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Hamilton de Holanda - Bandolim 10 cordas - Música Acústica Brasileira do Choro ao Jazz

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HAMILTON DE HOLANDA

Medias / Discs & Scores


Sinfonia Monumental

November.2010 | Discs

298x298
298x298
298x298
298x298
298x298
298x298
298x298

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    TRACK NAME AUDIO SCORES
TRACK NAME AUDIO SCORES
First ideas - I Moviment [+ INFO]

first ideas “In the beginning it was wilderness”, stated Vinícius de Moraes and Tom Jobim in their ‘Symphony of Dawn”?(1). I imagined the first mission breaking through the loneliness of the central plateau in 1892. Moving the capital to a remote area of the country had been thought of for a considerable amount of time. The timpani, along with the basses, announce the arrival to the emptiness. All the musical ideas bring forth this mysterious and repetitive beginning. Orchestra and Quintet interact discreetly. Despite the few orchestra solos, the Quintet is the soloist. The orchestra shades color the dry and sunny climate, desert-like. Emptiness. A reference to freedom and to development pops in the mandolin and Quintet improvisation. notes: 1. Symphony of Dawn (Sinfonia da Alvorada) - In 1958, Juscelino Kubitschek, then-President of Brazil, asked Vinicius de Moraes and Antonio Carlos Jobim to compose a symphonic suite to be played on April 21, 1960, the chosen date for the city being built in the middle of Brazil to be the new capital to be inaugurated.

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The march of candangos - II Moviment [+ INFO]

the march of the candangos The construction itself. Thousands of families left their hometown after the new, adventurous, monumental work. They found a huge amount of labor, companionship and patriotism. They both witnessed and made the miracle happen. The interaction between Orchestra and Quintet is more apparent now. At times the walk and the gallop can be felt. The vigorous working pace shows when the drums lead the Orchestra and the Quintet. Harmonica and violin play the melody. As if it could somehow have been arranged, a bird showed up and spontaneously left its singing registered on the recordings. At the end, the will and the strength of the new pioneers moving in the same direction is clearly stated.

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A prayer to holy heaven - III Moviment [+ INFO]

a prayer to holy heaven This movement was inspired by the first mass celebrated in Brasilia. In fact, the inspiration came from the amalgamation of mystical forces with the ecumenical approach the “Heaven-City”?(1), Brasilia, has. A request for peace and prosperity to the capital and to Brazil. The Orchestra appears as spokesperson for the request. Mandolin and harmonica come in crying. Drums and bass dictate the pace of the procession to the singing of the strings and woodwinds. Don Bosco?(2) whistles his dream of the promised land. notes: 1. Heaven-City - called this way for being located on a high plateau where the clouds are almost within reach. 2. Don Bosco - an Italian saint who, in 1883, had a dream of a utopian city of the future. He described it as a capital city that would rule justly and provide for all the needs of a great nation. Significantly, the saint declared that this city would be located in the New World, between the 15th and 20th parallels. Don Bosco’s vision was a major inspiration for the foundation of Brasilia, Brazil’s capital city.

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JK banned - IV Moviment [+ INFO]

JK banned Dedicated to President Juscelino Kubitschek. I was strongly affected and touched by the episode in which Juscelino Kubitschek covertly goes to Brasilia (a project conceived by him), and cries in front of his own bust in the Three Powers Square?(1) after having been forbidden by the military regime to enter the capital. Since JK was very fond of music, serestas?(2), etc, the genre Choro?(3) would be the most appropriate form of expression for this one movement. The brass orchestra announces and suggests that the former President do not return to Brasilia. First, the tempo is choro-canção (slower tempo than choro), which could also be called a samba-canção or even bossa-nova. The choro, in a faster tempo, comes after the second announcement made by the brass band. The winds show up soloing in blocks with the mandolin and harmonica, like “the blocks” (name given to apartment buildings, a kind of condo) in Brasilia. In the last brass intervention, there is a reference to Bernardo Sayão, the man who died while standing. After a tree fell on him, the brave “candango” turned into a hero. 1. Three Powers Square - where the seats of Legislative, Executive and Judiciary Powers are located. 2. Serestas - party/gathering of musicians to play all night long; also a very romantic musical expression characterized by simple melodies. 3. Choro - a Brazilian music style, the word Choro means lament.

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Chaos e harmony - V Moviment [+ INFO]

chaos and harmony Is the present-day of the city and country the tomorrow the “candangos” envisioned during the construction? Sometimes it is, at other times it is not. Brasilia has grown a lot, and has become cosmopolitan and provincial simultaneously. It must be well cared for by ordinary people, politicians, artists. By the Brazilians. The five beats to the measure is a reference to Brasilia’s 50 years of age as well as to the slogan used during the period it was being built – 50 years in 5. There is a total interaction between Orchestra and Quintet. Moments of simplicity, moments of bewilderment. Rustic melody, contemporary melody. Lyricism and fast musical phrases. Reality and hope.

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Sinfonia Monumental

Nominee - Prêmio da Música Brasileira 2011 - Best Instrumental Group

 

sinfoniamonumental.com

 

Composed by Hamilton de Holanda and Daniel Santiago, wrote by Hamilton de Holanda

 

Hamilton de Holanda Quinteto
bandolim 10 cordas
10-string mandolin
Hamilton de Holanda

gaita cromática
harmonica
Gabriel Grossi

violão
acoustic guitar
Rafael dos Anjos

contrabaixo
upright bass
André Vasconcellos

bateria
drums
Marcio Bahia

o “sexto Brasiliano”
the “sixth Brasiliano”
Marcos Portinari
 

 

Orquestra Brasilianos
regente conductor
Maestro Gil Jardim

primeiro violino first violin
Carolina Frederico (Spalla)
Thiago Cavalcanti
Káthia Pinheiro
Daniel Cunha
Regiane Cruzeiro
Simone Mesquita
Liliana Gaioso
Cindy Folly

segundo violino second violin
Antonio Bayma Jr
Esther Chung
Camilo Pereira
Raphael Egidio
Diogo Brito
Victor Obando
Valéria Passos

viola
Billy Geier
Daniel Marques
Jairo Diniz
Marie De Novion
Mário Romanini
Antonio Fabio Pereira

violoncelo cello
Gidesmi Alves
Norma Parrot
Norma Lilian
Lúcia Valeska
Sandra Vargas

contrabaixo upright bass
Wilton Mesquita Jr
Daniel Abreu
Juliano Leite

flauta flute
Ariadne Paixão

flauta e flautim flute and piccolo
Luciana Morato

oboé oboe
Vaclac Vinecky (Vasco)

clarineta clarinet
Felix Jesus Alonso

clarineta baixo bass clarinet
Alexandre Areal

fagote bassoon
Flávio Figueiredo

trompa french horn
Stanislav Schulz
Joarez Rodrigues

trompete trumpet
Gedeão Lopes Oliveira
Enrique Sanchez

trombone
Marcos Wander
Paulo Roberto da Silva

trombone baixo bass trombone
Wilson Tuboiti

tímpano, sinos timpani, tubular bells
Carlos Tort


*Hamilton uses mandolin Tercio Ribeiro and Elixir strings.