The title Brazilian Adventures here isn't ideal: it refers more to the process by which the music was assembled than to the exclusively sacred compositions performed. But conductor Jeffrey Skidmore indeed had at least an intellectual adventure, visiting various Brazilian cities and consulting with local experts on unknown compositions from colonial Brazil that they had unearthed in their cities' archives. For his initiative in the rediscovery of completely unknown repertory Skidmore deserves major kudos: the space between ...
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The title Brazilian Adventures here isn't ideal: it refers more to the process by which the music was assembled than to the exclusively sacred compositions performed. But conductor Jeffrey Skidmore indeed had at least an intellectual adventure, visiting various Brazilian cities and consulting with local experts on unknown compositions from colonial Brazil that they had unearthed in their cities' archives. For his initiative in the rediscovery of completely unknown repertory Skidmore deserves major kudos: the space between the Renaissance and the late 19th century is an almost complete lacuna in the recorded repertory, at least outside Brazil. But the music itself, written in the late 18th and early 19th century, is better still. It's mostly in a style that has been called Brazilian Baroque: the basic diatonic harmonies and melodic emphasis comes from Mozart and Haydn, but the large masses proceed in small chunks reminiscent of earlier music rather than unfolding in sonata form and its relatives. There...
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