With a name like Mozart Camargo Guarnieri (his brothers were named Verdi and the slightly misspelled Rossine), a compositional career was probably inevitable. Though a prominent figure in Brazilian concert life, and one preferred by Copland to Villa-Lobos, Camargo Guarnieri has found only intermittent performances in the U.S. and Europe. His music is ideal for inclusion in the Naxos label's effort to rediscover various national traditions. Perhaps Camargo Guarnieri suffered because he lived long enough to change his style ...
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With a name like Mozart Camargo Guarnieri (his brothers were named Verdi and the slightly misspelled Rossine), a compositional career was probably inevitable. Though a prominent figure in Brazilian concert life, and one preferred by Copland to Villa-Lobos, Camargo Guarnieri has found only intermittent performances in the U.S. and Europe. His music is ideal for inclusion in the Naxos label's effort to rediscover various national traditions. Perhaps Camargo Guarnieri suffered because he lived long enough to change his style several times (although this was never an issue with Stravinsky). After an initial strong rejection of serialism, he accepted a loose version of its principles in the Piano Concerto No. 4 heard here. He passed through several phases of free atonality, and in the Piano Concerto No. 6 he returned to the upbeat style of his youth, including elements of Brazilian nationalism and French neo-classicism. The strong point of this music is the consistent personality that shows through no...
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