Sergio and Eduardo Abreu Recordings

[HVL]

It is unfortunate, especially for a new generation of guitarists, that
all of the recordings by Sérgio and Eduardo Abreu are out of catalog.
Luckily, members of a Brazilian Internet classical guitar forum
recently persuaded Sérgio to make available digital versions of both
the duo and his own solo discs, in addition to never released
recordings made for the BBC in 1970.

The MP3 files are temporarily available from the RapidShare hosting
service. Please follow the instructions in the download pages and pay
special attention to the limitations imposed on the free service. The
links to the download pages are at the end of this post.

-----
A small biography of Sergio and Eduardo Abreu

Born in Rio de Janeiro, Brazil in 1948 and 1949, respectively, Sérgio
and Eduardo Abreu followed Turíbio dos Santos and Carlos Barbosa-Lima
in the first wave of Brazilian classical guitarists to achieve
international recognition. Their grandfather, Antônio Rebello, was an
influential guitar teacher in Rio and took charge of their early
musical education. After quickly outgrowing the home education
environment, they started studying under the direction of the
enigmatic Argentinian guitarist Monina Távora, an accomplished
Segovia student, adept of a very disciplined and perfectionist
practice regimen.

The duo performed in public for the first time in 1963 with great
success. However, following their teacher's advice, they kept their
concert activity to a minimum during these formative years. Only
after Sérgio won the first prize in the prestigious Paris
International Guitar Competition in 1968 and Eduardo was awarded the
second prize in the subsequent year, their international concert and
recording careers finally started in full gear. A typical concert
program would start with the duo performing pieces from the
renaissance and the baroque, followed by Sérgio's solo showcase .
Eduardo would open the second half of the program, later joined by
his brother for a selection of nineteenth and twentieth century guitar
duos. Their performances were characterized by the obsessive
attention to both details of guitar technique and musical
presentation.

In the early seventies, the duo career was abruptly interrupted when
Eduardo decide to abandon his concert activities. He pursued a career
in engineering, graduating from the Federal University of Rio the
Janeiro, continuing his studies at the University of California, Santa
Barbara, earning his Ph. D. degree from the Department of Electrical
and Computer Engineering. Sérgio continued his concert and recording
career until the early eighties when he switched his attention to
guitar building. Today he is a highly regarded luthier
producing guitars inspired by the Hermann Hauser guitars he used
throughout his performing career.

-----
Available recordings:

1. The Guitars of Sergio and Eduardo Abreu - Decca 1968
2. The Guitars of Sergio and Eduardo Abreu - CBS 1969
3. Two Concertos for Two Guitars by Castelnuovo-Tedesco and Santórsola
4. Sérgio Abreu interpreta Paganini e Sor
5. The 1970's BBC Recordings

1 <<<<

Album: The Guitars of Sergio and Eduardo Abreu - Decca 1968
Artist: Sergio and Eduardo Abreu

Tracks:
1. Dowland: Sir John Langtons Pavan (Arr. Sergio Abreu) Duo
2. Frescobaldi: Fugue (Arr. Sergio Abreu) Duo
3. Vivaldi: Prelude e Courant (Arr. John Williams) Duo
4. D. Scarlatti: Sonata in D, L104 (Arr. Pujol) Duo
5. J.S. Bach: Suite 3, BWV 995 - Solo Sergio
6. Villa-Lobos: Prelude 1 - Solo Eduardo
7. Villa-Lobos: Etude 1 - Solo Eduardo
8. Segovia: Estudio Sin Luz - Solo Eduardo
9. Torroba: Madroños - Solo Eduardo
10.Segovia: Divertimento - Duo
11.Ravel: Pavane (Arr. Pujol) Duo
12.Albeniz: El Puerto from Suite Iberia (Arr. Sergio Abreu) Duo

