SELO OSESP 2

DUAS PEÇAS PARA ORQUESTRA

ORQUESTRA SINFÔNICA DO ESTADO DE SÃO PAULOCELSO ANTUNES REGENTE

ISAAC KARABTCHEVSKY REGENTE

ARMANDOALBUQUERQUE

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ARMANDOALBUQUERQUE [1901-86]

ORQUESTRA SINFÔNICA DO ESTADO DE SÃO PAULO SÃO PAULO SYMPHONY ORCHESTRA CELSO ANTUNESREGENTE CONDUCTOR ISAAC KARABTCHEVSKYREGENTE CONDUCTOR

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1.SUITE BREVE [14’22]

- Abertura [03’03’’] BR-FQ5-1400010

- Cantilena [03’54’’] BR-FQ5-1400011

- Final [7’25’’] BR-FQ5-1400012 CELSO ANTUNES REGENTE

2. EVOCACÃO DE AUGUSTO MEYER [6’02’’]

ISAAC KARABTCHEVSKY REGENTE

BR-FQ5-1400013

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Passados quase trinta anos desde seu opus 1, a miniatura para piano Pathe-Baby (1926), baseado no livro homônimo de Alcântara

Machado, Armando Albuquerque compôs a sua primeira obra para orquestra, a Suite Breve. A inexistencia de uma orquestra sinfônica em Porto Alegre ate os anos 1950 tornava inutil a composicao de pecas com a orquestracao completissima que Albuquer-que desejava para essa obra, cuja primeira versao data de 1954. Compor para piano e extrair cancoes dos versos de Augusto Meyer e Athos Damasceno, modernistas rio-gran-denses, talvez fosse tarefa mais prazerosa. A criacao da Orquestra Sinfônica de Porto Alegre, no inicio dos anos 1950, foi o im-pulso necessario para a composicao da Suite Breve, ensaiada um ano antes na trilha sonora do filme Parque. A Suite Breve [editada agora pela Criadores do Brasil, da Osesp] e a mais elaborada das obras orquestrais de Albuquerque, entre as quais esta tambem a Evocacao de Augusto Meyer.Seus tres movimentos curtos coincidem com a brevidade referida no titulo, e todos eles ampliam algum aspecto caracteristico da obra de Albuquerque.

SUITE BREVE [1954]

O primeiro movimento, “Abertura”, e uma sequencia de ideias que, uma vez expostas, desaparecem para nao voltar. Ai esta a aplicacao pratica da frase que ouvi o compositor repetir tantas vezes: “Quando nao tenho mais nada a dizer, eu paro”. E este procedimento que confere a obra seu carater epigramatico, e o primeiro movimento da Suite Breve e exatamente uma “sequencia nao sequencial” de miniaturas, cada uma surpreendendo o ouvinte por um breve instante. O segundo movimento, “Cantilena”, ao contrario, e uma das unicas ocasioes em que, em Albuquerque, um tema volta a ser ouvido, quase num eco da forma A-B-A classica. O nucleo desse movimento e a melancolia que de vez em quando invade a obra do compositor. Aqui, sopros e percussao calam para que se ouca algo que e, a um so tempo, dramatico e saudoso, a mexer com a memoria do ouvinte: “Mas isso eu ja ouvi, isso eu ja vivi...”. E tambem de memoria que trata o tercei-ro movimento, “Final”. Os dois instrumentos mais significativos da vida de Albuquerque tem voz solista — o violino, seu instrumen-to de formacao nos anos 1920, e o piano, que, com presenca constante ao longo da

