 | No. 1. Ojos, herido me habéis | 3:08 | |
15 | No. 2. De vuestros ojos centellas | 1:40 | |
16 | No. 3. Dó la mi ventura | 4:05 | |
Canções regionais portuguesas, série 5 | |||
17 | No. 2. O ladrão do negro melro | 1:50 | |
18 | No. 4. Donde vens, ó Rosa? (Minho) | 0:52 | |
Canções regionais portuguesas, série 10 | |||
19 | No. 6. Senhora do Livramento (Beira Alta) | 1:22 | |
3 canções corals | |||
20 | No. 1. Rústica | 2:30 | |
21 | No. 2. Epitáfio | 1:44 | |
22 | No. 3. Ode | 1:49 |
Edited By, Mixed By – Nacho Rodríguez
Liner Notes – Ben Hogwood
Lyrics By – Carlos de Oliveira (20-22)
Lyrics By – José Gomes Ferreira (20-22)
Lyrics By – João José Cochofel (20-22)
Lyrics By – Luís de Camões (14-16)
Lyrics By – Traditional (1-13, 17-19)
Producer – Daniel Santos
Producer, Mastered By – Carlos Lopes
Translated By – Isabel Correia de Castro
Fernando Lopes-Graça’s importance to 20th-century Portuguese music cannot be overestimated. His study of native songs and traditions has been compared to that of Bartók, and the soulful melodies of the Três canções corais are an early example of his highly effective integration of folk style into rigorous historically established forms. From the reverence and purity of the Christmas Cantata songs to the harmonic density of the Três líricas castelhanas de Camões, the powerful and often deeply moving combination of Lopes-Graça’s use of classical structure alongside his country’s musical heritage finds its zenith in his writing for voices.
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