TONY HAUSER/CLEA GALHANO: Distribution of Flowers

Tony Hauser/Clea Galhano

Distribution of Flowers

© 1999 The Schubert Club (601971980225)

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Virtuosic and sophisticated cross-fertilization between Brazilian popular music and classical music for guitar and recorder.

tracks

1 H. Villa-Lobos, Distribução de Flôres
2 A. Piazzolla, Histoire du Tango - Bordel 1900
3 Café 1930
4 Night-Club 1960
5 Concert d'aujourd'hui
6 M.C.Guarnieri, Valsa Choro
7 A.Vianna (Pixinguinha), Ingenuo
8 Um a Zero
9 Vou Vivendo
10 H.Paschoal, Bêbe
11 B.Blauth, Enigma
12 P.C.Chagas, É O Silencio
13 W.Azevedo, Pedacinho do Céu
14 N.Rangel, Choro pra Tulinho
15 L.A.Rego, Assim Mesmo

notes

Popular music has always provided material for classical composers; many composers and players of popular music have drawn on classical training. The cross-fertilization between musical genres is perhaps greatest in South America. Composers living within a rich heritage of folk music have found inspiration in its myriad forms. Likewise, popular musicians cognizant of classical pedagogy have shown virtuosity and sophistication in their work. We hope our disc exemplifies both traditions in Latin American music.

I first heard of Cléa Galhano by chance. Chuck Armstrong, flute-sax player in my band Brasileirada, told me of a Brazilian lady new to town who was looking for a guitarist with whom to play choros. I had been delving into that rather obscure Brazilian form of virtuoso, popular counterpoint for quite some time, but had yet to meet a Brazilian instrumentalist familiar with the repertoire. Opportunity knocked and I answered its call. Our first meeting was in Cléa's home. Sitting alongside some music on her dining room table was a recorder. Since I had thought she played the flute, I was surprised to see her pick up the recorder and play a well-known choro. She explained that, in Brazil, the recorder is a commonly-played instrument known as the flauta dolce or "sweet flute." Cléa then told me how she loved to hang around a taxi garage in São Paulo to play choros with the "old guys." Her range as a recorder player -adept at playing Telemann, jamming with taxi drivers -convinced me she was a true musician and a true Brazilian. She wanted to play choros, Piazzolla tangos, and the whole range of virtuoso flute-guitar repertoire! Since that first meeting, we have explored and performed music from the modern Latin American repertoire and particularly Brazilian repertoire.
-Tony Hauser

Cléa Galhano, recorder player, is a native of Cruzeiro-São Paulo, Brazil, where she studied at the Faculdade Santa Marcelina. After studying at the Royal Conservatory in The Hague, she received an advanced degree from the New England Conservatory. She is a two-time winner of the Conservatory's annual baroque concerto competition and was the winner of the Fourth National Recorder Competition.

Guitarist Tony Hauser presents the widest variety of performance, exploring Spanish flamenco, Latin-American, ethnic, and new music, with strong roots in the classical guitar tradition. He is the son of two renowned artists, sculptor Alonzo Hauser and modern dance choreographer Nancy McKnight Hauser. His love for the guitar was born at the age of ten when he began studying with his brother, flamenco guitarist Michael Hauser. Mr. Hauser's career spans over twenty-five years with hundreds of performances throughout North America. He has toured with the legendary jazz guitarist Charlie Byrd and also composes music for modern dance.

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  • Tony Hauser and Clea Galhano: a match made in heaven.
    author: David Joanisse

    With over 2,000 works left at his death in 1958, it will probably be many years before the music of Heitor Villa-Lobos is fully evaluated. However, the recording of his Distribution of Flowers by guitarist Tony Hauser and flautist Clea Galhano should inspire an interest in his music, as well as the Pixinguinha by Vianna and the Valsa Choro by Guarnieri. A match made in heaven, the guitar and the flute. Viva o Brasil!

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