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obra, e seu alter ego. A cadencia para violino e curtissima, a do piano ocupa espaco maior. Tanto assim que, na versao de 1954, a palavra final da peca cabia ao piano. Em 1967, no en-tanto, Albuquerque reabriu o processo com-posicional e ampliou o movimento com uma coda que, se tem a desvantagem de roubar do piano a moral da historia, arredonda o mo-vimento e da um final mais coerente, menos imprevisto, a obra toda. Ha muitas sombras na Suite Breve. Um resto de cancao folclorica aqui, um fragmento a lembrar Villa-Lobos ali. E, acola, um eco avant la lettre do Tom Jobim de Urubu. Nessas sombras, no carater “telegrafico” dos seus movimentos externos, na melancolia das cor-das do segundo movimento, na orquestracao desenhada com detalhes precisos, a Suite Breve e puro Armando Albuquerque, assim como no afeto ao criar temas cativan-tes e na falta de paciencia para leva-los as ultimas consequencias.

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EVOCACÃO DE AUGUSTO MEYER [1970]

O poeta Augusto Meyer (1902-70) e o compositor Armando Albuquerque foram companheiros de jornada

nos tempos heroicos do modernismo rio--grandense da decada de 1920. Meyer foi o artifice da nova poesia no sul, enquanto Albu-querque fixou a personalidade da musica de Porto Alegre, juntamente com Luiz Cosme e Radames Gnattali, seus colegas de estu-dos. Para Albuquerque, o meio nao musical da cidade parecia mais atraente e dinâmico do que o meio musical, engessado na paixao pela subopera italiana e por compositores de segunda e terceira linha. Nesse sentido, a ami-zade com o poeta foi o fermento necessario para liberar sua musica de qualquer cacoete passadista e planta-la na mais firme atualidade. No final dos anos 1920, poeta e compo-sitor tinham produzido algo do melhor de suas obras. Meyer levara a poesia modernista rio-grandense a idade adulta com os Poemas de Bilu — de 1929: “Clown impecavel, o fan-tasma pulou da chamine, ue, / salto mortal um-dois, / caiu na rua sem barulho. / Treme o arrepio das folhas frias. / Gato amoroso mia: marrau. / O lua enorme como um O!”

Albuquerque, por sua vez, tinha concluido toda a sua musica do periodo “trepidan-te”, com suas referencias ao modernismo paulista e a antropofagia: Pathe-Baby, um aforismo baseado em Alcântara Machado, Noite Barbara, Chope, Uma Ideia de Cafe e uma miniatura para piano com nome imenso: A Mastigacao do Barbaro ou Cantilena ou Moto Non Perpetuum ou A Mulher do Barbaro Cantando Embalando o Filho Mas Nao se Ouve Porque Ele Mastiga Muito Forte. Depois dos 1920, os caminhos se sepa-raram. A vida de poeta e academico levou Augusto Meyer para o Rio de Janeiro. Armando Albuquerque deixou-se ficar em Porto Alegre, tornou-se professor de con-traponto e harmonia, orientou Joao Gilberto no inicio de carreira e nunca deixou que a composicao ficasse longe de suas maos. Augusto Meyer, entao uma ausencia na cidade, esteve novamente presente na musica de Albuquerque dos anos 1940, emprestando seus poemas as cancoes para voz e piano que o compositor produziu em serie, retornando aos poemas da-queles tempos modernos dos 1920, como se nunca tivessem passado, como ainda falassem

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da Porto Alegre que ambos haviam trilhado, rua por rua, nas noites insones depois do fe-chamento dos cafes e bares. Quando Augusto Meyer morreu, em 10 de julho de 1970, um choque de inspiracao, a tris-teza pelo amigo perdido e pelos tempos esque-cidos, fizeram com que Armando Albuquerque compusesse a sua peca mais discursiva e dramatica, a Evocacao de Augusto Meyer. Ha duas versoes da mesma Evocacao: uma para solo de piano, dedicada a pianista Norma Bojunga, sua colega de universidade; outra, para orquestra sinfônica, estreada naquele mesmo 1970 pela Orquestra Sinfônica de Porto Alegre, regida pelo violoncelista Jean-Jacques Pagnot. A Evocacao de Augusto Meyer — agora edita-da pela Criadores do Brasil, editora da Osesp — esta escrita num movimento continuo, demarcado aqui e ali por intertitulos que re-velam um pouco das intencoes do compositor. A peca comeca com um “Chamamento” de oito compassos, no qual os saltos ascenden-tes dos instrumentos desenham no ar o perfil longilineo do poeta. Logo a nota La comeca a soar insistentemente, e assim permanece quase ate o final da obra. Em seguida, vem

