Milhaud's stay in Brazil (1917-1918) as secretary to Paul Claudel was almost initiatory in its effect on the development of the man and the composer. Uprooted from his native Mediterranean context, Milhaud found himself suddenly plunged into a totally different world: a luxuriant nature, music that overflowed with vitality, yet also a highly stimulating intellectual environment. It was not, however, until 1920, long after his trip, that he started work on Saudades do Brasil, a suite of twelve dances for piano, during a visit to Claudel, who was then on a diplomatic mission in Copenhagen. The titles refer to the various quarters of Rio, and the pieces themselves are the intimate expression of the composer's nostalgia, with the memories of the inestimable moments lived in the great Brazilian metropolis. Unlike Milhaud's ballet Le Boeuf sur le toit, there are no folk melodies here. Only the dotted and syncopated rhythms recall, somewhat distantly, traditional Brazilian music. Moreover, Milhaud develops in these
pieces a deliberately polytonal language that was to become an indispensable element within his style and his musical personality. The piano writing produces an original sound, abandoning the resonance effects too characteristic of a romantic and impressionist instrumental conception that is far removed from the essentially lyrical, luminous nature of his art. For the first time grouped into one album, here are all the Saudades do Brasil, Milhaud's most celebrated piano composition.
Suite de Danses - Sorocaba; Botafogo; Leme; Copacabana; Ipanema; Gávea; Corcovado; Tijuca; Sumaré; Paineiras; Laranjeiras; Paysandù (Introduction in English, French and German)
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