Three Brazilian Miniatures
Cristian Budu
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'It has always been a dream of mine to organize a concert series in my direct neighborhood, for the locals. I have been living in Weissensee since 4 years and I love my Kiez; it felt only natural to bring great music here. Inspired by the Parisian Salons in France, the Schubertiade in Vienna in the 19th century, or more recently Groupmuse in the US or the Kiez Treff culture in Germany (aka Bizet Kietz-Treff ), Yannick’s Salon aims to bring together local community and young audience around great art, specifically Chamber Music masterpieces. The events will be as social as they are musical with a greater connection between the performers and the audience. The atmosphere will be convivial, beers will be around and the dresscode relaxed.
This project wouldn’t be possible without help and I am happy and proud to collaborate on this endeavor with Bildungs- und Kulturzentrum Peter Edel, Culiner Creative Circle, Amanda Group, Neustart Kultur and my dear C. Bechstein.'
Yannick Rafalimanana
Culiner Creative Circle
© 2022
Concert program
Camargo Guarnieri | Ponteio No. 45
Camargo Guarnieri (1907-93), one of the leading art-music composers of Brazil, found in small forms the best medium to convey musical ideas of popular origin. The newly-minted Brazilian genre of ponteio provided Guarnieri enough space to display an array of emotions, different pianistic textures and compositional processes.
Francisco Mignone | Valsa de esquina No. 5
Francisco Paulo Mignone (1897-1986) wrote over two hundred pieces for piano and among those several sets of waltzes. All of his waltzes carry the influence of his youthful practice of serenading in the streets of São Paulo, improvising popular songs on his flute.
Ernesto Nazareth | Apanhei-te, cavaquinho
Published in 1914, the title refers to an expression of the time, in which someone is caught in the act. The left hand chords are played like a cavaquinho and the right hand would imitate a flute. It is one of Ernesto Nazareth's biggest hits, having received at least 281 recordings until 2012, and 5 lyrics. It was also recorded by the author himself in 1930. Furthermore, it was one of the 4 pieces cited by Darius Milhaud in his ballet Le boeuf sur le toit (The ox on the roof), the others being Escovado, Tecla and Carioca.
Cristian Budu, piano
07:54 min 2023
