Ernesto Nazareth : "Batuque" (Brazilian Tango)

Tonight's post contemplates the life, works and compositional style of great Brazilian composer Ernesto Nazareth – whose sesquicentennial we are celebrating this year. 
 

Ernesto Júlio de Nazareth (1863-1934) was a late XIX-century/early XX century pianist and composer, widely renowned for his invaluable contribution to Brazilian Tango[1] (a subgenre of the Brazilian “choro”[2]). With influences residing in European Romanticism (mainly in Chopin), Afro-Brazilian music (e.g. the “lundu”[3]) and American ragtime, Nazareth wrote over 200 pieces for piano - including  88 Brazilian Tangos,  41 waltzes, 28 polkas and  numerous morceaux in a variety of other genres (sambas, Schottisches and fox-trots, among others).   

Nazareth was the one composer  responsible by grasping the spirit of the so-called "old" Rio de Janeiro with its cafes, society meetings and balls, and   translating  it into classical piano music in a notably refined style. Considered a boundary between the popular and classical styles, his music comprises both popular and classical piano teaching programmes.

Ernesto Nazareth was born  in the Porto neighbourhood of  Rio de Janeiro, to Vasco Lourenço da Silva Nazareth and Carolina Augusta da Cunha Nazareth. He took his first piano lessons with his mother and continued his studies with Eduardo Rodolpho de Andrade Madeira and Charles Lucien Lambert (a close friend of Louis Moreau Gottschalk’s).

At fourteen Nazareth composed his first piece – a polka entitled “Você Bem Sabe”.  At that time, he started performing professionally in cafes, balls and  waiting rooms of movie theatres.  He started writing tangos in 1870, and in 1871 he wrote his first great success – the tango “Não Caio Noutra!!!”.  International recognition came with his tango “Brejeiro” – which was performed and  recorded by the band of the Garde républicaine in Paris, and later published both in France and the United States.

In 1886, the composer married Theodora Amália Leal de Meirelles, with whom he had four children - Eulina, Diniz, Maria de Lourdes and  Ernestinho.  

In 1904,  "Brejeiro" was recorded by singer Mário Pinheiro under the title "O sertanejo enamorado", with lyrics written by Catulo da Paixão Cearense. The following year saw Nazareth take part in a recital at the National Institute of Music (Instituto Nacional de Música) performing the gavotte “Corbeille de fleurs”. 

From 1909 to 1913, Nazareth worked as a pianist in the waiting room of the famous Odeon Movie Theatre in the old Rio de Janeiro – which  many notable names attended solely to watch him perform. It was at the Odeon that he got acquainted with pianist Arthur Rubinstein and composer Darius Milhaud  - who quoted many of Nazareth’s compositions in  works such as the ballet Le Boeuf sur le Toit and the suite Saudades do Brasil, and tapped Nazareth’s famous  “Brejeiro” in his piece Scaramouche[4].  

Paying homage to the famous movie theatre, Nazareth wrote the tango “Odeon” in 1909, dedicating the piece to “the distinct Zambelli & Cia."[5], owner of the Cinema Odeon.  

In 1926, Nazareth toured throughout the state of Sao Paulo for whole eleven months, performing at the Campinas Drama and Music Conservatory (Conservatório Dramático e Musical de Campinas) and  the Municipal Theatre of Sao Paulo (Teatro Municipal de São Paulo). In that same year, on the occasion of a conference on the composer at the Sao Paulo Society of Artistic Culture (Sociedade de Cultura Artística de São Paulo), Brazilian writer and musicologist Mario de Andrade would say: “(...) many of the compositions of this master of Brazilian dance are magistral creations, in which the conceptual force, the beauty of melodic invention, the quality of expression are dignified by a surprising perfection of form and balance”.

Returning to Rio de Janeiro in 1927, Nazareth was one of the first artists to perform at Rádio Sociedade (now Rádio MEC do Rio de Janeiro). That year saw the publication of his last composition – the waltz “Resignação”. 

In the late 1920’s the hearing problems that accompanied him since his childhood (due to an accidental fall) worsen, and he becomes deaf in 1933. This fact leads the composer to a mental health condition, and he is taken for treatment at a neuro-psychiatric hospital located at Praia Vermelha. Later, he is transferred to the Colonia Juliano Moreira in the neighbourhood of Jacarepagua.  