“Busca”, a parte central e mais longa da peca, um longo desenvolvimento de melodia, o vo-lume crescendo, tanto em textura quanto em dinâmica, adensando a dramaticidade que ja-mais foi tao explicita na obra de Albuquerque, caracterizada pelo humor ou pela calma franca da poesia. Terminado o crescendo, vem o “Encontro” onde, supoe-se, compositor e poeta confa-bulam uma vez mais nas ruas da memoria. A Evocacao termina com catorze compas-sos polemicos: a “Evocacao da Terra” com a introducao do acordeao, instrumento nao sinfônico, para revitalizar a orquestracao. E esse ar de regionalismo que conduz a peca a dissolucao absoluta, um rufar quase inaudivel de timpano e bombo. Nesse nada sonoro, Albuquerque e Meyer irmanam-se e se vao, deixando o ouvinte a espera de uma nota mais conclusiva que, logo se ve, nao chegara nunca.

CELSO LOUREIRO CHAVES e compositor e professortitular do Instituto de Artes da Universidade Federal do Rio Grande do Sul.

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A lmost thirty years since his Opus 1, the piano miniature Pathe-Baby (1926), inspired by the eponymous book

by modernist writer Alcântara Machado, Armando Albuquerque composed his first work for the orchestra, the Suite Breve (Short Suite). The fact that there was no symphony orchestra in Porto Alegre until the 1950s made it pointless to compose works for the entire orchestra, but despite this Albuquerque always wanted this work, whose first version dates from 1954, to be on orchestral piece. Composing for the piano and extracting songs from the poetry of Augusto Meyer and Athos Damasceno, modernists from the state of Rio Grande do Sul, was perhaps a more enjoyable task, however. The creation of the Porto Ale-gre Symphony Orchestra in the early 1950s was the stimulus that Albuquerque needed to compose his Short Suite, part of which first appeared in 1953 in the soundtrack to the film Parque (Park). The Short Suite [now being published by Osesp’s Criadores do Brasil] is the most elaborate of Albuquerque’s orchestral works, which also include Evocacao de Augusto Meyer (Evocation of Augusto Meyer). Its

SHORT SUITE [1954]

three short movements correspond to the brevity referred to in the title, and they each expand on a characteristic aspect of Albuquerque’s oeuvre. The first movement, “Ouverture”, takes the form of a series of ideas that, once revealed, vanish to never return. This represents the putting into practice of a phrase that I heard the composer utter on so many occasions: “When I’ve got nothing else to say, I stop”. It is this aspect that gives the work its succinct quality, and the first movement of the Short Suite is precisely a “non-sequential sequence” of miniatures, each of which takes the listener momentarily by surprise. The second movement, “Cantilena”, in contrast represents one of the few occasions in Albuquerque’s work when a theme is heard again, almost in an echo of the classic A-B-A form. The nucleus of this movement is the melancholia that periodically invades the composer’s oeuvre. In this case woodwind and percussion instruments remain quiet to allow something to be heard that is dramatic and nostalgic, at one and the same time, and jogs the listener’s memory: “But I’ve already heard this, I’ve already experienced this...”

