Since the last decades of the 19th century, with the emergence of Choro and authors such as Ernesto Nazareth, a musical territory began to be demarcated between the popular and the erudite, on the frontier between these worlds, bringing together what was most interesting in each one of them. Rhythmic variety and virtuosity, communicability and refinement, improvisation and formal rigor. Not by chance, great composers of the 20th century occupied this rich territory: Heitor Villa-Lobos, Pixinguinha, Radamés Gnattali, Tom Jobim, Egberto Gismonti, among many others.
“Frontier Music” would invent this collection through two musicians from different generations, but who have in common the willingness to put sensitivity and virtuosity at the service of the work of these authors, with an open musical approach, capable of reflecting the freedom with which the pioneers of this territory acted by breaking prejudices. The meeting of the experience of Leo Gandelman, a soloist used to transitioning between classical and popular with the young vitality of Eduardo Farias’ piano, highlights the richness of the repertoire and creates a timeless unity between the authors addressed. The very concept of “frontier” is expanded, looking for new windows of improvisation and treating treasures of the past as something alive and with possibilities not yet explored.
Repertoire: Um Chorinho em Aldeia – Severino Araújo, Linda Erika – Luiz Americano, A Lenda do Caboclo – Heitor Villa Lobos, Cubanos – Ernesto Nazareth, Pássaros em Festa – Ernesto Nazareth, Lapinha – Baden Powell, Ignez – Pixinguinha, Brasileirinho – Waldir Azevedo, Neshama – Leo Gandelman e David Feldman.