In February  1934 Nazareth  goes for  for a walk  in the alleys of the sanatorium and disappears.  After a few days of searching, the body of the composer is found in the waters of the  Cachoeira dos Ciganos ( Waterfall of Gypsies). 

The following piece - the "Batuque (Tango Característico)" - was published  in 1913 by Casa Arthur Napoleão (Sampaio, Araújo & Cia.) publishers and dedicated to the great Brazilian composer and pianist Henrique Oswald - whom he also met at the Odeon. Notice the rapid 2/4 time signature -  so typical of the Brazilian tango genre - , as well as the characteristic syncopated rhythm.

Performed by great Brazilian pianist and specialist in Nazareth,  Eudóxia de Barros.

Enjoy!

References:

1) Articles:

Pavan, Alexandre, "Chopin Carioca",  in Revista Textos do Brasil , no.12.  Itamaraty - Ministério das Relacoes Exteriores,  Departamento Cultural, pp. 60–61.

Daniella Thompson,  “As Crônicas Bovinas, Parte 29. A linha tênue entre o tributo e o roubo”. http://daniellathompson.com/Texts/Le_Boeuf/cron.pt.29.htm

2) Websites:

Cliquemusic: Artista: Ernesto Nazareth
http://cliquemusic.uol.com.br/artistas/ver/ernesto-nazareth

Ernesto Nazareth
http://www.ernestonazareth.com.br/

Ernesto Nazareth - 150 anos 

http://www.ernestonazareth150anos.com.br 

Ernesto Nazareth. Dicionário Cravo Albin da Música Popular Brasileira http://www.dicionariompb.com.br/ernesto-nazareth/critica

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[1] The Brazilian Tango (also known as “maxixe”) is a dance originated in the Brazilian city of Rio de Janeiro in the 1860’s.  It developed from Afro-Brazilian dances  and the European polka. The style is  also considered a highly syncopated variant of the Cuban habanera.

[2] The “choro” is a Brazilian popular music style typical of late XIX century Rio de Janeiro, characterized by  abundant use of syncopation and counterpoint, happy and fast rhythm, and virtuosic improvisation. The original choro  was played by a trio of guitar, flute and cavaquinho (a small chordophone with four strings). This type of composition is usually written in  three parts, played in a rondo form, with each section in a different key (usually the tonal sequence is: principal key-relative mode-sub-dominant key).

[3] The “lundu” is a hybrid Brazilian musical genre, derived from the drumming beat brought by the bantu slaves from Angola and from the melodical and harmonic characteristics of Portuguese dances.  

[4]  “As Crônicas Bovinas, Parte 29. A linha tênue entre o tributo e o roubo”, Daniella Thompson   http://daniellathompson.com/Texts/Le_Boeuf/cron.pt.29.htm

[5] Ernesto Nazareth – 150 anos /obra/ Odeon http://www.ernestonazareth150anos.com.br/Works/view/136

Sandström: Six Pieces for Piano Trio and Orchestra

Swedish composer and musicologist Sven-David Sandström (1942 - ) is a leading name in modern Scandinavian classical music. Holding extreme influences –  ranging from  the choral works of J.S. Bach to minimalist, jazz and popular music - Sandström composes in a  large spectrum of genres. His works include operas, series of motets, cantatas, oratorios, ballets, church music, choral works (including pieces for double-choir), piano morceaux and piano ensembles, orchestral works and introspective chamber pieces, as well as film scores. A master in the craft of composition, his catalogue of works comprise over three hundred compositions.

Sandström studied Art History and Musicology at Stockholm University. Later (from 1967 to 1972) he would study composition at the Royal College of Music in Stockholm (Stockholm Musikhögskolan) with Ingvar Lidholm.  He would also attend courses in advanced techniques of composition with Gyorgy Ligeti and Per Norgard. 

In Sandström’s early works  – like the orchestral piece Through and through (1972), which became internationally acclaimed after being performed by the Concertgebouw Orchestra in Amsterdam -  the composer made use of quarter-tone tuning[1]. Those were works of terrifying technical difficulty for interpreters. 

The year 1980 saw a turning point in Sandström’s composing career, as he began composing in tonal and modal tone language. However more emotional his style became, this shift has not made his compositions any less demanding for performers. The years that followed witnessed the production of many choral works, “all of them eagerly sought after by Sweden's many elite choirs”[2]. 

