Work Overview

Year of Publication: 1922

First Publisher: E. Demets (later Max Eschig)

Instrumentation: Piano Solo

Total Performance Time: Approx. 24 minutes (1.5 to 3 minutes per piece)

Paul Claudel (1868-1955), known as a diplomat and poet, was appointed French Minister to Brazil in November 1916. Milhaud, who had met Claudel and formed a close friendship with him in 1912, accompanied Claudel as his secretary at Claudel's request, spending from February 1917 to November 1918 in Brazil. It is widely acknowledged that this stay of less than two years in Brazil awakened Milhaud's Latin identity and profoundly influenced his compositional style. Based in Rio de Janeiro, then the capital of Brazil, he avidly absorbed the unique and sophisticated culture that strongly retained the flavor of the colonial era. During long vacations, he accompanied Claudel deep into the Amazonian hinterlands, venturing into tropical jungles, and spent days deeply immersed in the wild's menace and mystery. Towards the end of his stay, in August 1918, he also encountered the arrival of the Spanish Flu in Brazil, which was raging worldwide. Milhaud later meticulously documented the devastation that engulfed the city of Rio at that time in his autobiography.

Soon after returning to Europe from Brazil, Milhaud, driven by an indissoluble attachment to Brazil, composed Saudades do Brasil, completing it in Copenhagen in 1920. This collection of dances, which fully incorporates rhythms from popular music such as Brazilian tango and maxixe, exemplified by Ernesto Nazareth, condenses the unique timing and essence of the 'music of the city' that Milhaud absorbed in Rio. Generally, many cite this work, Le Boeuf sur le Toit (The Ox on the Roof), and 'Brazileira' (the final movement of Scaramouche) as examples of Milhaud's Brazilian influence, but it should be noted that these are merely superficial aspects. The deeper, more essential influence on Milhaud came from the primeval forests of Brazil and the presence of life breathing in the darkness. These resonated with his childhood sonic memories, leading him to discover a compositional style that emerged from within himself, culminating in large-scale dramatic music and cantatas. While there is no doubt that this work is charming in itself, it can be considered a secondary product compared to the inspiration nature provided Milhaud. In any case, the Portuguese word 'saudade' is said to be a mixture of nostalgia, longing, fondness, and melancholy, or even impossible to translate into other languages, and it remains a cornerstone of Brazilian music across genres. It is also known by Japanese titles such as 'Memories of Brazil' or 'Nostalgia for Brazil'.

All twelve short pieces are in 2/4 time, mostly dance pieces with syncopation, and Milhaud composed all original melodies without borrowing from folk songs or other sources. The fundamental principle is the playing of different keys by the left and right hands (bitonality), with additional lines sometimes leading to incidental polytonality. The titles of each piece are names of Rio's districts and scenic spots, including Corcovado Hill, where the famous Christ the Redeemer statue stands, Copacabana Beach, and Ipanema Beach, which have also been settings for pop and bossa nova music. Some of these place names are familiar to Japanese people, and it is enjoyable to play while imagining the cityscape of Rio. The premiere took place in November 1920 at a Les Six concert at the Galerie Montaigne in Paris, performed by Nininha Velloso-Guerra. For more details on this premiere performer, please refer to my humble article on Printemps, Book 2 (Op. 66). There is also an orchestral version (Op. 67b) which adds a light overture to the beginning of the twelve pieces.

The difficulty of each piece varies; some, like 'Gavea', are extremely challenging to play, but many are relatively easy. As a representative work among Milhaud's piano compositions, it is hoped that it will be widely enjoyed by performers and learners alike. One may attempt all pieces, or freely select and play excerpts. If you are unsure about selection, the following examples may be helpful:

• Milhaud's own performances: Ipanema, Sorocaba, Corcovado, Sumare
• Arthur Rubinstein: Ipanema, Sumare, Laranjeiras
• Marguerite Long: Paysandu, Ipanema
• Henriette Puig-Roget: Copacabana, Corcovado, Tijuca, Sumare

Each piece is dedicated to a friend or acquaintance Milhaud made in Brazil.

• No. 1 Sorocaba. 2/4 time. Modéré (Moderately). Dedicated to Madame Régis de Oliveira.
• No. 2 Botafogo. 2/4 time. Doucement (Sweetly). Dedicated to Oswald Guerra (composer).
• No. 3 Leme. 2/4 time. A l’aise (At ease). Dedicated to Nininha Velloso-Guerra (pianist).
• No. 4 Copacabana. 2/4 time. Calme (Calmly). Dedicated to Godofredo Leao Velloso (composer).
• No. 5 Ipanema. 2/4 time. Nerveux (Nervously). Dedicated to Arthur Rubinstein (pianist).
• No. 6 Gavea. 2/4 time. Vivement (Lively). Dedicated to Madame Henrique Oswald (wife of the composer).
• No. 7 Corcovado. 2/4 time. Tranquille (Tranquilly). Dedicated to Madame Henri Hoppenot (wife of the diplomat).
• No. 8 Tijuca. 2/4 time. Triste (Sadly). Dedicated to Ricardo Vines (pianist).
• No. 9 Sumare. 2/4 time. Léger (Lightly). Dedicated to Henri Hoppenot (diplomat).
• No. 10 Paineras. 2/4 time. Souple (Supple). Dedicated to La Baronne Frachon.
• No. 11 Laranjeiras. 2/4 time. Alerte (Alertly). Dedicated to Audrey Parr (artist).
• No. 12 Paysandu. 2/4 time. Expressif (Expressively). Dedicated to Paul Claudel (diplomat and poet).