Oscar Lorenzo Fernândez (1897-1948)
Martin Jones (piano)
rec. 2022/23, Wyastone Concert Hall, Monmouth, UK
Brazilian Composer Series III
Nimbus Records NI8115 [67]
Following releases of piano music by Brazilians Francisco Mignone (NI8113) and Radamés Gnattali (NI8114) Martin Jones turns his attention to a less familiar figure Oscar Lorenzo Fernândez. He was born to Spanish parents in Rio de Janeiro and was destined for a career in medicine before suffering a breakdown and a music-filled and aided convalescence placed his feet on a musical path. Studies followed with Francisco Braga, Henrique Oswald and, most importantly Frederico Nascimento who led him to Alberto Nepomuceno (1964-1920); Nepomuceno had studied in Europe under Giovanni Sgambati as well as piano under Theodor Leschetizky and had spent time in Norway with Grieg who encouraged him to find the voice of Brazil in his music. He passed this on to his student Fernândez who then spread this influence further after his appointment to the teaching staff of the National Institute of Music in 1922. As with Mignone this nationalist ideal was reinforced by his friendship with the poet Mário de Andrade and when Fernândez became director of the Brazilian Conservatory he was to implement the educational methods formulated by de Andrade and Luciano Gillet, the director of the National Institute. He didn’t write so much for the piano in the 1940s concentrating more on chamber and orchestral works and his later output does include two symphonies, suite for orchestra and his second quartet. As regards the piano there was a suite on 5 notes and sonata breve and his final work was the Symphonic variations for piano and orchestra. He died of a heart attack at the relatively young age of 51 the morning after he conducted a concert to celebrate the centenary of the national music school.
Martin Jones plays works from the earlier part of his life and starts with the two miniatures that make up his op.1. The influence of impressionism can be felt in the shifting chromaticism of the opening slow waltz. The second is a humorous moto perpetuo étude coruscating across the keyboard. The Nocturne written the following year makes much of the left hand accompaniment rising and falling on open fourths while the tune weaves around it; notes of disquiet are brought in when the left hand takes up the melody and accompaniment leaving the right hand to swirl around in triplets. Arabesca and Miragem (mirage) are both evocative tone paintings, the first of a sultry, dusty landscape while the veiled swirling figuration of the second creates a more Debussy like impression. This is continued in the five Twilight Preludes which combine tonal but wide ranging chromatic harmony with swathes of colour and rhythmic complexity; Fernândez seems to have found his voice here and these are wonderful depictions of the subtle colours of the evening. The tranquillity of Evening evocation gradually segues into a gentle tango suggesting that not everyone is ready for the walk home and still moves to the rhythm of the dance. A passionate duet rises out of the texture of Idyll while the exultant call at the opening of sunset is a motif that echoes through much of the texture against a hint of the dance, now subdued and wistful. The simple opening of Angelus hints at bells and they are there throughout the piece, a shimmering accompaniment to the baritone melody in the left hand while the set closes with Fireflies, a dazzling study in presto triplets.
The three études in the form of a Sonata date from 1929 when Fernândez had moved away from impressionism and was more consciously incorporating Brazilian rhythms and folk tunes into his writing. The first is a study in fourths based around the rhythm heard in the opening bars; I was reminded of Stravinsky’s Petrushka a little in the melodic shape and general feel of the opening but Fernândez dispels that as the work continues and there is glorious use of texture and rhythm. The second movement/étude is a lullaby whose gentle lines are gently troubled by a syncopated inner voice that introduces some slight discords. A second tune in the unusual time of 10/8 is accompanied by flowing arpeggios. The final étude almost feels like one great crescendo from its tripping opening in which the short melodic motif that fills the piece plays over semiquaver left hand runs to its gradual increase in harmonic and chordal complexity. There is a fleeting hint of the danse russe from Petrushka in the final bars but possibly I am hearing that because of the opening of the sonatina. After the lush Valsa Suburbana which takes one back to the sultry writing of Radamés Gnattali Jones plays the three Suite Brasileira composed within a three year period in the 1930s; all three are marked On original themes though he evidently wanted them to sound like folksongs. They follow something of a progression from simple expression to vibrant audacity. The first is heartfelt; a melancholy old song and a slow waltz entitled regretful serenade enclose a beautiful lullaby. The second opens with a broad prelude that has hints of César Franck in its stately manner while the song that follows has elements of tango and explores the contrapuntal complexity of the three études in the form of a Sonata. A vigorous and undeniably toe-tapping rumba ends the suite. A syncopated ostinato rhythm characterises Toada (song) in the third suite, its melody creeping in gently but growing increasingly passionate keeping Jones busy balancing textures and rhythm. The serenade in the middle movement is sung by the left hand whilst the right hand provides a fluid accompaniment of double notes. The finale’s title, Jongo – Negro dance – may have a non-PC title but it has an unremitting rhythmic drive and visceral use of almost cluster chords way down in the bass of the piano that sets it stylistically apart from anything else here.
After its percussiveness the Rêverie that follows is a welcome balm even if troubled thoughts occasionally swim to the surface of the daydream. His Prelúdio Fantástico contrasts the jaunty energetic dance in his new style with a rich, slow waltz redolent of the impressionism that he was beginning to leave behind.
Once again Martin Jones brings this music to colourful life. The music sparkles and dances under his fingers and he is as touching in the simplicity of the lullabies as he is bold in the more technically demanding pages. This CD and its companions in this series have really opened my eyes and ears to the colourful, inventive and evocative works of these three giants of Brazilian music.
Rob Challinor
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Contents
Duas Miniatures Op.1 (1918)
Noturno op.3 (1919)
Arabesca Op.5 (before 1920)
Preludios do crepuscolo Op.15 (1922)
Três Estudos. Em forma de Sonatina (1929)
Valsa Suburbana Op.70 (1932)
Suite Brasileira No.1 (1936)
Suite Brasileira No.2 (1937-38)
Suite Brasileira No.3 (1937-38)
Rêverie Op.20 (1923)
Prelúdio Fantástico (1924)
Miragem (before 1920)