His most renowned works include, apart from his orchestral works, The High Mass, Requiem Mute the Bereaved Memories, the  Requiem De ur alla minnen fallna (a fresco on the  infanticide of the Holocaust)  and his many choral works, in the idiom of Bach and other religious music composers of the Baroque era, such Henry Purcell and Dietrich Buxtehude  – yet reinterpreted in his very personal style.

Sandström’s pianistic oeuvres  cover a vast variety of genres, including works for soloist and orchestra - the Agitato (1978) and the Concerto for Piano and Orchestra (1990) – , instrumental pieces for piano and other instruments, vocal works, many piano morceaux, and much chamber music  - comprising unusual instrumental combinations, as in the piece In the Shadow of (1974) for piano, crotales, glock, bells, wind chimes and violoncello.

A comprehensive list of Sandström’s works for piano follows.

ORCHESTRAL:

Agitato (1978)

Concerto for Piano and Orchestra (1990)

CHAMBER MUSIC:

Chained (1986) - for 4 pianos and 12 percussion players

Concentration 2 (1972) - for two pianos

Dialog(er) för 2 x människor + piano (1971) - for piano 4 hands

Fantasia II (1989) - for pianotrio (vln, vlc, pf)

Free Music II (1990) - for piano and percussion

In the Shadow of (1974) - for piano, crotales, glock, bells, wind chimes, violoncello

INSTRUMENTAL:

Blinded (1982) - for piano

Cello Sonata (1992) - for violoncello and piano

Close to (1972) - for clarinet and piano

Fantasia I (1989) - for piano

Fem pianoaforismer (1964/79) - for piano

Five Duets (1973) - for piano 4 hands

High Above (1972) - for piano

Inside (1974) - for bass trombone and piano

Introduction; Out of Memories; Finish (1981) - for 2 pianos

Pieces (1989) - for violin and piano

The Fallen Light (1984) - for piano

VOCAL:

From Mölna Elegy (1999-2000) - for soprano and piano trio

Nu dricker jag dig till (1981) - for mezzo soprano and piano

The Lost Song (1974) - for soprano and piano

Tre sånger (1989) - for mezzo soprano, violin and piano

Two Love Songs for Kerstin and Kristine (1975) - for mezzo soprano, violoncello and piano

Today we shall make a brief appreciation of Sandström’s Six Pieces for Piano Trio and Orchestra. This set of pieces belongs to his most recent phase – revealing  his shift towards tonal  music. Observe the composer’s genious on how  finely romantic and lyrical elements mingle with the harsher modernist tinges.  While discussing  this work, Sandström himself would state:  “Stylistically I am very keen on the idea of modernism contradiction. The polarity inspires me a lot. The triple concerto is a mixture of the whole thing”[3]. 

Performed by the Trio con Brio Copenhagen and the Royal Stockholm Philarmonic Orchestra.

Enjoy!

http://www.youtube.com/watch?v=1w2nbmwoFw4

References:

Websites:

www.gehrmans.se    http://www.gehrmans.se/en/composers/sandstrom_sven-david

www.music.indiana.edu  http://music.indiana.edu/departments/academic/composition/faculty/sandstrom/index.shtml

www.sudbrackmusic.de      http://www.sudbrackmusik.de/uploads/Trio%20con%20Brio/Sandstr%C3%B6m;%20Tripelkonzert.pdf?PHPSESSID=0rskun2cuq63e1qmiknjkviiv4

Svendavidsandstrom.com  http://svendavidsandstrom.com/

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[1] 24 tone equal temperament (24-TET) is a tuning system which consists of using intervals, in a chromatic scale, equal to half a semitone.

[2] Camilla Lundberg, “Biography”. http://svendavidsandstrom.com/

[3] Sven-David Sandström, “Six Pieces for Piano Trio and Orchestra (UA 2011, Trio Con Brio Copenhagen)”. Künstlersekretariat Rolf Sudbrack http://www.sudbrackmusik.de/uploads/Trio%20con%20Brio/Sandstr%C3%B6m;%20Tripelkonzert.pdf?PHPSESSID=0rskun2cuq63e1qmiknjkviiv4

Shostakovich: Piano Sonata Op. 61 no.2 (mvmt 1 and 2 of 3)

Dmitri Dmitriyevich Shostakovich  ( 1906 - 1975) was  a  modernist  Russian composer and pianist , and perhaps the most notable symphonicist of  20th century music. Despite being broadly  deemed  a Neoclassical composer, Shostakovich had a style of his own, which incorporated influences of other schools.

