ilBonecos de Olinda Overture … Clarice Assad
(Born February 9, 1978, in Rio de Janeiro, Brazil)
Clarice Assad is a Grammy-nominated Brazilian-American composer, pianist, vocalist, and educator whose music blends elements of classical, jazz, and Brazilian traditions. Born into a family of musicians, including her father, the celebrated guitarist Sérgio Assad, Clarice demonstrated exceptional musical talent from a young age. She studied composition at the University of São Paulo and earned further accolades at the Berklee College of Music and the New England Conservatory. Known for her genre-defying approach, Assad’s works often reflect her multicultural background and her innovative use of voice and rhythm.
As a composer, Assad has created an extensive catalog of works for orchestra, chamber ensembles, and solo performers. Her music is praised for its creativity, technical brilliance, and emotional depth. In addition to her work as a composer, she is a dynamic performer, frequently appearing as a soloist or with ensembles in both classical and jazz contexts. Her ability to cross genres and engage audiences worldwide has made her one of the most distinctive voices in contemporary music.
Bonecos de Olinda Overture is a vibrant orchestral piece inspired by the iconic giant puppets (hollow figures made of fabric, aluminum, paper, wood, and fiberglass) of Olinda, a historic city in northeastern Brazil. Bonecos originated in medieval Europe and were used in processions in the form of Catholic saints. During colonial Brazil, they found their way into the country, eventually becoming popularized as a staple of the carnival of Olinda in the North East state of Pernambuco. During the carnival, these picturesque dolls often assume the identity of well-known historical figures and celebrities. In Pernambuco, the music played and danced during carnival derives from rhythms such as frevo and maracatu; and is performed by a parade of street musicians alongside dancers and party-goers in an endless procession of euphoric madness. This piece was inspired by the carnival of Olinda, its rhythms and sounds, the relentless energy of that music, which often puts people in a trance-like state when time seems to sit still.
(Notes on Bonecos de Olinda Overture courtesy of Clarice Assad)
Scherzo Capriccioso … Antonín Dvořák
(Born September 8, 1841, in Nelahozeves, Austrian Empire; died May 1, 1904, in Prague, Austria-Hungary)
Antonín Dvořák was a Czech composer whose music is celebrated for its melodic beauty, vibrant rhythms, and rich harmonies. Born near Prague, Dvořák grew up in a modest family and began his musical journey as a church organist. He later studied at the Prague Organ School and worked as a violist in an orchestra conducted by Bedřich Smetana. Over time, Dvořák’s music gained recognition for its combination of Czech folk influences with classical forms, earning him international acclaim.
Dvořák’s compositions include symphonies, concertos, operas, and chamber music, many of which draw inspiration from the folk traditions of his homeland. His Ninth Symphony, From the New World, written during his time in the United States, remains one of the most popular symphonic works in the repertoire. Dvořák’s music is characterized by its lyricism, rhythmic vitality, and ability to evoke deep emotion.
The Scherzo Capriccioso, Op. 66, is a brilliant orchestral showpiece composed in 1883. True to its title, the work is playful and capricious, blending lively dance-like rhythms with lush, expressive melodies. The scherzo’s main theme is introduced by the winds and strings, full of rhythmic vitality and accented by syncopated rhythms. This theme alternates with contrasting lyrical passages, showcasing Dvořák’s gift for melody and orchestration.
Throughout the piece, Dvořák employs a wide range of orchestral colors, from the delicate interplay of woodwinds to the powerful surges of brass and timpani. The music is both joyful and dramatic, capturing the spirit of a lively dance with moments of heartfelt introspection. The Scherzo Capriccioso exemplifies Dvořák’s mastery of orchestral writing and remains a favorite among audiences and performers alike.
Symphony No. 5 … Sergei Prokofiev
(Born April 23, 1891, in Sontsovka, Ukraine; died March 5, 1953, in Moscow, Russia)
Sergei Prokofiev was one of the most innovative and versatile composers of the 20th century, known for his bold harmonies, rhythmic ingenuity, and distinctive melodic style. Born in Ukraine, Prokofiev began composing as a child and entered the St. Petersburg Conservatory at the age of 13. His early works showcased his adventurous spirit and technical brilliance, earning him a reputation as an enfant terrible of Russian music.
After the Russian Revolution, Prokofiev spent several years living abroad, gaining acclaim for his operas, ballets, and symphonies. He returned to the Soviet Union in the 1930s, where he continued to compose prolifically, balancing his innovative style with the demands of Soviet artistic policies. Prokofiev’s music includes masterpieces such as Peter and the Wolf, Romeo and Juliet, and his seven symphonies, which reflect his evolution as a composer.
Symphony No. 5 in B-flat major, Op. 100, composed in 1944, is one of Prokofiev’s most significant works and a testament to his ability to combine grandeur with emotional depth. Written during World War II, the symphony is often described as a tribute to the resilience and dignity of the human spirit. Prokofiev himself called it “a hymn to free and happy man, to his mighty powers, his pure and noble spirit.”
The symphony’s first movement, Andante, introduces sweeping, noble themes that unfold with majestic poise. Prokofiev masterfully develops these ideas, creating a sense of inevitability and grandeur that carries through the movement. The interplay between the soaring strings, solemn winds, and dramatic brass sets the stage for the symphony’s heroic tone. The movement’s climactic moments are both powerful and stirring, underscoring the triumph of the collective spirit.
The second movement, Allegro marcato, offers a stark contrast with its brisk, sardonic energy. Prokofiev’s characteristic wit shines through in the movement’s sharp, driving rhythms and biting humor, evoking a sense of urgency and irony. The scherzo’s relentless pace and intricate orchestration highlight Prokofiev’s mastery of rhythm and texture. Following this, the third movement, Adagio, serves as the emotional core of the symphony. Its hauntingly beautiful themes convey deep introspection and yearning. Prokofiev’s use of chromatic harmonies and lyrical melodies creates a sense of profound sorrow tempered by hope and resilience, reflecting the broader emotional landscape of a war-torn world.
The final movement, Allegro giocoso, brings the symphony to an exhilarating conclusion. Bursting with energy and optimism, this movement combines playful themes with moments of dazzling orchestral virtuosity. Prokofiev’s inventive use of rhythm and melody builds to a jubilant finale, encapsulating the triumph and vitality that define the symphony as a whole.