This two CD set of piano music by Eurico Tomás de Lima is
my introduction to 20
th century Portuguese music. Then
after some research on the internet I discovered that more than that
it is my first introduction to
any music by a Portuguese composer
from
any century, apart from that of Manuel Cardoso (1566-1650).
This was a surprising not to say shocking discovery; why should that
be? In the case of this composer the pianist Miguel Campinho tells
me that none of this music is published, existing only in manuscript
so that will be a major reason here. It is to be hoped that this disc
will help solve that situation for I can easily imagine other pianists
wanting to follow Campinho’s lead and get to play this truly
beautiful music. Given that they are unpublished it is surprising
that only three of the works on the discs are receiving their world
première recordings.
The music is unashamedly romantic and full of the most disarmingly
glorious melodies one could wish for and with a distinctly recognisable
Iberian flavour. While sonatas 1 and 2 are extremely romantic in style
the sonatina no.1 in which de Lima shows that he was searching for
a somewhat contemporary feel is nevertheless still delicious. The
first cd ends with de Lima’s 1941 suite which describes various
aspects of Portugal’s Algarve. It is so appealing that it encourages
thoughts of a visit.
If the first of de Lima’s sonatinas showed a search for a more
contemporary musical language in contrast to his earlier works then
the opening work on the second CD shows how successful he was in finding
it since his sonata no.3 is from a completely different sound world.
While it is much more contemporary in feel it still has its romantic
connections. This sonata, written in 1948 and revised in 1963, with
its aggressively spiky opening movement, comes as something of a shock
after the languidly lyrical nature of the music on disc 1. Even though
the second movement is more relaxed the last is a return to the power
exhibited in the first. However it is an extremely satisfying work
and this newly found musical language continues to be expressed in
the next work, his sonatina no.2 from 1950. This opens with another
powerfully stated movement while the second is much more gentle marked
Pastoral. This work too has its moments of passionately expressed
feelings. Its closing movement is stringently stated.
De Lima’s fourth and last sonata which dates from 1954 is the
culmination of his search for a more modernistic sound. It is considerably
longer than the two preceding works. It too alternates two outer movements
that are more strident in tone with a central that is more gently
lyrical. Folkloric strands are to be heard throughout.
The final work of this two CD set is entitled
Island of Paradise.
This is de Lima’s musical tribute to Madeira where he spent
a year as Artistic Director of its Academy of Music and Fine Arts.
In a series of six tableaux he explores different aspects of what
he described as “the beauty of this magical island” adding
that “I had to express myself in music - beautiful, evanescent
and seductive music, which awakens in the hearts of men a world of
dreams that only poetry can perfectly understand.” Using local
folksong as his basic material de Lima weaves a rich musical tapestry
that is both beautiful and highly effective. In the same way as his
Algarve suite did, it makes one wish to experience the place
oneself which shows how successful it is in achieving its declared
aim.
This music shows a wonderfully creative composer and his development
down the years. It is always pleasing to find someone whose music
has been unfairly ignored suddenly emerge from the shadows. There
is more to be discovered and these recordings show how worthwhile
that will be. Miguel Campinho is a powerful advocate of the music
of his countryman. The recording of these works was quite clearly
a labour of love and his commitment to his chosen project is very
evident. I am so grateful to have been able to discover yet another
composer new to me. I would urge any lover of twentieth century piano
music to explore this disc and I can guarantee that the music will
captivate them just as it did me.
The audio text in Portuguese at the end of disc 1 and in English at
the close of disc 2 is a useful addition for anyone whose sight is
not up to reading the programme notes printed in the booklet.
Steve Arloff
See also review by John
France
