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COM LICENÇA!... (Excuse Me!...) moments in the career of the bassoonist HARY SCHWEIZER |
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| LICENÇA (PERMISSION) | |
| the Portuguese language gives different meanings to this word: | |
| 1. asking permission to enter; | |
| 2. a certain freedom of interpretation | |
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these
are the meanings that give a sense to the “COM LICENÇA” CD
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Introduction
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“A child, a tree, a book” is what oriental wisdom recommends for the fulfillment of a man. Children, I have four; trees, I’ve planted dozens; a book? this is still open… Considering a have limited abilities as a writer, I thought I could substitute the book with a CD, even though I’ve always resisted the idea of recording one. Perhaps that has to do with how I started studying bassoon at a later age, which, though it didn’t necessarily make me a virtuoso, allowed me an ample vision of its possibilities. I think that the time has come now to document some of the musics that represent some moments in my career as a bassoonist: performing, teaching, building… | |
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Participant musicians
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For this project I counted on the valuable and priceless musical contribution of some artists who crossed paths with my daily life as a bassoonist: | |
| Elza Kazuko Gushikem , pianist for countless chamber music concerts at the University of Brasilia; | ||
| Gustavo Koberstein and | ||
| Flávio Lopes de Figueiredo Jr., former students with who I currently share my work as a musician for the Symphonic Orchestra of the Cláudio Santoro National Theater in Brasília; | ||
| Paulo Marques, who contributed with his subtle touch, giving this CD a light and relaxed feeling, and | ||
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Overture
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Júlio Medaglia who, bringing together all of the interpreters of the CD in one composition, especially wrote the choro that gives the CD its title... |
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| So, then, with your permission, I have selected some pieces, of which I hope you will experience as much pleasure in hearing them as I experienced in playing them. | ||
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Practicing
the bassoon
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As an interpreter, beyond my regular participation as bassoonist-founder of the Symphonic Orchestra of the National Theater, I have also read countless compositions, using Brazilian art music, sometimes more, sometimes less popular; among them: | |
| Heitor Villa-Lobos, Ária de Bachianas Brasileiras nº 5 | ||
| Chiquinha Gonzaga, Duas miniaturas brasileiras (Two Brazilian Miniatures) | ||
| 1. Lua Branca 2. O "Corta-Jaca" | ||
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Teaching
bassoon
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As professor at the University of Brasilia, I advised many students who in many ways have surpassed me, some of them established in European orchestras, others in important Brazilian orchestras, others at an advanced stage of Ph.D. studies. I play here, with students of mine who are now professionals and colleagues at the orchestra, pieces for three bassoons that Achim von Lorne, my bassoon professor in München, composed so that I could play music in a group when I was his student: | |
| Achim von Lorne |
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| Variações sobre um tema natalino | ||
| (Variations on a Christmas theme) | ||
| Trio Breve I (Brief Trio I) | ||
| Trio Breve II (Brief Trio II) | ||
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Making bassoons
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Necessity also made me into an improvised bassoon maker, perhaps the only one known and active in Latin America. The idea of making bassoons in Brazil emerged with the primary goal of fulfilling a Brazilian necessity and as a result of Elione Alves de Medeiros’ challenge. The idea went forward and is going strong today with bassoons sounding throughout the national territory, some even in foreign lands, and also sounding in the recording of this CD. To a new bassoon, the music is dedicated to it. | |
| Emilio Terraza | ||
| Tango M. 45 for bassoon and piano, dedicated to the first SCHWEIZER bassoon, 1991 | ||
| Tango M. 46 for solo bassoon, dedicated to the second SCHWEIZER bassoon, 1992 | ||
| Another challenge came from Cristina Porto Costa, bassoon instructor at the Brasília School of Music: she suggested building a special bassoon for her class of beginning students who were still growing. Thus was born the JUNIOR bassoon which may be heard on this CD in | ||
| Ernst Mahle, |
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| Melodias da Cecília | ||
| (Cecilia’s melodies) for bassoon and piano | ||
| risoluto | ||
| moderato | ||
| vivace | ||
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The
Brazilian bassoon 
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A bassoon made in Brazil feels naturally good playing Brazilian music! So he went into “bohemia” and in this journey encountered: | |
| Francisco Mignone, Aquela modinha que o Villa não escreveu (That Modinha that Villa Didn’t Write) | ||
| Tom Jobim, Mágoas de fagote* (Sadness of bassoon) | ||
| an unfinished draft of a music for bassoon here documented in its first recording | ||
| Benny Wolkoff, Choro | ||
| Ernesto Nazareth, Brejeiro | ||
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The Jazzistic bassoon
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Without mastering the practice of improvisation, but with the will to also play a bit of jazz, I literally ventured into this field and promoted a meeting of the bassoon with jazz through a composition of the same name | |
| Andreas Herkenrath, Bassoon meets jazz* | ||
| And in this context, with (the proper) permission of the composer I took the liberty of giving a jazzistic color to some movements of one of the sonatas by | ||
| Benedetto Marcello, Sonata in e minor | ||
| allegretto | ||
| adagio | ||
| allegro | ||
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* first recording of the work __________________________________________________ |
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Credits |
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| Ricardo Nakamura, Recording | ||
| Marcello Dalla, Mastering | ||
| Dora Galesso, Art and graphic design | ||
| Brasília, december 2005 | ||
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