Far from trying to forget or ignore the rich tradition of the viola braguesa in the context of traditional music - the space in which the instrument was born and to which it continues to lend all its potential - this concert is written from a different perspective, aiming to reveal, in other ways, some of its virtues, placing it in the context of a more constant and sustained dialogue with an orchestra, within a more open musical writing.
In this way, I designed a concert with a classical layout, to a certain extent in line with a musical practice with many centuries of brilliant history. I believe this work is the first to be written for this instrument as a soloist with orchestra. As I did years ago, for the same reasons, with the concerto for Portuguese guitar and orchestra (also the first), I have now returned to place this work in a new context for the instrument.
The first movement - which I had initially thought of as a brief orchestral prelude - ended up evolving into a more developed space, of integrated work in terms of the treatment of soloist and orchestra, with the braguesa somehow immersed in the writing of the whole. In spite of everything, the movement has a distinctly introductory character, with the writing aiming to establish the essential features of the instrumental treatments, musical organisation and formal design.Also noteworthy is the brief final section, which will be taken up again in the third movement, signalling a good part of the construction.
The second movement is designed more simply, as a space with a positive atmosphere, I would almost say happy, but at the same time serene and expressive. The central element is a brief melody, sometimes comprising two complementary phrases, which is presented in countless readings of the same matrix, in a kind of eternal return that is coloured with new shades and colours with each new appearance. A kind of luminous carousel, almost infinite. Luminous.
The third movement explores other registers and writings, in an atmosphere of greater exteriority and affirmation. Rhythm, articulation, dynamics, as well as the harmonic and orchestral qualities of the braguesa and string orchestra take centre stage. The introduction, resumed briefly at the end, gives a good account of this perspective. But there is also room, especially in this movement, for various soloistic work spaces - like instrumental cadenza elements - typical of this musical form. In fact, they are the centre of the construction.Punctuating the entire movement, the orchestra presents some blocks of more orchestral and broader writing, albeit with a contained atmosphere, which appear cyclically and make the point throughout the movement, creating areas of contrast between the remaining sections, of more elaborate and soloistic writing. They function as a kind of other place, which limits and separates everything else. They illuminate it.
A personal note of admiration and gratitude to Rui Gama and the Orquestra de Cordas Dedilhadas do Minho, who challenged me to this exciting project.
Fernando C. Lapa