Both life and works of  Shostakovich are subject to much controversy – be it on specialized scholars’ critique  or reviews and criticism by composers and conductors. Shostakovich’s intriguing psyche is almost as hard to decypher as his symphonies, chamber music and piano works.

According to Haas, Shostakovich was “the greatest of  eclectics”[1]  .His works combine extremes such as conservatory, tonal Romantic academicism on the one hand , and on the other hand avant-garde, experimental progressivism – translated in the use of brash harmonies; chromaticisms; atonalism;  tone rows[2];  and quotations[3] and motifs[4] (after Alban Berg’s fashion, and which added a bleak, gloomy tinge to them). In addition, he drew extensively on folk tunes and popular themes.

Shostakovich's works are  also renowned for  their acid irony and sarcasm, and elements of grotesque. They comprise  a series of fifteen symphonies and fifteen string quartets, two string octets, cello and violin concerti, three operas, several song cycles, ballets, as well as film scores. His pianistic works are, most importantly, two solo sonatas, two piano trios, a piano quintet , an early set of preludes, a later set of 24 preludes and fugues, and two piano concerti . 

The composer’s biography and music were deeply affected by the “Great Terror” of Stalin’s tenure – which overtly imposed constraints on his symphonies and operas. Many of those works were censored and banned from being performed from 1936 (year of Stalin’s ascention to power and of Shostakovich’s first accusation, precisely due to his opera Lady Macbeth of the Mtsensk District ) to 1953 (as of Stalin’s death), and from 1960 until his own death, in 1975.

Shostakovich started his piano studies with his mother, at the age of nine. His first composition – a funeral march in honour of two leaders of the Kadet party murdered by Bolchevik militants  - dates from when the composer was twelve.

At the age of thirteen, he entered the Petrograd Conservatory. There, he studied piano with Elena Rozanova and Leonid Nikolayev,  composition with Maximilian Steinberg , counterpoint with Nikolay Sokolov and classical music history with  Alexander Ossovsky.  In those years at the Conservatory, Shostakovich started to reveal the major influences on his early works – Stravinsky and Prokofiev.  He wrote his First Symphony  in 1926 - at the age of nineteen -  as a graduation piece. The work was an immediate success – premiering in Berlin in that same year, a U.S. premiere in Philadelphia followed.

The year of 1927 brought his Second Symphony – parallel with the composition of the composer’s first opera, a satirical piece named The Nose – to which the Third Symphony followed. Due to the experimental nature of those two symphonies , they were not much acclaimed by the Soviet critics.

In that same year, Shostakovich was introduced to the works of Mahler. The Fourth Symphony, with its late Romantic hues, came as a consequence of the latter’s influence over the composer.  This influence would endure for all his works thereafter.

The year 1936 was marked by the ascension of Stalin to power and the beginning of the “Great Terror” and strict censorship on the outputs of Soviet artists. In Shostakovich’s case, the piece which triggered  governmental attacks on him – coming in the form of an article published in Pravda[5] - was the  opera Lady Macbeth of the Mtsensk District , premiered in 1934. The article called  the piece “muddle instead of music,” condemning it for being “formalist” and for going against the dictates of the new political rule - which prescribed a paradigm for what  Russian music should sound like. The Pravda article also included  a threat against his life ("this is playing with nonsensical things, which could end very badly.").  From that day on, Shostakovich’s life would be marked by the fear of arrest and execution.

This had the effect of causing a turning point in the composer’s creative process and compositional method. The time of the accusation coincided with the period in which Shostakovich was writing the Fourth Symphony.  All the terror, intimidation and threats  on Shostakovich coming from the government forces ended up causing him to work harder on the piece, so as to conceal or camouflage the messages he wished to convey to his audience – which would become from then on subliminal ones. The avant-garde characteristics would remain, yet protected and dissimutated by  a  late Romantic façade – which was woven in conformance with the Russian nationalist tradition.

Even having its idiom reformed, Shostakovich made the decision of withdrawing the Fourth Symphony, for  reasons that remain obscure – thus keeping it from premiering until 1961, well after Stalin’s death.