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Memory is also the theme of the third movement, “Finale”. The two most significant instruments in Albuquerque’s life — the violin, the instrument that he was trained to play in the 1920s, and the piano, his alter ego and a constant presence throughout his oeuvre, are now given a solo voice. The cadenza for violin is extremely short, whereas the one for piano is longer, so much so that in the 1954 version the piano is given the last word of the entire composition. In 1967, however, Albuquerque re-visited his composition and added a coda to the movement that, although it has the disadvantage of stealing the moral of the story from the piano, rounds the movement off and provides a more coherent, less unexpected ending to the entire work. There are many shadowy presences in the Short Suite. Here and there you can hear a snippet of a folk song or a fragment reminiscent of Villa-Lobos, and even an echo avant la lettre of Tom Jobim’s album Urubu. In these shadows within the work, in the “telegraphic” nature of its external movements, in the melancholia of the strings in the second movement, in the carefully designed orchestration with its attention

to detail, the Short Suite is pure Armando Albuquerque, as well as in the tenderness with which it creates captivating themes and in its impatience to take them to their ultimate conclusions.

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T he poet Augusto Meyer (1902-70) and the composer Armando Albuquerque (1901-86) were companions during the

heroic times of the Modernist movement in the state of Rio Grande do Sul in the 1920s. Meyer was the creator of ‘new poetry’ in the south of Brazil, whereas Albuquerque established the template for music from the state capital, Porto Alegre, together with Luiz Cosme and Radames Gnattali, his fellow students and friends. For Albuquerque, the non-musical milieu of the city seemed more attractive and dynamic than its musical one, which was stuck in its love of mediocre Italian opera and second- and third-rate composers. His friendship with the poet was thus the springboard that he needed to free his music from any kind of outmoded bad habits and plant it more firmly in contemporary times. At the end of the 1920s, the poet and the composer had produced some of their greatest works. Thanks to Meyer’s Poemas de Bilú (Poems of Bilú) of 1929 Rio Grande do Sul’s modernist poetry had finally come of age: “Impeccable clown, the ghost jumped out of the chimney, whoa, / somersault one-two, / he fell into the street without a sound. / The cold leaves shiver. / A cat on heat meows: meow. / Oh enormous

EVOCATION OF AUGUSTO MEYER [1970]

moon like a letter O!” Albuquerque, in turn, had composed all his music from his “frenetic” phase, with its references to the Modernist movement of Sao Paulo and the so-called “Cannibalist Manifesto”: Pathe-Baby, an aphorism inspired by Alcântara Machado, Noite Barbara (Barbaric Night), Chope (Draught Beer), Uma Ideia de Cafe (A Cafe Idea) and a piano miniature with an enormous name: A Mastigacao do Barbaro ou Cantilena ou Moto Non Perpetuum ou A Mulher do Barbaro Cantando Embalando o Filho Mas Nao se Ouve Porque Ele Mastiga Muito Forte (The Mastication of The Barbaric or Cantilena or Moto Non Perpetuum or The Barbarian’s Wife Singing a Lullaby to Her Son But Not Being Heard Because He’s Chewing Very Loud). After the 1920s the two parted ways. The life of a poet and academic took Augusto Meyer to Rio de Janeiro. Armando Albuquerque stayed on in Porto Alegre, became a teacher of counterpoint and harmony, was a mentor for Joao Gilberto [the bossa-nova genius] at the start of his career, and never stopped composing. Augusto Meyer, whose absence was felt in the city, re-appeared in Albuquerque’s music in the 1940s, allowing his poems to be incorporated into the songs for voice and piano that the composer produced in succession, returning to

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the poems of the modern times of the 1920s, as if those years had never ended, as if those lines still spoke of the Porto Alegre that they had traversed, street by street, during their sleepless nights after all the cafes and bars had closed their doors. When Augusto Meyer died, on 10 July 1970, the shock and the sadness at the loss of a friend and of times gone by led Armando Albuquerque to compose his most discursive and dramatic work, Evocation of Augusto Meyer. There are two versions of this work: one for solo piano, dedicated to the pianist Norma Bojunga, his friend at university, and the other for symphony orchestra, which premiered that same year, 1970, in a performance by the Symphony Orchestra of Porto Alegre, conducted by the cellist Jean-Jacques Pagnot. Evocation of Augusto Meyer — now published by Osesp’s own publishing branch — is written in one continuous movement, demarcated here and there by intertitles that reveal a little of the composer’s intentions. The work begins with the eight-bar “The Call”, in which the ascending leaps of the instruments trace in the air the poet’s tall profile. The note A then begins to sound insistently, a feature that remains virtually until the end of the work. Then comes the “The

