Hekel Tavares: Anhanguera - Symphonic Poem (1954)

Описание: Transfer and scans made from the original LP in my personal collection.

Anhanguera (1954) - Symphonic Poem for Orchestra, Mixed Choir, Soloists and Children's Choir - Opus 11, No. 7

Brazilian Concert Orchestra

Choir of the Convent of the Friars of the S.C.J. of Petrópolis, Choir of the Institute of the Singing Boys of Petrópolis.

Conducted by Hekel Tavares.

Scenes (movements):
1. Benção da Bandeira
2. Anhanguera
3. Penetração
4. Canidé Ioune
5. A Dança do Chefe
6. Nas Terras Centrais

Hekel Tavares' most recent work, ANHANGUERA, is divided into six parts, which the composer has called, "scenes". This nomenclature is obviously due to the fact that the "scenes" do not represent different movements with changing rhythms and themes. It seems that the entire score is based on only one predominant theme - the scenes being distinguished only as they refer to the chronological development of event itself. This develops naturally and not in distinct episodes which, if this were the case, would compel the composer to produce a work of a different nature.

The 1st Scene - The opening scene is serene and reverent, with Gregorian-style horn phrases, a harmonious choir, and delicate orchestral interactions. The scene conveys humility, faith, and the pilgrims' journey under divine guidance.

The 2nd Scene - ANHANGUERA - This sorrowful, "adagio lamentoso" scene captures a mood of mystery and tension as the journey becomes increasingly difficult. The orchestra, especially the violin, creates a restless atmosphere, building toward a sense of impending challenge. The scene concludes with a comforting, almost victorious resolution.

3rd Scene - A vivid portrayal of the explorers navigating the dense forest. The use of the celesta and various orchestral instruments evokes the sounds of the jungle, interrupted by moments of tension and the Quirixa Indian attack. The choir and orchestra depict the explorers' sense of triumph as they reach their destination.

With a truly wonderful creative gift, the composer introduces a boy's voice, almost unreal in its fineness, which warns us that, "Nare is doing a stamping dance in our home". With an almost imperceptible sound from the altos, we hear this stamping or tapping as a regular rhythmic movement:

4th Scene - Canide-loune - In this scene Hekel Tavares reveals the full strength of his personality. The basic element of his inspiration is derived from his own ego, naturally and without forcing.
After a light introduction, which is almost a recitation and with the help of the "singing", instruments, and the stage is set for the song which Jean de Lery collected, but of which Hekel Tavares used only the first two bars. The horn once more act as support to

"Canide-loune" which becomes one of the most beautiful parts written by the composer. Not satisfied with this proof of his ability, Hekel Tavares gives further evidence of his sensibility with a truly moving transformation of a major key into the minor. It is hardly necessary to emphasize the emotional force of the transformed phrase.

5th Scene - The Dance of the Chief - A speech by the chief of the "Quirixa" opens the 5th scene in a colorful phrase expressed by the fagot and piccolo playing in unison - the latter being replaced entirely by the clarinet. Between these two can be heard in an isolated beat, the typical sound of "Mulu-mulu" - an instrument resembling a rattling gourd - which provides the background for local color. The composer did not wish to exaggerate the use of this instrument and in limiting its use to a soft background beat, enhances its evoking qualities.

By its colorful tone, its originality and descriptive power, this scene is destined to become one of the truly great symphonic successes.

6th Scene - In the Interior Regions - a viola solo seconded by cellos in "divisi", opens this the last scene of "Anhanguera". Its limpid, simple yet emotional qualities ends an atmosphere of sorrow as the "Bandeira" is planted far from the plateau "in the march which had already taken three years", and which had been surrounded by so many trials and tribulations.

The whole orchestra surges then as if to provide relief for so much suffering and, at the same time, bring well deserved happiness and rest to those who, heroically, beat a path of civilization through the jungles. The long wished for dream has come true - the choirs' "hallelujah", bursts fourth in triumph. The children's choir joins the rest to enrich the musical story with its brilliant and happy timbre. The orchestra once more asserts itself, full and free and the choir, at the last time, exalts: " Deus Patria Sit Gloria…", bringing to a climax this poem so rich in imagination, so rich in realization, so rich in inspiration, with a generosity of sound so in keeping with this vast and noble land.