Meantime between this last piece and the Fifth Symphony, Shostakovich decided to compose film music – a “safer” genre – so as to keep a low profile and stand clear of governmental attention.

After finally premiering in 1937, the Fifth turned out to be a huge success,  being acclaimed by  critics and government alike, as well as those who had accused him of  “formalism”. It would then be said that  the composer  eventually” learned” by his past “mistakes”.

He would then direct his hidden “subversion” to chamber music – a less public genre, in which he could express his ideas more freely and return to experimentalism. That was the time in which  the composer wrote his first string quartet.

With the outbreak of the Second World War, Shostakovich gave his contribution to Russia by premiering the  Seventh Symphony – which was officially a patriotic piece in honour of the people of Leningrad, who had bravely resisted German invasion.

By the time the Eighth Symphony came out,  a triumphant Red Army  expected a new and bright, optimistic piece. Instead, Shostakovich presented perhaps his most sombre and violent work, overtly suggesting tragedy. Criticism inevitably followed, and the piece was interpreted as representative of the composer’s “fascist” inclinations. However unofficial, a ban was imposed until 1956.

In  1945, as Stalin was expecting a  celebratory hymn of victory, Shostakovich produced an ironic Nineth Symphony – which was understood as a mockery of  Soviet Union’s victory.

The year 1948 brought the second accusation – the so-called “Zhdanov Affair” – after the condemnatory  “Zhdanov decree”.  Shostakovich, Prokofiev and Khachaturian (among others) were thereby denounced for “formalist perversion”[6]and accused of writing inappropriate music . The decree was part of a government purge aimed at rooting out any musical influences from the West or openly anti-Russian ones.  The decree that followed was an admonition meant for all Russian composers, who should then on compose “proletarian music”.

The punishment received by the “formalists” was a harsh one. As a result, Shostakovich was one of the composers who had to apologize for his works in public.  Moreover, the bulk of his works were banned,  he and his family had their rights withdrawn, he was dismissed from the Conservatory and nearly lost all his money. 

Consequently, the works of the following years would be divided in three different kinds, aimed at different purposes. He would write film scores to pay the rent and to appease the government, “official” pieces for his “rehabilitation”, and finally those regarded “serious works” – the Violin Concerto No. 1 among them.

From 1949 to 1953, official pressure on the composer was eased. However , this also had a price;  he was put through a set of humiliating situations  – such as delivering a prepared speech as a representative of the Russian artistic class at a New York press conference in 1949. Later, publicly asked  by Nabokov if he agreed with the RSFSR denunciation of Stravinsky -  whose works had always cast a great influence on him and for whom he nurtured a profound admiration – Shostakovich had no choice but to answer in the affirmative (he never forgave Nabokov for the episode).  Another ordeal the composer had to go through was having to comply with Stalin’s demand of a composition in which the government’s leader was depicted as “a great gardner”.  Shostakovich then produced a cantata entitled Song of the Forest.

Shostakovich’s path back to being a creative artist started in 1953 – year of Stalin’s death ; its landmark was the composition of the Tenth Symphony,  characterized by the use of music quotations and codes – the so-called “DSCH motif”[7] being the most important of them, and whose meaning remains a subject of debate amongst scholars. This year was also marked by the premiere of the afore-mentioned “serious works” – the Festive Overture Op. 96 , the Violin Concerto No.1  and the song cycle From Jewish Folk Poetry.
The year 1960 brought another turning point in Shostakovich’s career.  Those were the times of Nikita Krushev tenure, and the  government wanted to appoint the composer as General Secretary of the Composer’s Union. A condition was, however, imposed – Shostakovich would have to join the Communist Party.  And so he did.

This attitude was condemned by many as an act of commitment to the political status quo and of utter cowardice. Under the personal crisis this caused –leading the composer to feel suicidal – he finally wrote the Twelveth Symphony – which portrayed the Bolshevik revolution and was dedicated to Lenin.

As an expression of his state of mind on those days, he wrote the Eighth String Quartet - subtitled "To the victims of fascism and war"[8], overtly in memory of the Dresden fire bombing of 1945. In the same manner of the Tenth Symphony, the quartet features quotations  of several of his past works, apart from his “signature”,  so to speak - the musical monogram DSCH.