Links:
http://rapidshare.de/files-en/449636/DuoAbreu-Decca68-Dowland-Frescobaldi.zip.html
http://rapidshare.de/files-en/449644/DuoAbreu-Decca68-Vivaldi-Scarlatti.zip.html
http://rapidshare.de/files-en/449792/DuoAbreu-Decca68-SoloSergio.zip.html
http://rapidshare.de/files-en/449825/DuoAbreu-Decca68-SoloEduardo.zip.html
http://rapidshare.de/files-en/450030/DuoAbreu-Decca68-Segovia-Ravel-Albeniz.zip.html

2 <<<<

Album: The Guitars of Sergio and Eduardo Abreu - CBS 1969
Artist: Sergio and Eduardo Abreu

Tracks:
1. Anon.: Drewries Accordes
2. Anon.: O Rouxinol
3. Telemann: Canon (Transcr. Sergio Abreu)
4. D. Scarlatti: K. 9 (L. 413) Pastorale (Transcr. Pujol)
5. J.S. Bach: Prelude 3 (Vol. 1 from The Well Tempered Clavier -
Transcr. Sergio Abreu)
6. Scheidler: Sonata in D - I Allegro (Edited by Karl Scheitt)
7. Scheidler: Sonata em D - II Romanze (Edited by Karl Scheitt)
8. Sheidler: Sonata em D - III Rondo/Allegro (Edited by Karl Scheitt)
9. F. Sor: Theme and Variations
10. Granados: Intermezzo (from Goyescas - Transcr. Pujol)
11. Rodrigo: Tonadilla - I Allegro ma non troppo/ II Minueto Pomposo
12. Rodrigo: Tonadilla - III Allegro Vivace
13. Albeniz: Evocacion (from Suite Iberia - Transcr. Sérgio Abreu)
14. Falla: Danza Española (from La Vida Breve - Transcr. Pujol)

Links:
http://rapidshare.de/files-en/462289/DuoAbreu_CBS69_01-05.zip.html
http://rapidshare.de/files-en/462292/DuoAbreu_CBS69_06-08.zip.html
http://rapidshare.de/files-en/462514/DuoAbreu_CBS69_09-10.zip.html
http://rapidshare.de/files-en/462581/DuoAbreu_CBS69_11-12.zip.html
http://rapidshare.de/files-en/462667/DuoAbreu_CBS69_13-14.zip.html
http://rapidshare.de/files-en/462589/DuoAbreu_CBS69_Cover.zip.html

3 <<<<

Album: Two Concertos for Two Guitars by Castelnuovo-Tedesco and
Santórsola
Artist: Sergio and Eduardo Abreu with Enrique Garcia Asencio and the
English Chamber Orchestra

Tracks:
1. Castelnuovo-Tedesco: Concerto for Two Guitars and Orchestra (op.
201) - I. Un Poco Moderato e Pomposo
2. Castelnuovo-Tedesco: Concerto for Two Guitars and Orchestra (op.
201) - II. Andante
3. Castelnuovo-Tedesco: Concerto for Two Guitars and Orchestra (op.
201) - III. Molto Vivace
4. G. Santorsola: Concerto for Two Guitars and Orchestra - I. Allegro
Moderato
5. G. Santorsola: Concerto for Two Guitars and Orchestra - II. Adagio
6. G. Santorsola: Concerto for Two Guitars and Orchestra - III.
Intermezzo: Allegro
7. G. Santorsola: Concerto for Two Guitars and Orchestra - IV. Allegro
Festivo

Links:
Loading Image....html
http://rapidshare.de/files-en/477339/DuoAbreu_Concertos_Castelnuovo.zip.html
http://rapidshare.de/files-en/477480/DuoAbreu_Concertos_Santorsola.zip.html