Quest”, the central and longest section of the work, a sustained development of the melody, in crescendo, both in texture and dynamics, intensifying the dramatic quality that has never been so explicit in Albuquerque’s oeuvre, which is typically characterized by its humour or the straight-talking calm of its poetics. The crescendo ends and is followed by the “The Encounter” where the composer and the poet appear to reminisce as they stroll together one more time down memory land. The Evocation finishes with fourteen controversial bars: the “The Evocation of The Land” where the accordion, not a symphonic instrument, is introduced to revitalise the orchestration. This air of regionalism leads the work into total disarray, an almost inaudible roll of the timpani and kettledrums. In this sonic nothingness, Albuquerque and Meyer stand shoulder to shoulder and then vanish, leaving the listener expecting a more conclusive note that, as is soon revealed, will never appear.

CELSO LOUREIRO CHAVES is a composer and a professor at the Instituto de Artes da Universidade Federal do Rio Grande do Sul (Institute of Arts at the Federal University of Rio Grande do Sul).TRANSLATED BY LISA SHAW.

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ALESSANDRA FRATUS

Desde seu primeiro concerto, em 1954, a Orquestra Sinfônica do Estado de Sao Paulo — Osesp — trilhou uma historia

de conquistas, que culminou em uma institui-cao hoje reconhecida internacionalmente pela excelencia. Com mais de 60 CDs lancados, a Osesp tornou-se parte indissociavel da cultura paulista e brasileira, promovendo transforma-coes culturais e sociais profundas. Alem das turnes pela America Latina, Estados Unidos, Europa e Brasil, o grupo realiza desde 2008 a turne Osesp Itinerante, pelo interior do estado de Sao Paulo, promovendo concertos, oficinas e cursos de apreciacao musical para mais de 170 mil pessoas. Atividades educativas na Sala Sao Paulo atraem a cada ano cerca de 120 mil criancas e adolescentes. Em 2012, Marin Alsop

assumiu o posto de regente titular, contando com o maestro brasileiro Celso Antunes como re-gente associado. Neste mesmo ano, em sequencia a concertos no festival BBC Proms de Londres e no Concertgebouw de Amsterda, a Osesp foi apontada pela critica especializada estrangeira como uma das orquestras de ponta no circuito internacional. Em 2013, Marin Alsop foi nomea- da diretora musical da Osesp e a orquestra realizou sua quarta turne europeia, apresen-tando-se pela primeira vez — e com grande sucesso — na Salle Pleyel, em Paris; na Berliner Philharmonie, casa da Filarmônica de Berlim; e no Royal Festival Hall, no Southbank Centre, principal centro de artes de Londres. Em 2014, celebrando os 60 anos de sua criacao, a Osesp realizou turne por cinco capitais brasileiras.

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ORQUESTRA SINFÔNICA DO ESTADO DE SÃO PAULO

SÃO PAULO SYMPHONY ORCHESTRA

S ince its first concert in 1954, the Sao Paulo Symphony Orchestra (Osesp) has developed into an institution recognized

for its excellence. Having released more than 60 recordings, the orchestra has become an inseparable part of Sao Paulo and Brazilian culture, promoting deep cultural and social transformation. Besides touring through Latin America, the United States, Europe and Brazil, since 2008 the group has toured widely throughout the Sao Paulo countryside, promoting concerts, workshops, and courses in music appreciation for over 170,000 people. In 2012 the American Marin Alsop took the post of Principal Conductor, with Brazilian Celso Antunes as Associate Conductor. In 2013 Marin Alsop was appointed as musical director

of Osesp and the orchestra took part in its fourth European tour, performing for the first time, and to great acclaim, at the Salle Pleyel in Paris, at the Berliner Philharmonie, home of the Berlin Philharmonic Orchestra, and at the Royal Festival Hall at the Southbank Centre, one of the leading arts centres in London. In 2014, commemorating its 60th anniversary year, Osesp performed in five Brazilian state capitals.