That year also witnessed  the composer's return to the theme of anti-semitism, whose outcome was the Thirteenth Symphony – subtitled Babi Yar.

The later works were marked by a concern  with  Shostakovich’s own mortality , as a result  of his fragile health condition  - including a polio diagnose and a few heart attacks. Instances of these were his last quartets,  the Fourteenth  and the Fifteenth Symphony.
Shostakovich died of lung cancer on August 9 1975.

Since his death, many attempts have been made to  semantically unravel the composer’s ‘Aesopian’ language - which became an inalienable part of his musical language.

Musicologist David Fanning, on the esprit of Shostakovich’s music, contends: "Amid the conflicting pressures of official requirements, the mass suffering of his fellow countrymen, and his personal ideals of humanitarian and public service, he succeeded in forging a musical language of colossal emotional power." [9]

The piece that follows is the  Piano Sonata Op. 61 no.2,  in B minor (mvmt 1 and 2 of 3) – acknowledged by many as the composer most significant work for piano. Notice the presence of the DSCH motif hidden under  the rethoric and forms  of Beethoven, Schubert, Bruckner, Tchaikovsky and Mahler.

Performed by  Valentina Lisitsa.



http://www.youtube.com/watch?v=M2NYLQnjSCI

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[1]  David Haas. "Shostakovich's Eighth: C minor Symphony against the Grain", in BARTLETT, Rosamund. Shostakovich in Context . Oxford and New York, Oxford University Press, 2000,  p. 125.

[2] A tone row is a non-repetitive ordering of a set of pitch classes (each pitch class is a set consisting of a certain note reproduced in a number of higher and lower octaves; these notes, in a tone row, may be any of the twelve notes of a chromatic scale).

[3]   A quotation is the practice of alluding either  to a work by the same composer (self-referential) or to a piece by another composer (appropriation).   

[4] A motif is a musical idea, the smallest unity carrying a thematic identity. A motif stands out from the rest of a composition, generally easily noticed.

[5]   Pravda was a Russian political paper linked to  the Communist Party of the Russian Federation.  

[6] Dmitri Shostakovich, “Biography”, in  allmusic.com http://www.allmusic.com/artist/dmitry-shostakovich-mn0001517893

[7] The “DSCH motif” is a musical cryptogram by which Shostakovich indicated his presence. It consists of the notes D, E flat, C, B natural (D, Es, C, H in German notation). Therefore, it stood for the composer’s initials in German: D.Sch.

[8] BLOKKER, Roy  and DEARLING, Robert.  Shostakovich: The Symphonies, p.37.  Tantivy Press, 1979.

[9]  "Dmitri Shostakovich". The New Grove Dictionary of Music and Musicians.Ed. Stanley Sadie . London,  Macmillan Publishers, 2001,  p. 280.

References
1. Books

Roy BLOKKER, Roy and DEARLING, Robert.  Shostakovich: The Symphonies.  Tantivy Press, 1979.

WILSON,  Elizabeth. Shostakovich: A Life Remembered. Princeton University Press, 1994.

2. Articles and entries

David Haas. "Shostakovich's Eighth:C minor Symphony against the Grain", in BARTLETT, Rosamund. Shostakovich in Context . Oxford and New York, Oxford University Press, 2000,  p. 125.

Fanning, David and Fay, Laurel. "Dmitri Shostakovich". The New Grove Dictionary of Music and Musicians.  Ed. Stanley Sadie. London, Macmillan Publishers, 2001. 

3. Websites

allmusic.com. “ Dmitri Shostakovich: Biography”,http://www.allmusic.com/artist/dmitry-shostakovich-mn0001517893

New World Enciclopedia, “Dmitri Shostakovich” http://www.newworldencyclopedia.org/entry/Dmitri_Shostakovich

Russia Beyond the Headlines, “Paying Tribute to Shostakovich”. http://rbth.ru/articles/2012/10/20/paying_tribute_to_shostakovich_19291.html

Henrique Oswald - Piano Concerto Opus 10 (1/2)

Henrique Oswald (1852-1931) was a Romantic Brazilian composer and one of the most influencial in the second half of the XIX century and early XX century. In spite of having composed mainly for the piano, he is renowned for his large contribution to the country’s chamber music – which consisted of a number of trios, quartets and quintets.  He also wrote for other genres – namely symphonic music, songs for voice and piano, solo pieces for violin and violoncello, operas and a large production of church music.

