Mandu Çarará

Appleby Catalogue W number: 
W417
Year Composed: 

Category:

Mandu Çarará, a Secular Cantata

Notice the cedille in Çarará - it's also spelled "Mandu Sarara".

This "cantata profana" is based on an Indian legend collected by Barbosa Rodrigues, and dedicated to Mindinha.

In this video, Roberto Tibiriçá conducts the Sinfónica de la Juventud Venezolana "Simón Bolívar", the Sistema Nacional de Coros Sinfonicos (Zulia, Tachira, Merida y Metropolitano), and the Niños Cantores del Nucleo Los Teques, in a concert from Caracas from January 30, 2011.

Below is a summary of this work, written by Fabio Zanon for a recent concert by the Orquestra Sinfônica do Estado de São Paulo, conducted by Isaac Karabtchevsky:

 

É um mistério o porquê de uma obra tão espetacular ser praticamente desconhecida. Mandú-Çarará pertence a um grupo de peças como A floresta do Amazonas ou Descobrimento do Brasil, em que Villa-Lobos conjuga o tratamento coral com outros gêneros, sem abdicar da opulência orquestral. Evidentemente, Mandu-Çarará é uma cantata profana, mas a partitura de piano traz o subtítulo “Bailado”, apesar de não haver registro de que ela tenha sido apresentada sob essa forma.

Mandu-Çarará é o deus da dança. Um índio abandona seus filhos no meio da floresta para que a menina se case com Mandu-Çarará, mas eles se perdem e acabam por se encontrar com o Curupira, que quer atraí-los para sua cabana e devorá-los. Eles enganam o Curupira, entram em sua cabana, matam sua mulher, jogam-na num tacho de guisado e fogem. O Curupira come o guisado e sai à caça das crianças, mas quando sua própria barriga responde a seus gritos ele percebe que devorou sua mulher. Os espíritos da floresta se entristecem com ele e as crianças conseguem encontrar o caminho de volta à aldeia, onde Mandu-Çarará espera para festejarem juntos, numa apoteose de dança e brincadeira.

Na obra, Villa-Lobos estabelece o contraste entre o estilo soturno do coro adulto, representando o Curupira, e a leveza serelepe do coro infantil, num texto em nheengatu de forte caráter onomatopéico. A exuberância da floresta é retratada pela polifonia e pelas várias camadas de atividade sonora simultâneas.

[and translated by Google Translate:]

It's a mystery why a work so spectacular is practically unknown. Mandu-Carara belongs to a group of pieces like the Amazon forest or the Discovery of Brazil, where Villa-Lobos coral treatment combines with other genres, without losing the orchestral opulence. Of course, Mandu-Carara is a secular cantata, but sheet music for piano bears the subtitle "Ballet", although there is no record that it was made in that form.

Mandu-Carara is the god of dance. An Indian abandons her children in the woods for the girl to marry Mandu-Carara, but they get lost and end up meeting with Curupira, who wants to draw them to his hut and eat them. They deceive Curupira enter his cabin, killing his wife, play it in a pot of stew and flee. Curupira eat stew and goes hunting for children, but when his own stomach responds to his cries he realizes that devoured his wife. The forest spirits are saddened by it and the children find their way back to the village, where Mandu-Carara wait to celebrate together in an apotheosis of dance and play.

In the work, Villa-Lobos establishes the contrast between the style of the sullen adult choir, representing the Curupira, and the lightness of frisky children's choir, a text nheengatu of strong character onomatopoeic. The lush forest is portrayed by the polyphony and the various layers of simultaneous activity noise.

 

Instrumentation: 

Orchestra, mixed chorus & children's choir (W417)SMATBB e coro infantil pic, 2fl, 2ob, c ing, 2cl(Bb), cl baixo, 2fg, cfg, 4cor(F), 3trp(Eb), 4trb, tuba, tímp, tam-tam (pequeno e grande), reco-reco, chocalho, pandeiro, surdos, bombo, sinos, prato de louça, camisão (grande e pequeno), xil, cel, 2hp, pf e cordas The piano reduction is W418

Scores: 

Published by Max Eschig in 1988.  I haven't seen the Eschig score in any library catalogue or score store.This is one of the first scores to be published in the Villa-Lobos Digital project of the Academia Brasileira da Música.  The Bierce Library at the University of Akron, Ohio holds the collection of composer, conductor, and friend of Villa-Lobos Walter Burle Marx, including this score of a piano reduction of Mandu-Çarará: 

Recordings: 
Performances: 

Premiere: 10/11/46, Rio de Janeiro - Theatro Municipal. Orfeão Artístico do Colégio Pedro II; Coro e Orquestra do Theatro Municipal; Heitor Villa-Lobos, conductorThis work is showing up more often recently; there are only seven performances in the HVL Upcoming Concerts database as of September 2011. Still no easily-available recordings, though!

Category: 
Choral Works