Odeon by Ernesto Nazareth, Commentary by Yukie Kobayashi

Composed in 1910. Two years after its publication, in 1912, Nazareth himself recorded the piece at Casa Edison in Rio de Janeiro. Odeon spread throughout Brazil along with the record. It remains one of Nazareth's most representative and beloved compositions.

The title "Odeon" is derived from Cinema Odeon, a movie theater in Rio where Nazareth performed at the time. The piece is dedicated to Zambelli, the proprietor of Cinema Odeon.

While cinema is now widely popular as a form of entertainment, in the early 20th century, when Nazareth lived, it was a cutting-edge cultural phenomenon. Cinema Odeon was a vibrant social hub for intellectuals and the upper class.

Cinema Odeon opened in 1909, the year before this piece was composed. Nazareth's piano performances, which he gave from the very beginning, quickly gained immense popularity. Long queues would form an hour before opening as people flocked to hear him play. Newspapers unanimously praised Nazareth as "the King of Brazilian Tango."

Among the audience at Cinema Odeon was the French composer Darius Milhaud, who was traveling in Brazil. Captivated by the vibrant syncopated rhythms of Brazilian music, which he encountered for the first time, Milhaud immediately began composing works with Brazilian themes. He left behind masterpieces such as Saudades do Brasil (Nostalgia for Brazil), L'homme et son désir (Man and His Desire), and Le Boeuf sur le Toit (The Ox on the Roof), which profoundly influenced his music. Had Milhaud not heard Nazareth's piano performance at Cinema Odeon, these renowned works might never have been created.

Musical Structure

The piece follows an A-B-A-C-A structure. (Some scores also present an A-B-A-C-A-B-A structure.)

The opening A section is quite simple, featuring a descending bass line with dotted rhythms and off-beat rhythms. However, even within this simple music, Nazareth's unique flair shines through, with a distinct Brazilian rhythm that captivated Milhaud. From the subsequent B section, the music modulates from C-sharp minor to E major, adopting a sweet and flamboyant atmosphere, conveying both Brazilian character and a romantic sensibility. Here, one can discern Nazareth's admiration for Chopin, whom he revered since childhood, even while growing up in Brazil and being influenced by Brazilian music.

Through its distinctively Brazilian, elegant rhythms and sweet, flamboyant melodies, Nazareth masterfully evokes the atmosphere of the glittering salons where intellectuals and the upper class gathered night after night, using the piano as his medium.