4 <<<<

Album: Sérgio Abreu interpreta Paganini e Sor
Artist: Sérgio Abreu

Tracks:
1. Paganini: Grand Sonata em Lá Maior - Allegro Risoluto
2. Paganini: Grand Sonata em Lá Maior - Romanza
3. Paganini: Grand Sonata em Lá Maior - Andatino Variato
4. Sor: 9 Estudos - Op 35 nº 17 em Ré maior
5. Sor: 9 Estudos - Op 6 nº 6 em Lá maior
6. Sor: 9 Estudos - Op 31 nº 20 em Lá menor
7. Sor: 9 Estudos - Op 6 nº 12 em Lá maior
8. Sor: 9 Estudos - Op 35 nº 22 em Si menor
9. Sor: 9 Estudos - Op 29 nº 11 em Sol maior
10. Sor: 9 Estudos - Op 6 nº 9 em Ré menor
11. Sor: 9 Estudos - Op 5 nº 5 em Ré maior
12. Sor: 9 Estudos - Op 29 nº 1 em Si bemol maior

Links:
Loading Image....html
http://rapidshare.de/files-en/481318/SergioAbreu-PaganiniSor-Paganini.zip.html
http://rapidshare.de/files-en/481337/SergioAbreu-PaganiniSor-Sor.zip.html

5 <<<<

Album: The 1970's BBC Recordings
Artist: Sergio and Eduardo Abreu

Tracks:
1. J.Ph. Rameau: 6 Pieces of 1724 Book - Allemande
2. J.Ph. Rameau: 6 Pieces of 1724 Book - Le rappel des oiseaux
3. J.Ph. Rameau: 6 Pieces of 1724 Book - Rigaudon
4. J.Ph. Rameau: 6 Pieces of 1724 Book - Musette en Rondeaux
5. J.Ph. Rameau: 6 Pieces of 1724 Book - Le Lardon - Minuet
6. J.Ph. Rameau: 6 Pieces of 1724 Book - Les Cyclopes
7. D. Scarlatti: Toccata in D minor - Allegro K141/L422
8. S.L. Weiss: Passacaglia - Solo Sergio
9. D. Scarlati: Sonata L79/K391 - Solo Sergio
10. M. Ponce: Sonatina Meridional - Campo-Copla-Fiesta - Solo Eduardo
11. M. Castelnuovo Tedesco: Preludio Eb
12. M. Castelnuovo Tedesco: Fuga Eb
13. M. Castelnuovo Tedesco: Preludio C#m
14. M. Castelnuovo Tedesco: Fuga C#m
15. Franz Burkhardt: Toccata

Links:
Loading Image....html
http://rapidshare.de/files-en/413736/DuoAbreu-BBC70-Rameau.zip.html
http://rapidshare.de/files-en/413773/DuoAbreu-BBC70-Toccata.zip.html
http://rapidshare.de/files-en/433976/DuoAbreu-BBC70-SoloSergio.zip.html
http://rapidshare.de/files-en/413941/DuoAbreu-BBC70-SoloEduardo.zip.html
http://rapidshare.de/files-en/414059/DuoAbreu-BBC70-Castelnuovo-Bukhardt.zip.html

[John E. Golden]

Lots of Abreu Brothers info snipped <

Thanks Heitor. Very interesting.

Regards,
John E. Golden

P. S. What kind of cigars do you smoke?

[Steve Freides]

-snip-

Links:
http://rapidshare.de/files-en/449636/DuoAbreu-Decca68-Dowland-Frescobaldi.zip.html

-snip-

The Frescobaldi fugue is surprisingly (to me, anyway), sophisticated -
if I was given this as a mystery listening piece, I'd have guessed it to
be from the last 50 years, not the first 50 years, of the Baroque era.
Anyone else think this could pass for, e.g., Handel?

-S-

[Sarn Dyer]

I think you're right. The best known Frescobaldi for guitar is the
beautiful Aria and Variations, 'La Frescobalda', first (?) transcribed
by A. Segovia - an excellent intermediate piece.

The subject of pieces that don't seem to fit entirely in their period is
an interesting one.