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MARCO BORGGREVE

Nascido em 1959, em Sao Paulo, Celso Antunes assumiu o posto de regente as- sociado da Osesp em 2012. Formado

como regente na Musikhochschule de Colônia, atua com a mesma desenvoltura como regente de orquestra e de coral. Antunes e professor de regen-cia coral da prestigiosa Haute Ecole de Musique de Genebra, foi regente titular da Nova Orquestra de Câmara da Renânia (1994-98), do Coro da Radio da Holanda (2008-12) e do conjunto belga de musica contemporânea Champ d’Action (1994-97), alem de diretor artistico e regente titular da National Chamber Choir, da Irlanda, entre 2002 e 2007, anos considerados pelo Irish Times como “uma ida-de de ouro para o canto profissional na Irlanda”. Trabalha regularmente com alguns dos principais corais da Europa, entre os quais o SWR Stuttgart Vocal Ensemble, o BBC Singers, em Londres, e o

Vlaamse Radio Koor, em Bruxelas. Entre os maes-tros com quem ja trabalhou, estao Sir Simon Rattle, Zubin Mehta, Mariss Jansons, Charles Dutoit, Peter Eötvös, Sylvain Cambreling e Marin Alsop.

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CELSO ANTUNES

REGENTE CONDUCTOR

Born in 1959 in Sao Paulo, Celso Antunes took on the position of associate conductor at Osesp in 2012. Graduated as conductor

at the Musikhochschule of Colony, he performs with the same resourcefulness as an orchestra and choral conductor. Antunes teaches choral conducting at the prestigious Haute Ecole de Musique de Genève, was the chief conductor at the Rhine Chamber Orchestra (1994-98), at the Netherlands Radio Choir (2008-12) and at the Belgian group of contemporary music Champ d’Action (1994-97), as well as artistic director and chief conductor at Ireland’s National Chamber Choir between 2002 and 2007, years that were considered by the Irish Times as “a golden age for the professional singing in Ireland”. He works regularly with some of the main European chorales, including the SWR

Stuttgart Vocal Ensemble, the BBC Singers in London and the Vlaamse Radio Koor in Brussels. He has worked with conductors such as Sir Simon Rattle, Zubin Mehta, Mariss Jansons, Charles Dutoit, Peter Eötvös, Sylvain Cambreling and Marin Alsop.

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BRUNO VEIGA

Em 2009, o jornal ingles The Guardian indicou o maestro Isaac Karabtchevsky como um dos icones vivos do Brasil. Nascido em Sao

Paulo, estudou regencia e composicao na Alema-nha, sob orientacao de Wolfgang Fortner, Pierre Boulez e Carl Ueter. Entre 1969 e 1994, dirigiu a Orquestra Sinfônica Brasileira e, entre 1995 e 2001, foi diretor musical do Teatro La Fenice, em Veneza. Foi tambem diretor artistico da Or-questra Sinfônica de Porto Alegre, do Theatro Municipal de Sao Paulo, da Orchestre National des Pays de la Loire, na Franca, e da Orquestra Tonkunstler, em Viena. Recebeu a medalha do Merito Cultural do governo austriaco e a comen-da Chevalier des Arts e des Lettres do governo frances, alem de condecoracoes de praticamen-te todos os estados brasileiros. Regeu concertos na Staatsoper e no Musikverein, em Viena, no

Concertgebouw, em Amsterda, no Royal Festival Hall, em Londres, na Sala Pleyel, em Paris, e no Carnegie Hall, em Nova York. E diretor artistico e regente titular da Petrobras Sinfônica, do Rio de Janeiro, diretor artistico do Theatro Municipal do Rio de Janeiro e, desde 2011, diretor artistico do Instituto Baccarelli e da Sinfônica de Heliopolis. Participa do projeto de gravacao integral das Sinfonias de Villa-Lobos com a Osesp, ja tendo registrado as sinfonias numeros 3, 4, 6, 7 e 10.

