ANTÓNIO VICTORINO D'ALMEIDA (b.1940): Restless Meditations on an April's Day for String Quartet, Op. 50, Un rêve d'un rêve for Piano, Violin, Flute and Clarinet, Op. 38, O Barnabé cat for Clarinet, Op. 46, The Cherry-Orchard for Piano, Violin, Clarinet, Accordion, Horn and Bassoon, Op. 60, To the Memory of my Attic for Celesta, Harp and 6 Percussionists, Op. 120, Uneasiness on the Tambourine for Marimba, Piano, Harp and Tambourine, Op. 122, Don Juan and the Mask for Flute and Guitar, Op. 80, The Woman in the Moon for String Quartet, Guitar, Oboe, Clarinet and Percussion, Op. 110, Fragment II for Piano, Guitar, Flute and Cello, Op. 71, Ancient Music for Piano, Violin, Flute, Oboe, Guitar and 2 Percussionists, Op. 37, 3 Trifles for Cello and Piano, Opp. 29, 117 & 125, The Circus Trapezium Number for Piccolo and Tuba, Op. 73, Piaf for Piano, Violin, Accordion and Harp, Op. 69, Sonata for Viola and Piano, Op. 94, Horn Sonata "Wiener Sonate", Op. 98, Trio for Piano, Clarinet and Cello, Op. 77, Caprice (About a Puppet Theatre) for Piano, Flute, Horn and Harp, Op. 88.

Catalogue Number: 05K091

Label: Numérica

Reference: NUM 1109

Format: CD

Price: $24.98

No Longer Available

Description: An appealingly varied collection of diverse chamber works spanning many years and covering a broad area of stylistic ground. Many of the pieces have some extramusical association, or originated in music for the stage or screen. There is frequently a playful, humorous element, as in the ramble through a cluttered family attic, or the musical portrayal of three flighty but respectable ladies on their piano, marimba and harp being disturbed by an intrusive male tambourine. In the suite drawn from music for a production of Chekhov's 'The Cherry Orchard' the composer's versatility in transforming entirely tonal, salon-style music into his own idiom is demonstrated; in other works too - the sonatas for instance - distorted or disguised marches, waltzes and other dances make appearances like nostalgic reflections or memories. Ancient Music is D'Almeida's take on Renaissance music - also originating in a stage production - again suggested but not authentically imitated. The composer's vocabulary is based in tonality - notwithstanding the odd excursion into dodecaphony or a very free chromaticism - and generally more so in the recent works than the early ones. Whatever the style the pieces have a liveliness of invention and deft lightness of touch that renders them appealing and approachable. 3 CDs. Various instrumentalists.


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