Marlos Nobre

MARLOS NOBRE
(B.1939)
Thiago Andre
Composer’s life
◦ Marlos Nobre de Almeida was born in Recife – Northeast region

◦ He is a pianist, composer, and conductor
◦ First influences: sister, composer: Ernesto Nazareth (1863-1934)
◦ Studied at the Music Conservatory in Recife at the age of 9
◦ Conservatory was a “place for real music.”
◦ He studied composition with Camargo Guarnieri, H. J. Koellreutter, Alberto Ginastera,
Olivier Messiaen, Luigi Dallapiccola, Bruno Maderna, and Aaron Copland.
◦ He won a Young soloist competition.
◦ Conducted Royal Philharmonic Orchestra of Londres, Orchestre
Philharmonique de l'ORTF in Paris; l´Orchestre de la Suisse Romande;
l'Orchestre de l'Opéra de Nice, France; Orquesta Filarmónica del Teatro Colón
in Buenos Aires, Orquesta Sinfónica no México, Orquesta Sinfónica de Cuba.
◦ He was guest professor University of Yale, Juilliard School, University of
Texas, and Indiana University.
◦ His catalogue of compositions has around 200 pieces for solo piano, voice,
orchestra, chamber music, choir, and guitar.
Piano Compositions
◦Homenagem a Ernesto Nazareth (1959)
◦Nazarethiana (1960)
◦Primeiro Ciclo Nordestino (1960)
◦Tema e Variacoes Op. 7 (1961)
◦16 Variacoes sobre um tema de Fructuoso Vianna (1962)
◦Toccatina, ponteio e final Op. 12 (1963)
◦Segundo Ciclo Nordestino (1963)
◦Sonata Breve (1966)
◦Terceiro Ciclo Nordestino (1966)
◦Homenagem a Arthur Rubinstein (1973)
◦Quarto Ciclo Nordestino (1977)
◦Quatro Momentos (1977)
◦Sonata sobre um tema de Bartok (1977)
◦Tango (1984)
◦Sonatina (1984)
◦Frevo 2 (2002)
◦Toccata nº 2 (2006)
Homenagem a Ernesto Nazareth (1959)
◦ First piano solo composition – it is a version of the 3rd mov of his Concertino for Piano Op. 1
◦ Based on works from Ernesto Nazareth (1863-1934)
◦ Hommage to Ernesto Nazareth

◦ Score
Ciclos Nordestinos (Northeastern Cycles)
◦ Originally intended to be used as teaching material

◦ Based on dances and popular manifestations of Brazilian folk traditions.
`The Ciclo Nordestino imitates a series of three cycles for the piano with didactic intentions
and destined to put the young pianist in contact with themes and characteristics of the music
of the northeast Brazil. These theme are treated within a modern approach, not a conventional
one. At the same time, the composer wanted to secure those themes and characteristics, in an
effort to prevent them from future extinction.”
I Ciclo Nordestino Op. 5 (1960)
◦ Samba Matuto
◦ Based on a work song from the sugar cane plantations in Pernambuco state.
◦ Cantiga
◦ Melancholic melody
◦ E Lampa
◦ Based on a “call of war” attributed to the group of Lampiao
◦ Gaviao
◦ Based on a folk theme from Pernambuco state
◦ Martelo
◦ Based on a popular song in Northeast Brazil containing verses of ten syllables and generally accompanied by a
guitar.
III Ciclo Nordestino Op. 22 (1966)
◦ Capoeira
◦ Relates to a typical Brazilian rhythm developed by slaves in colonial times.
◦ Slaves used a combination of martial arts, music, and dance in order to fight and avoid re-capture.
◦ Coco I
◦ Two voices presenting the melody in canon, as if representing the pair of dancers singing and dancing the main
melody.
◦ Cantiga de Cego
◦ Clusters to recreate the sound of cloth balls smashing in the wall
◦ Coco II
◦ Slower and less energetic than the Coco I.
◦ Candomble
◦ Lively and syncopated piece.
IV Ciclo Nordestino Op. 43
◦ Composed in 1977, revised in 2006
◦ Based on folk dances and melodies from Pernambuco state
◦ Movements
◦ Cabolcinhos
◦ Cantilena
◦ Maracatu
◦ Ponteado
◦ Frevo
Caboclinhos
◦ Based on a dance with the same name.
◦ Dance that recalls the conflict between indigenous populations and the Portuguese colonizers.
◦ Performers use indigenous costumes, arrows and bows (preacas)
◦ Preacas and Pifano – establish rhythm and improvised melody.
◦ Caboclinhos dance
◦ Caboclinhos – Marlos Nobre
◦ Score
Cantilena
◦ Lyrical melody – repetitive – lullaby.
◦ Cantilena – Marlos Nobre