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ISAAC KARABTCHEVSKY

In 2009 the British newspaper The Guardian named Isaac Karabtchevsky as one of Brazil’s living icons. Born in Sao Paulo, he studied

conducting and composition in Germany, under the supervision of Wolfgang Fortner, Pierre Boulez and Carl Ueter. Between 1969 and 1994 he led the Brazilian Symphony Orchestra (OSB), and between 1995 and 2001 he was musical director of the La Fenice Theatre in Venice. He was also artistic director of the Porto Alegre Symphony Orchestra in Brazil, of the Sao Paulo Municipal Theatre, of the Orchestre National des Pays de la Loire in France, and of the Tonkunstler Orchestra in Vienna. He was awarded the Cultural Merit medal by the Austrian government and was made Chevalier des Arts et des Lettres by the French government, as well as being honoured by virtually every province in Brazil. He has

conducted concerts at the Staatsoper and at the Musikverein in Vienna, at the Concertgebouw in Amsterdam, at the Royal Festival Hall in London, at the Salle Pleyel in Paris, and at Carnegie Hall in New York. He is artistic director and principal conductor of the Petrobras Symphony Orchestra in Rio de Janeiro, artistic director of the Rio de Janeiro Municipal Theatre and, since 2011, has been the artistic director of the Baccarelli Institute and the Heliopolis Symphony Orchestra. He is involved in the project to record in their entirety the symphonies of Villa-Lobos with the Sao Paulo Symphony Orchestra (Osesp), having already completed recordings of symphonies 3, 4, 6, 7 and 10.

REGENTE CONDUCTOR

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ORQUESTRA SINFÔNICA DO ESTADO DE SÃO PAULO

Marin Alsop Diretora Musical e Regente Titular /

Music Director and Principal Conductor

Celso Antunes Regente Associado / Associate Conductor

FUNDAÇÃO OSESP

Arthur Nestrovski Diretor Artístico / Artistic Director

Marcelo Lopes Diretor Executivo / Executive Director

Fausto Arruda Superintendente / Superintendent

ORQUESTRA SINFÔNICA DO ESTADO DE SÃO PAULO

SÃO PAULO SYMPHONY ORCHESTRA

ISAAC KARABTCHEVSKY REGENTE / CONDUCTORCELSO ANTUNES REGENTE / CONDUCTOR

Fábio Miyahara, Fernando Dionisio e Mauro Santiago gravação Fundação Osesp / Osesp’s Foundation recordingGuilherme Triginelli edição / editionCelso Loureiro Chaves texto / textLisa Shaw tradução / translation

A Suite Breve foi gravada em setembro de 2014, e Evocação de Augusto Meyer em março de 2012 na Sala São Paulo.Suite Breve was recorded in September 2014, and Evocação de Augusto Meyer in March 2012, at Sala São Paulo. As obras Suite Breve e Evocação de Augusto Meyer foram editadas pela Criadores do Brasil, editora da Fundação Osesp.Suite Breve and Evocação de Augusto Meyer are published by Criadores do Brasil, São Paulo Symphony Orchestra’s publishing branch.

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DUAS PEÇAS PARA ORQUESTRA

ORQUESTRA SINFÔNICA DO ESTADO DE SÃO PAULOCELSO ANTUNES REGENTE

ISAAC KARABTCHEVSKY REGENTE

ARMANDOALBUQUERQUE

SELO DIGITAL OSESP 7

SELO DIGITAL OSESPMúsica Clássica para todos

Ouça e baixe gratuitamentewww.osesp.art.br/discogra�a

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