The recorder is a fantastic musical instrument whose history and associations with the repertoire allow us to go further. It was an old dream of the ensemble to create a repertoire filled with soundtracks and to present the recorder to new audiences.
Let’s get started!
We have spent the last two years adapting to the circumstances. We were once again able to rehearse together, which allowed us to give shape to the incredible arrangements that Gustavo de Francisco had prepared for this project.
Soundtracks for games and cartoons, played on the recorder! You can listen and try to guess the theme. Let’s see who gets the best score!
After several years of uncertainty, the four of us were able to achieve success, as we had a lot of fun making this project a reality. And now we invite you to play with us!
| Warner Bros. |
The Warner theme |
| Koji Kondo (1961) |
Super Mario World |
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The Legend of Zelda |
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Zelda – Ocarina of Time |
| Alan Menken (1949) |
The Beauty and the Beast |
| Ari Pulkkinen (1982) |
Angry Birds Toccata |
| Piotr Tomasz Harasimiuk (1973) |
Angry Birds Fuga |
| Danny Elfman (1953) |
The Simpsons Main Title Theme |
| Leigh Harline(1907-1969) / Ned Washington (1901-1976) |
When you wish upon a star |
| Jeremy Soule (1975) |
Skyrim – The Elder Scrolls |
| Vince Guaraldi (1928-1976) |
Linus and Lucy – Snoopy |
| Randy Newman (1943) |
Monsters’ Inc. |
|
You’ve got a friend in me |
This is a Brazilian music sound photograph of the twentieth century, and also very special work, because this photograph is unheard of! The repertoire on this album has never been recorded previously on recorders. We also present two original Brazilian compositions for recorders.
Brazilian popular culture is full of legends, one of which, Caboclo d’água (The Water Caboclo) lent its name to this album. Thus, with Caboclo, we make use of the symbolism of the enchanted, relating this character with one of the different representations and images associated with the recorder.
Special thanks to our sponsors:
Conservatório Musical Brooklin Paulista
Aldenize T. da Costa
Levi L. Araujo
| Heitor Villa-Lobos (1887 – 1959) |
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Bachianas Brasileiras no 5 – Ária (Cantilena) (1938) |
|
Choros nº 4 (1926) |
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A lenda do caboclo (1920) |
| Tim Rescala (1961) |
|
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A banda de pífaros do Rei Arthur (2019) |
| Radamés Gnattali (1906 – 1988) |
|
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Quarteto nº 3 (1963) |
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Cantilena (1939) |
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Seresta Nº 1 – Samba (1930) |
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Seresta nº 2 (1932) |
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Lenda (1936) |
| César Guerra Peixe (1914 – 1993) |
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De viola e rabeca – No estilo de cantoria nordestina (1950) “Mourão” |
| Daniel Wolff (1967) |
|
|
Flautata Doce (2013) |
| total: 62’47” |
|
Making music together in small concert halls is a familiar part of the lives of those who dedicate themselves to the recorder. When this activity becomes a profession, it indicates that the participants understand that the recorder is a wonderful musical instrument for two reasons: the individual sonority of each instrument can be distinguished easily, and, moreover, it blends perfectly with that of the other instruments of the recorder family. So, it is the recorder, an apparently simple instrument that permits the performance of complex musical texts sublimely.
This recording of The Art of Fugue demonstrates Bach’s complete mastery of the most complex form of musical expression within the learned music known as counterpoint, and the complete mastery of the Quinta Essentia quartet of the art of making music with recorders.