◦ Score
◦ Deep and melancholic character
◦ Contrasts to the festive atmosphere of the previous movement.
◦ This melody is also present in several other compositions of Marlos Nobre.
◦ Highly polyphonic, containing up to five simultaneous voices.
◦ By modifying the melody through changes in changing dynamics, texture and range, Nobre explores the highly emotional
content of Cantilena
Maracatu
◦ Based on a ceremony where groups of slaves, or nations coronated its kings.
◦ Portuguese brought slaves from Africa and many times, African kings and royalty would be captured and transported to Brazil.
◦ Recognized by their people, these kings would have a ceremony of coronation
◦ Music is almost exclusive percussive
◦ Maracatu dance
◦ Maracatu – Marlos Nobre
◦ Score
Ponteado
◦ It is a reference toa style of guitar playing.
◦ Guitarist plucks each note of the melody.
Ponteado by Marlos Nobre
Score
Frevo
◦ It is Nobre’s most famous solo piece.
◦ Frevo is a popular dance in Recife during Carnival.
◦ Dancers perform acrobatic moves while holding a colorful umbrella.
◦ Frevo comes to Portuguese word “ferver” (to boil) – when a person dances this energetic music, the
blood boils.
◦ Frevo
◦ Frevo – Marlos Nobre
◦ Score
Comparisons between the cycles
Bibliography
◦ Almeida, Renato. Tablado folclórico. São Paulo: Ricordi, 1961.
◦ Barancoski, Ingrid. “A Identidade Nacional nos "Ciclos Nordestinos" para piano de Marlos Nobre.” Cadernos do COLÓQUIO: Programa de
Pós-Graduação em Música, Centro de Letras e Artes, UNIRIO 1, no. 1 (April 1999): 13-24.
◦ Cavini, Maristella Pinheiro. “As Danças Fascinantes do IV Ciclo Nordestino para piano de Marlos Nobre: Caboclinhos e Maracatu”. Opus 14,
no. 1 (June 2008): 25-49.
◦ Barancoski, Ingrid. “The interaction of Brazilian national identity and contemporany musical language: The stylistic development in selected
piano works by Marlos Nobre.” D.M.A. diss., The University of Arizona, 1997.
◦ Ferraz, Rachel Gico Casado. “Ciclos nordestinos 1, 2 e 3 para piano de Marlos Nobre: uma abordagem analítico-interpretativa.” Master’s
diss., Universidade Federal da Paraíba, 2007.
◦ Lesniowski, Daniele do Nascimento. “The combination of tonal and contemporary procedures: an investigation of the IV Ciclo Nordestino
Op. 43.” Master diss., Southeastern Louisiana University, 2013.
◦ Musica Brasilis. “Marlos Nobre.” Accessed November 20, 2021. https://musicabrasilis.com/composers/marlos-nobre
◦ Nova Escola. “O Maracatú.” last modified February 01, 2012, accessed December 8, 2019.
https://novaescola.org.br/conteudo/3106/o-maracatu.
◦ UNESCO. “Frevo, performing arts of the Carnival of Recife.” accessed December 9, 2019,
https://ich.unesco.org/en/RL/frevo-performing-arts-of-the-carnival-of-recife-00603.
Thank you
Title Lorem Ipsum
LOREM IPSUM DOLOR SIT AMET, NUNC VIVERRA IMPERDIET PELLENTESQUE HABITANT
CONSECTETUER ADIPISCING ENIM. FUSCE EST. VIVAMUS A MORBI TRISTIQUE SENECTUS ET
ELIT. TELLUS. NETUS.

Marlos Nobre - Presentation

Uploaded by

Copyright:

Available Formats

Marlos Nobre - Presentation

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Marlos Nobre - Presentation

Uploaded by

Copyright:

Available Formats

Who is Marlos Nobre and what are his accomplishments as a composer?

What are the Ciclos Nordestinos and what folk traditions do they draw from?

◦ Marlos Nobre de Almeida was born in Recife – Northeast region

◦ Based on works from Ernesto Nazareth (1863-1934)

◦ Hommage to Ernesto Nazareth

◦ Originally intended to be used as teaching material

◦ Caboclinhos – Marlos Nobre

◦ Cantilena – Marlos Nobre

◦ Maracatu – Marlos Nobre

Ponteado by Marlos Nobre

You might also like