I have surprised many listeners by introducing them to Solace in its entirety. Those who know Solace only from Marvin Hamlisch's truncated arrangement used in the George Roy Hill film, The Sting, have only heard the second half of the piece. Solace is essentially a habanera in ragtime form, and is relatively authentic considering a non-Latin black composer from Missouri composed it, although a well-educated one. They ultimately created a volume of "Spanish Tinge" pieces that were not quite authentic tangos, closer to the more African-based habanera, but had the same feel.
The Tango was becoming quite popular as both a dance and a music form during this time, and many composers and publishers fell in line with the public's desire for it. This is, perhaps the most delicate and poignant piece that the "King of Ragtime" ever wrote. Given the structure and some of the rhythms that give it indirect associations with American ragtime, it is not unusual to hear it even in this century played at ragtime and arts festivals around the United States and beyond. However, it was not until the avant-garde age of recordings from the late 1950s into the 1960s that it suddenly appeared on many Latin-themed recordings, making it his most recorded and listened to piece overall. This piece was mildly popular during Nazareth's lifetime, which ended in personal tragedy.
#Apanhei te cavaquinho nazareth dance full
The trio is full of contrasts which I try to bring out here. The B section goes into something more like a choro or pseudo-tango rhythm with an engaging descending chord progression. I add a little counter line below it in the repeat for variety. The opening section consists of a left hand melody for the most part, arguably with a vague transition into the right for the last four bars. For the theater and its proprietors he wrote this engaging tune. Within a short time, audiences filled the Odeon to hear Nazareth play more so than to watch the one and two reelers, many imported from the United States, that he was hired to accompany. Odeon has a Latin root which essentially means theater, in the context of an entertainment venue. As early as 1909, when this piece was written, he was hired to play at the Odeon Cinema in Sao Paulo. There are many parallels between ragtime and South American tangos of the early 20th century, and a great many of them were found in the music of Brazlian Ernesto Nazareth, a capable composer but troubled individual.
This live performance has very little embellishment, as the original was well-scored, and the interpretation therefore feels naturally easy. The cover for this edition was issued by Joseph W. While it would be two more decades before the tango was widely adopted (usually in the form of a habanera) in the United States, this charming rhythmic tango still represented the characteristic sound of Brasil, and opened many doors for the talented composer. At that, it quickly achieved fame outside of South America, having been issued in the United States, Europe, and Australia.
While many of his later pieces from the mid-1890s forward had much in common with the form and structure of American piano ragtime, often with the two cultures blended musically, this earlier work is a short joyous rondo in A B A form. Among the compositions released that year by Casa Vieira Machado, Brejeiro (sometimes seen in print as Bregerio) was a standout. Even at that, it was not until 1893, when Ernesto turned 30, that his first serious volume of work emerged. Even after she died in 1873 when he was only ten, Nazareth chose to continue under some notable Latin-American instructors, learning enough along the way to start composing when he was sixteen. Nazareth, a native of Rio de Janeiro, Brazil, was a serious music student from an early age, having been initially trained on the piano by his mother.
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