Claudio Santoro was one of Brazil's leading composers, having written a considerable amount of solo, chamber and orchestral music, including arguably the most important symphonic cycle ever written in that country. The fifteen Fantasias Sul América, composed as competition pieces for individual instruments, represent fascinating syntheses of his style heard in compressed form. Freely atonal and highly virtuosic, these pieces are now standard repertoire for Brazilian soloists, and were even used later by Santoro as material for his SymphonyNo.12 (Naxos8.574406). The youthful Sonata for Solo Violin is a work of extraordinary density and experimentation that reveals an aesthetically consistent dialogue with the much later Fantasias.
2 Transições Para Um Encontro de 3 Fantasias: No. 1. Andante
3 Fantasia Sul América for Solo Oboe
4 Transições Para Um Encontro de 3 Fantasias: No. 2. Expressivo Lento
5 Fantasia Sul América for Solo Clarinet
6 Transições Para Um Encontro de 3 Fantasias: No. 3. Lento
7 Fantasia Sul América for Solo Bassoon
8 Transições Para Um Encontro de 3 Fantasias: No. 4. Final: Allegro
9 Fantasia Sul América for Solo Guitar
10 Fantasia Sul América for Solo Horn
11 Fantasia Sul América for Solo Trumpet
12 Fantasia Sul América for Solo Trombone
13 Fantasia Sul América for Solo Tuba
14 Fantasia Sul América for Solo Piano
15 Fantasia Sul América for Solo Violin
16 Fantasia Sul América for Solo Viola
17 Fantasia Sul América for Solo Cello
18 Fantasia Sul América for Solo Double Bass
19 Fantasia Sul América for Voice and Piano
20 * Sonata for Solo Violin (Title, Not a Track)
21 I. Prelúdio
22 II. Allegro Com Brio
23 III. Lentamente
24 IV. Allegro Gracioso
Claudio Santoro was one of Brazil's leading composers, having written a considerable amount of solo, chamber and orchestral music, including arguably the most important symphonic cycle ever written in that country. The fifteen Fantasias Sul América, composed as competition pieces for individual instruments, represent fascinating syntheses of his style heard in compressed form. Freely atonal and highly virtuosic, these pieces are now standard repertoire for Brazilian soloists, and were even used later by Santoro as material for his SymphonyNo.12 (Naxos8.574406). The youthful Sonata for Solo Violin is a work of extraordinary density and experimentation that reveals an aesthetically consistent dialogue with the much later Fantasias.
