Álvaro Cassuto é bem conhecido como maestro e muito tem feito em prol da música portuguesa sinfónica. No entanto, a sua faceta como como compositor está algo escondida, tanto pelo autor que só recentemente a revelou em meia dúzia de obras num disco da Naxos. São obras reveladoras das busca de linguagem e estética de Cassuto no mundo da composição de século XX, com avanços e recuos em diferentes direcções (fica ao critério de cada um pensar o que pode ser considerado um avanço ou um recuo neste campo). Aqui fica um excerto da sua obra “Return to the Future” de 1985, já na fase reflexiva sobre a linguagem e estéticas tonais.
Desculpem a fraca orquestra executante no vídeo (ai os violinos!).
Nada melhor que as palavras do compositor:
“The New York première of the Fourth Symhony by the distinguished American composer George Rochberg (1918-2005) which I conducted in Carnegie Hall in 1985 revealed to me a Romantic style used by a composer who had dedicated most of his life to “modernism”, before he found it “empty of expressive intent”.
And when, a few months later, I conducted the Six Brandenburg Concertos, the “obstinate” moto perpetuo of the Sixth haunted me day and night. So I thought: “Why not pick itup from here, and see where it leads me?”. While Bach’s concerto is scored for a small ensemble of strings and continuo (harpsichord), my work is scored for full orchestra. But I retained the essence, the rhythmic pulse, and while Minimalism was far from my thoughts, it shares with it the steady repeat of a rhythmic cell. On the other hand, since Bach was such an admirer of Vivaldi, and certainly approved the brilliant scales so often used by the Italian master, I also brought them in. Within these frames I placed a variety of lyric sections, contrasting with the main sections, but not based on any specific formal plan. The work was commissioned by the Gulbenkian Foundation in Lisbon with whose orchestra I conducted its première. It is scored for pairs of flutes, oboes, clarinets and bassoons, four horns, three trumpets, three trombones, timpani, electric keyboard (replacing the Baroque harpsichord), percussion and strings.”