{"id":3288,"date":"2023-07-20T11:22:58","date_gmt":"2023-07-20T14:22:58","guid":{"rendered":"https:\/\/www.azulmusic.com.br\/en\/?post_type=portfolio&p=3288"},"modified":"2026-02-05T12:25:55","modified_gmt":"2026-02-05T15:25:55","slug":"brazilian-music-for-oboe-and-piano","status":"publish","type":"portfolio","link":"https:\/\/www.azulmusic.com.br\/en\/portfolio-item\/brazilian-music-for-oboe-and-piano\/","title":{"rendered":"Brazilian Music For Oboe And Piano"},"content":{"rendered":"
\n
<\/div>\n<\/div><\/div>

<\/div><\/div><\/div>
\n

Brazilian Music For Oboe And Piano<\/h3>

Alexandre Ficarelli<\/a>, Marcos Aragoni<\/a><\/p>\n<\/div>

<\/div><\/div><\/div>
\n

In\u00a0Brazilian Music for Oboe and Piano<\/em>, Alexandre Ficarelli, an oboist and professor at the Department of Music of ECA-USP, and Marcos Aragoni, a chamber music specialist and pianist at the Lyrical Choir of the Municipal Theater of S\u00e3o Paulo, pay homage to Brazilian artists active in the 20th and 21st centuries. They are: Camargo Guarnieri (1907-1993), Osvaldo Lacerda (1927-2011), Ernst Mahle (1929), Mario Ficarelli (1935-2014) and Liduino Pitombeira (1962).<\/p>\n

In Guarnieri’s\u00a0Ponteios<\/em>\u00a0No. 39 and No. 44, originally written for solo piano, we witness the composer’s fertility and the care of the then arranger Osvaldo Lacerda. Lacerda’s subsequent\u00a0Sonata para Obo\u00e9 e Piano\u00a0<\/em>showcases broad contrasts between its movements, with its expressive density clearly evident in the duo’s performance.<\/p>\n

Pitombeira’s\u00a0Sonata para Obo\u00e9 e Piano<\/em>\u00a0was composed especially for this album. In the first movement, it weaves intertextuality with Ludwig van Beethoven’s\u00a0Moonlight Sonata<\/em>\u00a0(1770-1827) and Arnold Schoenberg’s\u00a0Pierrot Lunaire<\/em>\u00a0(1874-1951). In the second movement, it revisits the sonata form, incorporating elements previously used in the work.<\/p>\n

In\u00a0Brazilian Music for Oboe and Piano<\/em>, no phrase or intention is wasted in the interpretations by Ficarelli and Aragoni. The uniqueness of the repertoire they choose is significant, as all the pieces, except those by Guarnieri, have never been recorded before. This auspicious recording showcases a rare art that demands to be heard.<\/p>\n

Text: Daniel Bento \u2013\u00a0@enxerguemusica<\/a><\/p>\n<\/div><\/section><\/p><\/div>

Also listen<\/h3>
<\/div><\/div><\/div>
\n
\"\"<\/a>

Brazilian Music For Oboe And Piano<\/a><\/h3>Alexandre Ficarelli<\/a>, Marcos Aragoni<\/a> <\/span><\/span><\/header>
A selection of pieces in a rich cross-section of the 20th century, interpreted by representatives of musical nationalism, in a dialogue between oboe and piano.<\/div><\/div>