| J. S. Bach (1685 – 1750) |
A Arte da Fuga (1749) – BWV 1080 |
|
Contrapunctus 1 |
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Contrapunctus 3 |
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Contrapunctus 2 |
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Contrapunctus 4 |
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Canon in Hypodiapason – alla ottava |
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Contrapunctus 5 |
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Contrapunctus 6 |
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Contrapunctus 7 |
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Canon in Hypodiatessaron al roversio e per augmentationem |
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Contrapunctus 8, a 3 |
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Contrapunctus 9, a 4 alla Duodecima |
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Contrapunctus 10, a 4 alla Decima |
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Contrapunctus 11, a 4 |
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Canon per augmentationem in Contrario Motu |
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Contrapunctus 12, a 4: rectus |
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Contrapunctus 12, a 4: inversus |
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Canon alla Decima – Contrapunto alla terza |
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Contrapunctus 13, a 3: rectus |
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Contrapunctus 13, a 3: inversus |
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Canon alla Duodecima in Contrapunto alla Quinta |
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Contrapunctus 14 a 3 soggetti |
| total: 81’41” |
|
CD recorded at X Festival Internacional de Música Renascentista e Barroca Americana “Misiones de Chiquitos”
Joseph Bodin de Boismortier (1689 – 1755)
Sonata 6 (1731)
Adagio
Allegro
Largo
Allegro
Live recording on the Contemporary Music Concert Series by CPFL Culture, on Oct/24/2015 in Campinas/SP
| SINHÔ (1888 – 1930) |
Jura (1928) – adap. Quinta Essentia |
CD album recorded at X Festival Internacional de Música Renascentista e Barroca Americana “Misiones de Chiquitos”
Joseph Bodin de Boismortier (1689 – 1755)
Sonata 6 (1731)
Adagio
Allegro
Largo
Allegro
Making chamber music with recorders is to travel through the old and the new world of musical expressions. In Brazil, the relationship with the old fascinates us by the creative risk we run in our musical interpretations. Artistically, we have the freedom which poetic license offers us through the distancing from the familiarity of the aesthetic rules of European music. However, the relationship with the new is like being in the vanguard, opening new landscapes for the foreign instrument, among them the universe of Brazilian music. Falando Brasileiro is full of original compositions for recorders.
| SINHÔ (1888 – 1930) |
Jura (1928) – adap. Quinta Essentia |
| R. DOS SANTOS (1953) |
Choro do Fábio (1980) |
| A. C. JOBIM (1927 – 1994) |
Desafinado (1963) – arr. Paul Leenhouts (1957) |
M. NASCIMENTO (1942)
e F. BRANT (1946) |
Ponta de Areia (1975) – adap. Quinta Essentia |
| E. ESCALANTE (1937) |
Quatro Peças para Flauta Doce (2011)
Canoa (barcarola), Fugato (chorinho), Embolada, Moderado |
| GUINGA (1950) |
Choro pro Zé (1992) – arr. Rafael dos Santos (1953) |
| E. ESCALANTE (1937) |
Quarteto nº 1 “São Paulo” (1974)
Paisagem, Modinha (Jardim da Luz), Dança (Trenzinho da Cantareira), Rondó (Metrô) |
| C. GUERRA-PEIXE (1914 – 1993) |
1.a Suite Infantil (1944)
ponteio, valsa, choro, seresta, achechê |
| B. KIEFER (1923-1987) |
Poemas da terra (1976)
1, 2, 3, 4 e 5 |
In 2007 the Quinta Essentia Quartet won the Stimulus Music Award from the Secretary of State for Culture in São Paulo, enabling us to record the album La Marca. Choosing the repertoire for a recording is something that is always difficult, therefore we tried to find the answer to the question “ but what, in fact, de we wish to leave as a record?” It wasn’t easy to answer this. We came to the conclusion that we would record our hallmark sound: a recorder quartet, with different instruments, differing musical styles and a large amount of good music in our heads.
La Marca is a showcase of the possibilities of our instrument. The recorder is an instrument that gives us the opportunity to travel through many different genres and musical styles. It is a melodic instrument that joins forces with its family to deliver harmony and to facilitate splendid musical performance.
| Tarquinio Merula (1595 – 1665) |
La Merula |
| Adriano Banchieri (1568 – 1634) |
Canzona sesta L’Alcenagina (1596) |
| Tarquinio Merula (1595 – 1665) |
La Marca |
| Adriano Banchieri (1568 – 1634) |
Canzona decima La Feliciana (1596) |
| William Byrd (1543 – 1623) |
Sermone Blando |
| Diomedes Cato (1560/1565 – ca.1618) |
Fantasia Cromática a 4 |
| Jan Pieterzoon Sweelinck (1562 – 1621) |
Mein Junges Leben hat ein End’ |
| Joseph Bodin de Boismortier (1689 – 1755) |
Sonata 5 (1731) |
| Henry Purcell (1659 – 1695) |
Chaconne |
| Georg Philipp Telemann (1681 – 1767) |
Concerto em Fá Maior |
| Pe. José Maurício Nunes Garcia (1767 – 1830) |
Immutemur Habitu |
| Julio Bellodi |
Sonho Novo (2007) |
| Claudio Menandro |
Descascando Uva (2007) |
| Pixinguinha (1897 – 1973) |
Um a Zero (1946) |
