This recording was made possible by a grant from the Henry Cowell Performance Incentive Fund, 2006, and the American Music Center in New York, NY.

About This CD

Heitor Villa-Lobos (1887-1959) wrote fourteen Choros between 1920-1929. Choro no. 5, dating from 1925, is also called Alma Brasileira (Soul of Brazil) and is the only one accompanied by a syncopated rhythm followed by a short section in the major mode. Following this, a contrasting rhythmic Indian song leads to a passionate climax after which the opening phrase returns serving as the conclusion of the piece. It is possible to see this passionate shaping of the Alma Brasileira, a depiction of Villa-Lobos own soul and temperament. Impressies Seresteiras (Impressions of a Serenade) is the second piece of four comprising the Ciclo Brasileiro (Brazilian Cycle) from 1936. This piece evokes the music of Brazilian serenaders, an ensemble tradition that is still kept alive in the countryside. Its character is passionate and improvisatory, and although the composer's instrument was the cello, this work is impressive for its pianistic style. It is a favorite of both pianists and audiences alike.

The third and final Piano Sonata Op. 58 by Frederic Chopin (1810-1849) was composed between the years 1844 and 1845. Chopin recast the classical sonata by putting the Scherzo where, traditionally, the slow and lyrical second movement was normally found. Another thwarted expectation occurs in the first movement: the first theme group of the exposition does not reappear in the recapitulation, as expected. The light and airy texture of the second movement is set in stark contrast to the chromatic, contrapuntal, and dense texture of the first movement. An exciting Finale in a two-part rondo follows the poetic and meditative Largo. The work closes with a brilliant coda.

Johannes Brahms (1833-1897) produced six sets of variations. Originally presented in two volumes in 1865, each consisting of fourteen variations, the Variations Op. 35 (1862-1863) heard on this CD, are based on Paganini's famous Caprice No. 24. This powerful yet expressive work goes even beyond the intensity and virtuosity of Schumann and Liszt's variations based on the same caprice, and features double notes, octave glissandi, skips, and cross-rhythms. Charles Rosen writes, Òthe transcendence of the finger-exercises in Brahms' Paganini Variations is one of the last and most daring projects of the Romantic movement in music.

Alexander Scriabin (1872-1915) wrote ten sonatas for piano solo. Sonata No. 4, Op. 30 was composed in 1903 during a period of great stylistic change. Reflecting this change, harmonic ambiguity permeates the opening Andante where dissonances are left unresolved and quartal harmonies create mystic sonorities. The Prestissimo volando is characterized by a fragmented melody and rhythm that progresses into the climatic final portion, where the opening theme of the first movement is recapitulated in an apotheotic manner.
Sergio Gallo