SD

Post by Steve Freides
-snip-
http://rapidshare.de/files-en/449636/DuoAbreu-Decca68-Dowland-Frescobaldi.zip.html
-snip-
The Frescobaldi fugue is surprisingly (to me, anyway), sophisticated -
if I was given this as a mystery listening piece, I'd have guessed it to
be from the last 50 years, not the first 50 years, of the Baroque era.
Anyone else think this could pass for, e.g., Handel?
-S-

[Steve Freides]

Post by Sarn Dyer
I think you're right. The best known Frescobaldi for guitar is the
beautiful Aria and Variations, 'La Frescobalda', first (?) transcribed
by A. Segovia - an excellent intermediate piece.
The subject of pieces that don't seem to fit entirely in their period
is an interesting one.

I teach music history at the local community college, have a doctoral
degree, and all that - which is to say I don't consider myself anything
near an "expert" but I've got a pretty good idea of what early Baroque
music sounds like, and this ain't it. Schein, Schutz, those guys -
chordal style but not really yet functional, modern-sounding harmony.
This Frescobaldi fugue definitely sounds like late Baroque to me, but
I'm going back to read up a bit - I think I've got that big old book, by
Bukopfzer (sp?) here and we'll see what he's got to say - perhaps it
will shed some light on this for me. My guess would have been about
1720-1730 at the earliest, but I'm not that up on what was going on in
Italy in the early 1600's so maybe they "got there first" in this
regard.

-S-

Post by Sarn Dyer
SD

Post by Steve Freides
-snip-
http://rapidshare.de/files-en/449636/DuoAbreu-Decca68-Dowland-Frescobaldi.zip.html
-snip-
The Frescobaldi fugue is surprisingly (to me, anyway),
sophisticated - if I was given this as a mystery listening piece, I'd
have guessed it to be from the last 50 years, not the first 50 years,
of the Baroque era. Anyone else think this could pass for, e.g.,
Handel?
-S-

[Sarn Dyer]

Post by Steve Freides
I teach music history at the local community college, have a
doctoral
degree, and all that - which is to say I don't consider myself anything
near an "expert" but I've got a pretty good idea of what early Baroque
music sounds like, and this ain't it. Schein, Schutz, those guys -
chordal style but not really yet functional, modern-sounding harmony.
This Frescobaldi fugue definitely sounds like late Baroque to me, but
I'm going back to read up a bit - I think I've got that big old book, by
Bukopfzer (sp?) here and we'll see what he's got to say - perhaps it
will shed some light on this for me. My guess would have been about
1720-1730 at the earliest, but I'm not that up on what was going on in
Italy in the early 1600's so maybe they "got there first" in this
regard.

It has been argued that there is no real pattern of progress in Baroque
music from, say, a quasi-improvisational fantasia form to highy
formalised sonata forms - in fact, no real evidence for the development
of a musical logic or tonal evolution. In his many 'partite', B.
Pasquini (1637-1757) is looking 'back' to Frescobaldi in some of his
compositions, into the future with others (his monothematic ricercari,
for example).

Frescobaldi probably had a big influence on the harmonic resources of
the later vocal music of A. Stradella, A. Scarlatti, G. Pergolesi et al.
. G. Paisiello's very popular 'Nel cor più no mi sento', used by
composers such as Fernando Sor (op.16, c. 1825), sounds more like a 19th
that an 18th Century melody to me!

SD

[Steve Freides]

Post by Sarn Dyer

Post by Steve Freides
I teach music history at the local community college, have a
doctoral
degree, and all that - which is to say I don't consider myself anything
near an "expert" but I've got a pretty good idea of what early Baroque
music sounds like, and this ain't it. Schein, Schutz, those guys -
chordal style but not really yet functional, modern-sounding harmony.
This Frescobaldi fugue definitely sounds like late Baroque to me, but
I'm going back to read up a bit - I think I've got that big old book, by
Bukopfzer (sp?) here and we'll see what he's got to say - perhaps it
will shed some light on this for me. My guess would have been about
1720-1730 at the earliest, but I'm not that up on what was going on in
Italy in the early 1600's so maybe they "got there first" in this
regard.

