If you've been to a student recital before, you probably expect to hear something like a traditional concert by a touring artist.
Recitals by doctoral students are a somewhat different affair. In the course of completing the Doctor of Musical Arts degree at New England Conservatory, performance majors present not just one, but three full-length recitals, for which they also write program notes. Composers present a recital of their chamber music, then complete a large-scale original work. In both cases, it's an opportunity to observe multiple facets of an emerging artist.
Pianist Henrique Eisenmann is a jazz major who studies with Frank Carlberg. For this D.M.A. recital, the first of three, he has invited fellow students to join him in performing music from North and South America as well as his own compositions. Eisenmann has provided notes on some of these works, and promises "some surprising performances, mixing John Cage with Peruvian folk music, Chopin with Brazilian Choro, poetry, and other provocative arrangements."
Eisenmann is also a member of the 2013–2014 NEC Honors Ensemble Choro Bastardo, which will perform in NEC's Jordan Hall on April 1, 2014.
Henrique Eisenmann Ptakim le Pina Bausch Suite
Ptakim le Pina Bausch Suite was composed based on the homonymous Hebrew poetry book by Hadassa Tal. For six months I worked over a recording of her voice reciting the poetry, transcribing the sounds, pitches and inflections. Not understanding the language and the meaning of the words I was transcribing allowed me to explore other dimensions of linguistics and all the inherent musicality of the voice.
Chabuca Granda arr. Eisenmann José Antonio
José Antonio is one of the most famous Peruvian waltzes, first released in 1957. It is composed after the story of José Antonio de Lavalle y Garcia, describing his endeavors in protecting Peru’s national identity and culture. My arrangement is based on the version sung by the legendary Trio Los Morochucos.
Clifford Brown arr. Eisenmann Joy Spring, “No swing, please”
Hery Paz, saxophone
Eisenmann Chopanesco, Madruga
Amir Milstein, flute
Jason Davis, bass
Madruga describes a day in a rural city where a big party is about to happen. The spirit is the same as the Brazilian Baião, but the rhythm is drawn from a Bulgarian Kopanitza.
Guinga Baião de Lacan
Hery Paz, saxophone
Guinga has a long lasting partnership with poet and lyricist Aldir Blanc, composing songs about daily activities, problems of actuality, humorous chronicles, and surrealist jokes. This song describes the attempt of a Brazilian musician in starting a career in Massachusetts, which ends in a huge fail. Then, a Lacanian therapist recommends him to spend some time in the countryside to heal from all the stress.
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