Oswald started his piano studies with his mother, a piano teacher. By the age of seven, he had already performed in public with much success, and this led him  to continue his studies with French piano teacher Gabriel Giraldon.

In 1868 Oswald moved to Italy. Settling in Florence, he studied counterpoint, harmony, composition and piano at the Moriani Institute, taking lessons with Maglioni, Grazini, Henry Ketten and Giuseppe Buonamici. There, he absorbed to a great extent the influence of the Romantic tradition of  Beethoven,  Schubert, Schumann and Brahms.

In 1902, the composer enrolled in the Composition Competition promoted by Le Figaro, which took place in Paris. Enrolling under the humorous nom de plume "Figaro, qui, Figaro llà, Figaro giù, Figaro su" and enchanting a jury that included  Saint-Saëns, Fauré and Diémer, his piano composition Il neige won over 600 competitors. The jury, taking the mysterious composer for a Frenchman – and figuring he could be either Ducasse, or Ravel, or even Debussy – was surprised to learn the winner was a Brazilian.

Back in Brazil in May 1903,  Oswald was appointed Director of the National Music Institute ( Instituto Nacional de Música) in Rio de Janeiro. Later, he started his teaching activities, having  Luciano Gallet, Fructuoso Vianna and Lorenzo Fernandez among his pupils.

In 1909, he performed his Concert for Piano and Orchestra, conducted by Alberto Nepomuceno. In this period, he writes his Symphony Op.43, and was invited to assume a position as Chair Professor at the National Institute.

Throughout his life, the compositor  met a large number of famous musicians and composers, establishing  close friendship with many among them. Those included  Rebikoff,  Gabriel Fauré,  Louis Diémer,  Gabriel Pierné, Izidor Philipp, Maurice Dusmenil and Moritz Moskowsky. In Brazil, apart from his friendship  with   contemporaries Alberto Nepomuceno, Barroso Netto, Glauco Velasquez, the young Villa-Lobos, Alexandry Levy and Leopoldo Miguez, he became a close friend of  Francisco Braga. He also met pianists Brailowski and Artur Rubinstein – who called him ‘the Brazilian Fauré’.

With the 1920’s came his recognition and triumpth. In 1920, Oswald was awarded the Médaille du Roi Albert (avec ruban striié d'une rayure) by the Belgian government. It was also during the twenties that he commited  mainly to teaching. Abstaining from getting involved with modernist trends, he nonetheless encouraged his pupils to search for new alternatives.

After learning of his son Alfredo’s  choice to become a priest, the composer wrote many masses and religious chants. As of his 79th birthday, he was awarded the title of Chevalier de la Légion d'Honneur by the French ambassador in Brazil.

Oswald died in 1931 in Rio de Janeiro, from natural causes.

A large number of the compositor’s piano pieces remain unpublished. The original manuscripts may be found at the Music Department at the University of Sao Paulo (Universidade de São Paulo – USP), at the National Archives in Rio de Janeiro and at the National Library in Rio de Janeiro (Biblioteca Nacional do Rio de Janeiro).

In Henrique Oswald - Piano Concerto Opus 10 (1 mvmt) notice the  typical traits of Romanticism in the use of the full extension of instruments and exploration of its possibilities, apart from the harmonic colour palette, and the deep expression of emotion and drama. Also observe the clear influence of  great European Romantic composers, especially Tchaikovsky. 

Performed by  renowned specialist in Oswald, pianist José Eduardo Martins, and the Rubio Quartet.

Enjoy!

References:
1. Books:
   GROUT,   Donald. A History of Western Music, W.W.Norton,  New York 1980;
   ULRICH, Homer.    Symphonic  Music,  Columbia Press , 1952.

2. Websites:
   Henrique Oswald.
http://www.oswald.com.br/site2010/index.htm

   Henrique Oswald.Bio, albums, pictures
http://www.naxos.com/person/Henrique_Oswald/22822.htm

  Henrique Oswald (1988).  Brasil Memória das Artes. 
http://www.funarte.gov.br/brasilmemoriadasartes/acervo/discos-pro-memus/henrique-oswald-1988/

   Henrique Oswald. Musica Brasilis.
http://www.musicabrasilis.org.br/node/86