It has been argued that there is no real pattern of progress in Baroque
music from, say, a quasi-improvisational fantasia form to highy
formalised sonata forms - in fact, no real evidence for the
development
of a musical logic or tonal evolution. In his many 'partite', B.
Pasquini (1637-1757) is looking 'back' to Frescobaldi in some of his
compositions, into the future with others (his monothematic ricercari,
for example).
Frescobaldi probably had a big influence on the harmonic resources of
the later vocal music of A. Stradella, A. Scarlatti, G. Pergolesi et al.
. G. Paisiello's very popular 'Nel cor più no mi sento', used by
composers such as Fernando Sor (op.16, c. 1825), sounds more like a 19th
that an 18th Century melody to me!

Good points, Sam. When I switched away from being a guitar major, I
switched to voice - I've sung 'Nel cor più no mi sento' many, many
times, and it's a good observation on your part that it easily be
mistaken for something from early in the Classical period - to tell you
the truth, I never thought much about who composed it and when; it was
just one of those songs in the "Italian Aria" or similarly-titled
collections that most beginning singers learn. I think I could play and
sing "Caro mio ben" in my sleep! Actually, a lot of those songs would
probably lend themselves very nicely to guitar accompaniments - I'll to
look into that... I'll be digging up those books and looking them over
tomorrow.

-S-

[Greg M. Silverman]

Post by Steve Freides

Post by Sarn Dyer

Post by Steve Freides
I teach music history at the local community college, have a
doctoral
degree, and all that - which is to say I don't consider myself anything
near an "expert" but I've got a pretty good idea of what early Baroque
music sounds like, and this ain't it. Schein, Schutz, those guys -
chordal style but not really yet functional, modern-sounding harmony.
This Frescobaldi fugue definitely sounds like late Baroque to me, but
I'm going back to read up a bit - I think I've got that big old book, by
Bukopfzer (sp?) here and we'll see what he's got to say - perhaps it
will shed some light on this for me. My guess would have been about
1720-1730 at the earliest, but I'm not that up on what was going on in
Italy in the early 1600's so maybe they "got there first" in this
regard.

It has been argued that there is no real pattern of progress in Baroque
music from, say, a quasi-improvisational fantasia form to highy
formalised sonata forms - in fact, no real evidence for the
development
of a musical logic or tonal evolution. In his many 'partite', B.
Pasquini (1637-1757) is looking 'back' to Frescobaldi in some of his
compositions, into the future with others (his monothematic ricercari,
for example).
Frescobaldi probably had a big influence on the harmonic resources of
the later vocal music of A. Stradella, A. Scarlatti, G. Pergolesi et al.
. G. Paisiello's very popular 'Nel cor più no mi sento', used by
composers such as Fernando Sor (op.16, c. 1825), sounds more like a 19th
that an 18th Century melody to me!

Good points, Sam. When I switched away from being a guitar major, I
switched to voice - I've sung 'Nel cor più no mi sento' many, many
times, and it's a good observation on your part that it easily be
mistaken for something from early in the Classical period - to tell you
the truth, I never thought much about who composed it and when; it was
just one of those songs in the "Italian Aria" or similarly-titled
collections that most beginning singers learn. I think I could play and
sing "Caro mio ben" in my sleep! Actually, a lot of those songs would
probably lend themselves very nicely to guitar accompaniments - I'll to
look into that... I'll be digging up those books and looking them over
tomorrow.
-S-

That's funny! I have the book right here, "Italian Songs and Arias,"
edited by John Glenn Paton. I'm currently working on "Amarilli, mia
bella." :-)

BTW, I just finished reading, "Purcell Remembered," and Purcell too had
been accused of copying Bach and Handel among others. Problem of course
was that he predated both by quite a number of years, so pox on them.
Listening to his music indeed shows the timeless quality to it.

gms--

[g***@gmail.com]

HVL wrote: