H. Dawid Korenchendler - Tribute - Digital Album (in English)

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This album is an homage to the Rio de Janeiro composer H. Dawid Korenchendler, presenting works that appearing at a concert held in his honor at Sala Cecília Meireles in April 2021, shortly after his passing. At that time, in the midst of the pandemic, musicians connected to the Villa-Lobos Institute - Doriana Mendes, José Wellington Santos, Hugo Pilger, Lúcia Barrenechea, Marco Lima, Marco Túlio de Paula Pinto, and Sérgio Barrenechea, who had played his works on other occasions, came together to pay this tribute. Later, the same group, now joined by Mariana Salles, decided to record the works presented in this album. It includes pieces for solo guitar, solo alto saxophone, solo piccolo, solo violin, solo piano, violin and piano, cello and piano, and a micro-opera for soprano and guitar.

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About the composer

Korenchendler had quite a distinguished career within the context of classical music in Brazil. A constant presence in the concert halls of Brazil, he received numerous prizes, and received many commissions during his lifetime. The son of Jewish immigrants from Poland who had lost their families during the Second World War, Dawid stated that Jewish culture always had a major influence on his music.¹

The principal genres for which the composer wrote works are: symphonies, operettas, chamber music, pieces for solo instrument and orchestra, pieces for solo instruments, overtures for orchestra, among others.  Among his prize-winning works one may highlight Opus 1968, for orchestra, and Brincando com Bartók, [Playing with Bartok] for clarinet and strings. Among his orchestra works one should also mention the Sinfonia nº 1 - “Sinfonia das crianças” [Symphony of the children], Gênesis: concerto para violino e orquestra [Genesis: concerto for violin and orchestra], Overture  and Overture Fantasia, both for orchestra, and Concerto for piano and small orchestra.

Korenchendler was a child prodigy as pianist and composer. He began his piano studies with Arnaldo Estrella, and his study of music theory with Henrique Morelembaum. He went on to perfect his piano skills with Lúcia Branco, along with his contemporary, Nelson Freire. At age nine, he received a prize for composing a hymn in honor of Santos Dumont during Wing Week, organized by the Ministry of Aeronautics. In 1965, he completed his primary school teaching qualification at the Normal School course of the Institute of Education (now ISERJ), and always mentioned his training at the Normal School course with great pride. He graduated from UFRJ (Federal University of Rio de Janeiro) in piano, composition, and conducting, having studied with professors Ilara Gomes Grosso, Raphael Baptista, José Siqueira, Henrique Morelenbaum and Roberto Duarte. He worked as professor of Musical Education in the school system of the City of Rio de Janeiro, and was on the faculty of the Villa-Lobos Institute from 1977 to 2021, teaching counterpoint, composition, and orchestration. There he had a legion of students representing all musical styles, including the composers Rodrigo Cicchelli, Daniel Rousseau, Marcio Conrad, Marcilio Lopes, Sergio Roberto de Oliveira, Tim Rescala, and more recently, Henrique Machado and Ágatha Lima.

Over the course of his career, he participated in various events bringing together and providing support for composers, which were very common from the 1960s on, and in 1971, he was part of the group of compsoers which created the Brazilian Society for Contemporary Music (SBMC). More recently he participated in countless editions of the Panorama da Música Brasileira Atual [Panorama of Contemporary Brazilian Music] and of the most important national event in this area, the Bienal de Música Contemporânea [Biennial of Contemporary Music]. His symphonic music was played by the leading Brazilian orchestras, including the Orquestra Sinfônica Brasileira, the Orquestra Sinfônica Nacional, the Orquestra Sinfônica of the State of São Paulo, currently OSESP, the now defunct Orquestra Sinfônica of TV Cultura, the Youth Orchestra of Rio de Janeiro, and others. His concerto for violin and orchestra was played on several occasions by the soloist Erich Lehninger, with Henrique Morelembaum conducting, during the 1980s.

With regard to his compositional style, some scholars note an eclectic tendency in his musical production, which dialogues with classic forms, but stands out for its originality and personal creativity.² Others see Dawid’s work as having a sound discourse of “limited freedom”, pointing out that he continues the Western classical tradition, but introduces renewed language and expressions. His compositions explore new paths, without entirely breaking with the past. One might say that he often uses various compositional techniques with freedom and in a recurring way, and seeks to organize his works in a systematic manner, creating his own musical language.³ Two of the most frequent and constrasting features of the composer stand out: melancholy and humor.

Myrian Ribeiro Aubin emphasizes four phases in his vast production, with the first shaped by the influence of important composers from the early twentieth century, such as Bartok, Stravinsky, Prokofiev and Shostakovich. The second phase was strongly influenced by music of the avant-garde. The third phase she considers to be a consolidation of his musical language based on these early influences. The fourth phase, from the 1990s on, is dominated by a free language, maintaining a modern way of writing.⁴

His choral works are highly appreciated by the public, conductors, and chorus members, with his composition for children’s choir standing out. This part of his repertoire is found in the programs of various choruses throughout Brazil. His work Ludus won the Second FUNARTE National Competition for Works for Children’s Chorus in 1980, and his work Chambre Vide, with text by Manuel Bandeira, won the silver medal at the First International Competition for Musical Composition of the City of Ibaguê in Colombia in 1981.

The first performance of his Variações sobre o Hino Nacional Brasileiro [Variations on the Brazilian National Anthem], commissioned by the German government of the time, was performed by the Quarteto Marki, and enthusiastically applauded by the audience of five hundred at the German-Brazilian Symposium taking place in Bonn, capital of the former Federal Republic of Germany in 1985.

In 2000, he participated in the project Palavras Brasileiras [Brazilian Words] of André Heller, presented in 14 concerts at the CCBB-RJ. Heller commissioned works on historical texts from various composers in order to trace a panorama of the history of Brazil since its discovery. Dawid was responsible for setting the Letter of Pero Vaz Caminha in the format of a musical review in three movements. In 2001, he participated in the commemoration of the centenary of the poet Cecília Meireles, presenting his work Reinvenção [Reinvention] with text by Cecília Meireles at the Biblioteca Nacional with the singers Elizete Barnabé e Luciano Botelho, accompanied by Laura Rónai flute, Hugo Pilger, violoncello, and the composer at the piano.

Various of his works have been recorded on disc by important Brazilian performers, including his Divertimento for violoncello, op. 58, recorded on disc 1 of the collection II Bienal de Música Brasileira Contemporânea (1977), by Alceu Reis; his Acronon for piano, winds and percussion, recorded by Caio Pagano, Orquestra Sinfônica Nacional under the direction of Eleazar de Carvalho; and his Sonata In Tensa Ad Tensa (Sonata nº 4) for piano, recorded by Sonia Maria Vieira on the LP collection III Bienal de Música Brasileira Contemporânea (1979). On the CD Fraterno (1995), issued by RioArte together with his colleague Ernani Aguiar, he recorded the Overture for symphony orchestra, Memories (Variations on Bambalalão) and Sonata nº 6 – Apotheosis in B-flat or Sonata do Jubileu for piano and Ballade des Pendus [Ballad of the Hung] for chorus. On the CD Bambambulêlê (1997) by the Coro Infantil of Rio de Janeiro, his Velha anedota [Old Anecdote] is included, recorded under the artistic direction of Elza Lakschevitz. The anthology Estréias Brasileiras [Brazilian Premieres] (1998), sponsored by Brasilcap, included his Fragmenta II, an homage to Erik Satie, with musicians Eduardo Monteiro, flute, Harold Emert, oboe, José Botelho, clarinet, Philip Doyle, horn, Noel Devos, bassoon, and Maria Teresa Madeira, piano. On the CD Concerto de Louvação (1998) in homage to Pope João Paulo II, organized by Roberto Tibiriçá, one finds recordings of five previously unpublished works by the composers Ricardo Tacuchian, Ronaldo Miranda, Edino Krieger, Almeida Prado and H. Dawid Korenchendler, commissioned by the city of Rio de Janeiro. The recording done live in concert at the Sala Cecília Meireles by RioArte. For this occasion, Dawid wrote his Sinfonia nº 3 - Psalmi-Tehillim for chorus, violin, two guitars, timpani, and instrumental ensemble, with a text in Latin and Hebrew to call for ecumenical unity. His works also appear on the CD Música Brasileira para violino, violoncelo e piano [Brazilian Music for violin, violoncello and piano ] (1995) with Jerzy Milewski, violin, Marcio Malard, violoncello and Aleida Schweitzer, piano; on the album O Cravo Brasileiro [The Brazilian Harpsichord] (2000) of Rosana Lanzelotte; on the CD by the Trio Solter-Justi-Fagerlande (2013); and on the CD and DVD Brasileiríssimo:Encontros [Brasileirissimo: Encounters] (2015) by the Duo Barrenechea.

Notes

1. Tom Moore. David Korenchendler: An Interview. Música Brasileira from A to Z, 22 de maio de 2003. Disponível em: https://musicabrasileira.org/david-korenchendler-interview/. Accessed May 22, 2025.

2. Maria Helena Pinto da Silva Elias. Criação contemporânea para piano no Brasil. Revista eletrônica de musicologia. Volume XIII - Janeiro de 2010. Curitiba: UFPR, 2010.

3. Ana Paula da Matta Machado Avvad. As Tendências Neo-Românticas na Música Brasileira Contemporânea para Piano. Revista eletrônica de musicologia. Volume XIII - Janeiro de 2010. Curitiba: UFPR, 2010.

4. Myrian Ribeiro Aubin. A aplicação de conceitos da História Cultural na Sonata no 11 de Dawid Korenchendler: a música erudita como fonte reveladora dos aspectos históricos. Temporalidades. Revista discente do PPG em História da UFMG. Vo. 7 n. 3 (2015): Edição 18. Belo Horizonte: UFMG, 2015.

About the repertoire

Valseresta, for guitar solo, as its name suggests, is a waltz that evokes the universe of serestas. The work alternates between more languid moments, more reflective in character, and passages that are a little quicker, with more rhythmic gestures, creating the expectation of a dance, before returning to the initial languor. The date of composition is not indicated in the score, which we obtained from Maria Haro, also a professor at UNIRIO, who was one of the soloists in the Sinfonia nº 3 - Psalmi-Tehillim in 1997. She recalls having received the score of the Valseresta at some point between 2009 and 2013, but never performed it. Thus, it is possible that the premiere of the work took place at the concert in homage to Korenchendler at the Sala Cecília Meireles, in 2021.

The mournful, sad, and dramatic character of both the Elegies, the first from 1962 and the second from 2009, is evident from the title Elegy, being emphasized both by the subtitle of the Elegy 2, “Elegy for a sad soul”, and by the text which follows, a kind of dedication “To those who hide a deep sadness beneath a crystalline smile, and continue living even with the feeling death in their hearts…”. The composer’s own comments, which precede the score, with the title “A few words”, at the same time that they contextualize the two pieces, assist the pianist in their interpretative decisions by suggesting a sonorous image and ambience, which are in turn reinforced by precise and detailed indications of agogics, variations in dynamics, and idiomatic markings, for example, regarding the use of the pedal. Here is the text by the composer:

“A few words

Two months ago I pored over my first elegy, mistakenly title Prelude in 1995, and, in comparing the originals with the transcription, I realized that I had committed a crime against Dawid, an adolescent, fourteen years old, who was crying out for justice and truth, who would not accept a document which had been covered with cosmetics, pseudo-improved, but the youthful authenticity of which (even though “incorrect”) had been taken from it. I gave back its truth, and joined it with Elegy 2, a recent work.   

In Elegy 1 we can clearly see a great oscillation of language and a lack of commitment in terms of form, even a strange and unnecessary (but retained!) crossing of hands, from the beginning to measure 6, but perhaps these are in fact the most precious gifts of this piece. Today I am fascinated by the “drama” that runs through it, the “emptiness” that I drew at the beginning and the end, the more or less faithful portrait of a time which, thankfully! , has not been lost….

Therefore, I make peace with the adolescent Dawid. I do not think he will blame me for certain “liberties” that I have taken. I am referring to details of the manuscript, fitting in with what I use at present, making things uniform with recent editions (...). There may be one or two wrong notes, which does not detract from the authenticity of the work.  

Incidentally: Elegy 2, “Elegy for a sad soul”, was born from a conversation with a friend, who, telling me about her life, her disappointments, her bitterness, but always with good humor, defined herself as “a sad soul”, and having said this, I promise not to compose any more elegies…..

Rio, May 10, 2009

H.D.K.”

Dedicated to Hugo Pilger and Lúcia Barrenechea, De Webern a Brahms: metamorfoses… is structured as a theme with seven variations. In the Tema, a twelve-tone row is used completely, twice in the violoncello, and once in the piano, in an extremely slow tempo, making a direct allusion to the Austrian composer Anton Webern. Variation I contrasts both in terms of tempo (Allegro and then a Moderato), and in terms of character, exploring diversity of formulas for time signature. In Variation II, semiquavers in the left hand of the piano bring a more machcine-like dimension to this part of the work. In Variation III, a Moderato brings a more tranquil atmosphere, which is broken again in Variation IV.  Variation V is more lyrical in character, which reverberates in the short Variation VI. Variation VII is Lento e apassionato, full of nostalgia and the use of polyrhythm – two against three, so characteristic of Brahms. The sensation for the listener is exactly that the title of this beautiful work suggests: the metamorphosis of serial music into a music with a character worthy of high German romanticism.

Composed in 1995, the Suite for Alto Saxophone explores the expressivity and versatility of the instrument through four distinct movements. The Prelude emphasizes the lyricism of the saxophone with sinuous melodies. SambChor plays with elements and rhythms which are characteristic of samba and choro. La Valse?  Plays with the instability of the traditional waltz accompaniment (oom-pah-pah), through the insertion of binary measures. Brubeckly, Kornly, alludes to the style of the pianist Dave Brubeck (particularly in the album Time Out) using characteristic alternating and asymmetric measures, permeated by Korenchendler’s own style. The suite concludes with a reminiscence of the initial movement, retaining its enigmatic atmosphere.

Deconstruction, for piccolo solo, was composed in 2005, and dedicated to Geraldo Moreira, retired flutist of the Orchestra of the Municipal Theatre of Rio de Janeiro, who premiered it in 2007. Dawid inverts the natural order of the theme and variations, beginning the piece with the final variation, numbered six, and going back through the sequence of variations until the appearance of the theme – the seventh movement. To conclude, the composer includes a coda con fuoco which finalizes the work with great impact. In applying this plan, the composer refers to the idea of dismantling or deconstruction found in the title. The piccolo is explored throughout its entire range over the course of the work, including very lyrical moments contrasting with extreme drama.

Dedicated to Lúcia Barrenechea, Sonata nº 14 – “Me and the others” was written in 2018, with the premiere taking place that same year in the UFF Center for the Arts in Niteroi, Rio de Janeiro. The work, in three movements, refers to the playful language adopted by Korenchendler for many other compositions. In doing so, he makes use of quotes from works by composers he admires. In addition to the quotations, the titles of the works and the markings of character and tempo are also full of humor. The first movement, "The mad metronome”, evokes the sound of this device in an insistent and nervous way. The second movement, titled “Love and my friend Pierrot ‘au Clair de Lune’ (In three parts: Love ‘au Clair de Lune’, My friend Pierrot – Theme and two variations – Once more love ‘au Clair de Lune’)" is an extremely entertaining tribute to Debussy, showing all of Korenchendler’s humor and verve. The third movement, also bearing a long title “The final battle, with the participation of Prince Alexander Nevsky, of the Jedi Luke Skywalker, and the cannons of General 1812, under the direction of ‘Maistre’ Janequin (In five parts: The Prince, the Jedi, the Cannons of the General, ‘Le Maistre’ Janequin, and ‘Coda mishmash’)", continues with quotations from famous works, this time from works of John Williams, Prokofiev and Janequin. Throughout the three movements of the sonata, Dawid Korenchendler displays his intimacy with the piano, exploring the instrument's sonorities and textures as only great composers know how to do.

The Sonata para violino solo dates from 1991, and was premiered at the Bienal de Música Contemporânea that year by Paulo Bosísio. With three contrasting movements, the Sonata makes use of highly virtuosic and idiomatic violin style, with the use of many double stops and left-hand pizzicatos. The first movement - Andante Angosciato – makes use of sudden dynamic contrasts, built around now melodic, now contrapuntal voices that converse with each other. Noteworthy is the entirely idiomatic writing for the violin, demonstrating high-level compositional control of technique, reflected in the flow from anguished parts to those of a cantabile nature. The second movement - Lírico – demands special attention by the performer to the use of double stops in the form of melodies in two voices. The third movement - Allegro molto – evokes Dawid’s Brazilianity, with a dance-like charactere, with waves of motion succeeding one another, sometimes augmented, sometimes shortened, almost like a true spectacle of the sea.

Paganini ante speculum Paganinique - Thema variatinesque, for violin and piano, was written in 2019, and is probably Korenchendler’s final finished composition. Before it was completed, at every chance meeting in the corridors of the Instituto Villa-Lobos of Unirio, we could hear Dawid commenting effusively on what would be his chosen masterwork, composed based on the theme of the caprice no. 24 for violin solo of N. Paganini. Now and again he would bring a section of music to Mariana Salles in order clarify some question regarding writing for the violin. The theme was not chosen by chance, since from the beginning he was writing for his colleagues Mariana Salles (violin) and Lúcia Barrenechea (piano), the duo to whom the work is dedicated. Dawid, based on the mirrored movement of Paganini’s melody – hence Paganini ante speculum – develops it in the form of variations, with his typical humorous writing. Here and there he includes quotations from well-known works. Now and then we hear laughter in the form of chromatic passages for the violin, as Paganini also would do. Based on highly virtuosic writing for the violin, with the use of many double stops, pizzicatos, chords, and harmonics, Dawid seems to have taken advantage of the idiomatic writing in the analogous piece. As in his work for solo violin, sudden dynamic contrasts, and melodic or contrapuntal writing are part of the compositional material, which come to fourteen variations with two cadenzas, one for violin, and the other for the piano.

The Pantomime Micro-Ópera Drama Urbano [Urban Drama] by H. Dawid Korenchendler was written for soprano and guitar in 2008, especially for the duo of Doriana Mendes and Marco Lima, and was premiered at the III Bienal de Música Contemporânea of Mato Grosso that same year. According to the composer, this genre compositor, this genre combines a complete action and the realization of gestures to bring the scenes to life, and for this reason is designated Pantomime-Micro-opera. The composer planned seven movements which would comprise his Urban Drama: I- Lament, II- Meeting, III- To Sleep and to Dream, IV- Dawn, V- Dance of the Blatta Orientalis, VI- The Discussion and VII- Requiem. Each movement, or rather each scene, lasts just over a minute and, in sequence, tells the story of a lonely woman who laments her condition amid her daily chores when she arrives home. The vocal line is almost entirely constructed from vocalises articulated in different ways on the vowel ‘A’. There are also phrases in bocca chiusa and Sprechgesang, displaying a very expressive vocabulary and the composer's mastery of vocal writing. Guitar and voice establish a very close dialogue from the first movement on, and only in the last movement is text included (“Alô” and “Não”) for the soprano, when the character is informed of the death of her beloved. In the coda of the last scene, the Requiem, the composer includes the text sung in Latin, and quotes, in the instrumental line, the Lacrimosa from W.A. Mozart’s Requiem. Another irreverent and bold move by the composer is to ask the guitarist to play this last passage lying on the floor, like a corpse.

About the performers

Marco Túlio de Paula Pinto, Lúcia Barrenechea, Sérgio Barrenechea, Doriana Mendes, Marco Lima, Hugo Pilger, Mariana Salles e José Wellington Santos, àlbum "Tributo", 2025.

Doriana Mendes is professor of voice at UNIRIO, Adjunct IV, linked to the Department of Voice and Wind Instruments, and works with both undergraduate and graduate instruction. Singer, actress, and dancer, a native of Bauru (SP). Doctorate and Masters in Music at UNIRIO, where she received a bachelor’s in voice in the class of de Eliane Sampaio. Her thesis considered “Non-semantic discourse in electro-vocal music”, in the context of works by Luciano Berio, Leo Kupper and Trevor Wishart. She received scholarships from CNPq and FAPERJ (Master’s Degree, Grade 10), with research on the contemporary performer. She is a founding member of ABRAPEM (Brazilian Association of Musical Performance). She chaired the organizing committee of the VI SIMPOM (Brazilian Symposium of Post-Graduate Studies in Music, in November 2020, its firsts entirely online version with great success in the academic environment, with support from CAPES. She was an invited guest to the exhibitions Perspectivas Sonoras 2022 at the Centro Mexicano de la Música y las Artes Sonoras (CMMAS) with the online concert Evoé Maria! Presenting four new electro-vocal works inspired by the work of the visual artist Maria Martins. In 2019, she premiered the electroacoustic opera “Helena y su ventríloquo” at the Festival MUSLAB (México-DF), issued as an opera-film at the XVII Festival Visiones Sonoras (2021), realized online by CMMAS. In 2016 she was the protagonist of the opera Medeia by Mario Ferraro in the first edition of the Bienal de Ópera Atual of FUNARTE. She has performed in Germany, France, Ireland, Portugal, Chile, Bolivia, Argentina, Mexico, New York (USA) and in every state in Brazil. With Duo Laguna she won first prize at the Concurso Souza Lima 1999 and was soloist with Calíope, Prêmio Carlos Gomes 2002. With Quarteto Colonial in 2011/2012 she presented more than 100 concerts in the tour Sonora Brasil-SESC, the largest series featuring Brazilian music. Her discography includes more than twenty CDs.

José Wellington Santos, from Teresina, holds a bachelor’s degree in Piano, as well as a master’s and a doctorate in interpretive practices from UNIRIO, where he also has been part of the faculty of the IVL as professor of musical perception and chamber music since 1995. Part of his doctoral thesis on the piano writing of the composer Edino Krieger was developed at the Universidade de Aveiro/Portugal with a fellowship from Capes. He studied piano with Orlânia Freire, Francisco Colares de Paula, Estela Caldi, Luiz Carlos Moura Castro and Homero de Magalhães. As a young talent he participated in the first editions of the Liszt Festival of Rio de Janeiro. He recorded the CD The Pilgrim of Assisi with the Chamber Chorus Pró-arte, under the musical direction of Carlos Alberto Figueiredo. He participated in the CD The Sound of Almeida Prado (PPGM/Capes) on which he performs works for piano solo, as well as chamber works. With soprano Doriana Mendes, he recorded three song cycles bby the composer Paulo Chagas, Da Memoria, Dos Olhos, and Da Areia, issued on the Belgian label Sub-Rosa. With trumpeter Nailson Simões he maintains a duo dedicated to the repertoire of the twentieth and twenty-first centuries, with whom he recorded the CD Brazilian Music of the 21^st Century for Trumpet and Piano. With pianist Lúcia Barrenechea he plays in the Duo Lado Piano, dedicated to the repertory for piano four hands. He has been active as pianist and teacher at festivals and projects linked to disseminating contemporary Brazilian music (Pauta contemporânea, SESC Partituras, Música na Belle époque Paris/Rio 1900 and Canto do mundo/CCBB), as well as contributing to the training of musicians active in the musical scene in Brazil and abroad. Since 2023, he has explored the sound world of free improvisation with Coletivo Revoada, a quartet also including Cliff Korman, Alexandre Fenerich and Pitter Rocha.

Holding the doctorate in music, Hugo Pilger is professor of violoncello at UNIRIO and member of the Trio Porto Alegre. Composers including Ernst Mahle, Ricardo Tacuchian, Ernani Aguiar, Maurício Carrilho, Wagner Tiso, Marcos Lucas, Leandro Braga, Marcelo Carneiro, Francis Hime, and others, have dedicated important works to him. His discography includes the albums Hugo Pilger interpreta Ernani Aguiar, Ernst Mahle, a integral para violoncelo e piano, Presença de Villa-Lobos na Música Brasileira para violoncelo e piano, vol. I and vol. II, and Claudio Santoro: a obra integral para violoncelo e piano, which have earned him excellent reviews and awards. He is the author of the book "Heitor Villa-Lobos, the violoncello and its idiom”. He received the "Prêmio Profissionais da Música 2018" in the category "Classical Instrumentalist” with nominations for the Latin Grammy in 2012 and 2021. He has recorded dozens of television programs dedicated to string quartets and works for cello and piano by Heitor Villa-Lobos and his peers.

The pianist Lúcia Barrenechea is full professor of piano and chamber music at the Instituto Villa-Lobos of UNIRIO, where she also is the coordinator for PROEMUS – Professional Master’s in Instruction in Musical Practices. He completed her bachelor’s in piano at the Federal University of Goiás, the masters’ at Boston University, and the doctorate at the University of Iowa (USA). With intense activity as a soloist, Lúcia Barrenechea appears regularly in recital in various cities in Brazil. She also appears as a soloist in concertos with various Brazilian orchestras. Recognized as a notable chamber musician, she has appeared with great names on the national and international scenes, in tours in Brazil and abroad. She has frequently been invited to appear as teacher at the most various musical festivals in Brazil. With her husband, the flutist Sérgio Barrenechea, since 1989, she has formed the Duo Barrenechea, with whom she recorded the complete works for flute and piano by Francisco Mignone, an album of French music for flute and piano, and the album Brasileiríssimo, with works by Brazilian composers. She also recorded two CDs of Brazilian works for piano solo, Saracoteio and Pra Piano, and another with trios for violin, violoncello and piano with the violinista Mariana Salles and the cellist Marcelo Salles. In 2013, she released, in partnership with cellist Hugo Pilger, the CD/DVD “Presença de Villa-Lobos na Música Brasileira para Violoncelo e Piano” (The Presence of Villa-Lobos in Brazilian Music for Cello and Piano) and, in 2017, in the form of a double CD, the second volume of this project, which completes the recording of the complete works for cello and piano by this illustrious Brazilian composer. She is currently dedicated to exploring the contemporary Latin American repertoire for solo piano and to piano duos with flute and violin. In 2024, she toured Argentina with violinist Mariana Salles, presenting works by Brazilian and Argentine composers.

Marco Lima began his musical studies with Marcos Guimarães in Niterói (RJ), where he was born. He holds a bachelor’s in guitar and a master’s in music from UNIRIO, with his adviser being Maria Haro at the undergraduate level, and Nicolas de Souza Barros at the graduate level. Having received a fellowship from the DAAD (the German Academic Interchange Service), he settled in Germany, and received his Master’s in Guitar at the Hochschule für Musik Karlsruhe in the class of Andreas von Wangenheim. Later he studied with Tilman Hoppstock at the Akademie für Tonkunst Darmstadt, and more recently he received his Doctorate in Music at UFRJ, under the direction of Márcia Taborda. He received awards in 15 competitions in performance, with six of these being first prize. He has appeared in Germany, Italy, France, Switzerland and in important Brazilian concert halls. He has taught at UFRJ (as substitute professor between 2007 and 2008, and in 2016), at the CEIM-UFF (Center of Studies and Musical Foundations, UFF) and at the Badisches Konservatorium in Karlsruhe (Germany). Currently, he plays in duos with soprano Doriana Mendes and with guitarist Nicolas de Souza Barros. He was a member of the Karlsruhe Guitar Quartet, the Quinteto Violão Real, the Quarteto Carioca de Violões, and the Camerata de Violões. He recorded the CD Danças Brasileiras (Quarteto Carioca de Violões - 2009) and the DVD Cordas Clássicas (Camerata de Violões – 2018, in press) and participated in the CDs Violões da AV-Rio II (2004) and Violões da AV-Rio III (2009).

Marco Túlio de Paula Pinto holds the doctorate and master’s in music from UNIRIO and the bachelor’s in saxophone from UFRJ. Marco Túlio is associate professor at UNIRIO, where he served as coordinator of PROEMUS between 2020 and 2022. His musical experience includes participation in the UFRJazz Ensemble and the position of founding member, section leader, and first saxophonist in the Philharmonic Band of Rio de Janeiro. He participated in the Funarte Panels for Bands in various editions (2014 a 2019). Marco Túlio also contributed to musical literature as author of the book "Saxofone Fácil" (Irmãos Vitale) and co-author of the "Manual for Band Directors” (FAPERJ). Over the course of his career, he has collaborated with important names in MPB including Nivaldo Ornelas, Gilson Peranzzetta and Luiz Melodia, among others, and currently is a member of the quartet Belle Époque, with which he issued the CD From Independence to Modernity ‒ 100 years of Music.

Mariana Salles is professor of violin, orchestral repertoire, and chamber music at UNIRIO. She participates actively in the Biennials of Contemporary Music in Rio de Janeiro. Her discography includes the CDs: “Complete Sonatas for Violin and Piano of Claudio Santoro”; “Mosaico” with duos for violin and violoncello by Brazilian composers; “Mosaico II” of duos for violin and viola, where she plays both instruments; Deuxiéme Trio of Villa-Lobos, Fantasia by Frank Bridge, and Trio by Michael Colina; and “The Two Sonatas for Violin and Piano by the Brazilian composer Glauco Velasquez”, in partnership with the French pianist François Pinel, issued by the label of Academia Brasileira de Música. She is a member of the groups ABSTRAI Ensemble and Grupo Plurisons, specializing in contemporary music, and works, in duo with the pianist Lúcia Barrenechea, in research on and dissemination of the Brazilian and Latin American repertoire for violin and piano.

Sérgio Barrenechea is full professor of flute at the Instituto Villa-Lobos of UNIRIO. He holds the bachelor’s in flute from the University of Brasilia, and his master’s from Boston Conservatory (USA). He completed his doctorate at the University of Iowa (USA), where he was able to perform in master-classes by renowned flutists including Julius Baker, Walfrid Kujala, Carol Wincenc and Keith Underwood. He was active as soloist with the La Fosse Baroque Ensemble, the Orquestra Filarmônica of Goiás, the Orquestra Jovem of Brasília, the Orquestra Sinfônica of Goiânia, the Orquestra de Câmara Goyazes, the Orquestra of UNIRIO, the Orquestra of Santa Maria-RS and the Sinfonietta Carioca. He was first flute in the Orquestra Filarmônica of Goiás and appeared as guest with the Orquestra of the Teatro Nacional Cláudio Santoro, the Cedar Rapids Symphony Orchestra and the Orquestra Sinfônica Brasileira. He works with the Duo Barrenechea and the Quinteto Brasília, performing various concerts in cities in Brazil and abroad. He participated as artist and teacher at various events and festivals such as the annual conventions of the National Flute Association in the USA, the Toronto Latin Flute Festival, the Festival Internacional de Flautistas in Peru, the Festival of Campos do Jordão, the Festival Villa-Lobos, and various editions of the International Summer Course of the Escola de Música de Brasília and of the Festival Conexões Musicais-UFF/UNIRIO. He created the Encontro Carioca de Flautas, the Orquestra Carioca de Flautas and the Festival Orquestras Sociais, all with the support of UNIRIO. He coordinated the extension project “Difusão Musical Colaborativa” which produced various concerts, festival, and audio-visual recordings, along with managing the channel MúsicaUNIRIO no YouTube. He issued the following releases, which resulted from his research, artistic activities, and collaborations: CD “Duo Barrenechea - Momentos em Paris” (2008), CD “Quinteto Brasília – Brincadeira a Cinco” (2009),three-CD set “The Flute Music of Francisco Mignone” (2010), the DVD “Duo Barrenechea – Brasileiríssimo: Encontros (2015) and the volume of scores “The Music for Flute and Piano of Francisco Mignone” (2016).

Repertoire for the digital album - H. Dawid Korenchendler - Tribute

H. Dawid Korenchendler (1948 – 2021)

Valseresta

Marco Lima, guitar

Two Elegies for piano solo (2009)

José Wellington Santos, piano

From Webern to Brahms: Metamorfoses... (2013)

Hugo Pilger, violoncello e Lúcia Barrenechea, piano

Suite for sax alto (1996)

Marco Túlio de Paula Pinto, alto sax

Deconstruction (2005)

Sérgio Barrenechea, piccolo

Sonata no 14 – “Me and the others” (2018)

Lúcia Barrenechea, piano

Sonata for violino solo (1991)

Mariana Salles, violino

Paganini ante speculum Paganinique – Thema variatinesque (2019)

Mariana Salles, violino e Lúcia Barrenechea, piano

Urban Drama (2008) – Pantomime micro-opera

I - Lamento / II - O Encontro / III - Dormir e Sonhar / IV - Alvorada / V - Dança da Blatta Orientalis/ VI - A Discussão / VII – Requiem

Doriana Mendes, soprano e Marco Lima, guitar

Credits

Gravação realizada entre 25 de maio e 3 de junho de 2022 na Sala Villa-Lobos do Instituto Villa-Lobos.

Recording between May 25 and June 3, 2022, at the Sala Villa-Lobos of the Instituto Villa-Lobos.

Recording:
Roberta Corrêa and Sérgio Barrenechea

Filming and Photos:
Jackeline Nigri, Leo Aversa, Marcos Oliveira Feijó, Pedro Barrenechea and Sérgio Barrenechea

Executive Production, Graphics, Editing of Sound and Image, Mixing and Mastering:
Sérgio Barrenechea

Mixing for tracks 20 to 32: Mariana Salles

Text:
Doriana Mendes, José Wellington Santos, Hugo Pilger, Lúcia Barrenechea, Marco Lima, Marco Túlio de Paula Pinto, Mariana Salles and Sérgio Barrenechea

Translation:
Tom Moore

This is a product of the Extension Project “Collaborative Music Distribution”, coordinated by Sérgio Barrenechea and developed at the Instituto Villa-Lobos of UNIRIO.

Thanks to

Maria Luiza Korenchendler
Alessandra Korenchendler
André Leonardo Korenchendler
Aaron Korenchendler
José Da Costa, Office of the Rector of UNIRIO
Bruna Nascimento, Office of the Vice-Rector of UNIRIO
Luana Azevedo de Aquino, Dean of Undergraduate Studies, UNIRIO
Cleonice Alves de Melo Bento, Dean of Graduate Studies, Research, and Innovation, UNIRIO
Vicente Aguilar Nepomuceno de Oliveira, Dean of Extension Studies and Culture, UNIRIO
Sidney Cunha de Lucena, Dean for Planning, UNIRIO
Jeremias da Cunha Lemos Garcia, Dean for Administration, UNIRIO
Paola Orcades Meirelles, Dean for Human Resources, UNIRIO
Zeca Ligiéro, Dean’s Office, Center for Letters and Arts
Marcelo Carneiro, Direction, Instituto Villa-Lobos
Almir Côrtes, Studio Radamés Gnattali, UNIRIO
Maico Lopes, Head, Department of Voice and Wind Instruments
Dhyan Toffolo, Head of the Department of Piano and Strings
Marcos Lucas, Head of the Department of Composition and Conducting    
Sílvia Sobreira, coordination of the Graduate Program in Music  - PPGM
Lúcia Barrenechea, coordination of the Graduate Program in Instruction in Musical Practices - PROEMUS

Produced by the channel MúsicaUNIRIO,2025.