Heloísa Fernandes Quarteto: Ao Vivo no Teatro SESC Consolação, São Paulo, 2022

“Live” Even More Impressive

Just when I thought that it was time to hear composer and pianist Heloísa Fernandes again, I bumped into her concert registration at the Teatro SESC (Serviço Social do Comércio) in São Paulo, Brazil, in 2022. The concert was part of the Instrumental SESC series and performed by her new quartet

It’s difficult to put a genre on the music of Heloísa’s. Is it jazz? Classical, chamber music? Or folkloric or world music? She has her own musical views and often enters a crossroads of Brazilian folkloric tradition in her compositions. On her three albums that are reviewed here — the solo album Faces (2017), the anthropologic music inspired Candeias (2009), and the debut album Fruto (2004) — the composer/pianist from São Paulo demonstrates exceptional originality. An originality that keeps on growing and leads to an apparently unlimited diversity of influences. For instance, lately, the artist ventured into a project about the life of Maria Anna “Nannerl” Mozart, the older sister of Wolfgang Amadeus Mozart. Although she was an amazing composer and violinist, she was forced to leave the music scene at a young age. In those days (around 1750) it was not done for a woman to live such a life. Heloísa wrote a beautiful piece for piano, “Das Königreich Rücken,” inspired by the letters Nannerl sent to her brother. Then, there was an emotional African project crossing the musical path of the composer/pianist. Here the compositions were inspired by an autobiographical novel, The Barefoot Woman (original title La femme aux pieds nus), by Scholastique Mukasonga. A Tutsi writer born in Rwanda, who wrote about the fierce courage and strength of her mother (Stefania) as she fought for her children’s safety during the Rwandan genocide. Heloísa’s musical interpretations (“Inzu,” “Urugori,” and “Stefania”) were recorded on the album Inzu, a duo project with saxophonist Mané Silveira. I can’t think there are many artists with such an open mind for the world around him or her. Putting those influences into music makes our pianist absolutely one of a kind! So, it raised curiosity about how such an idiosyncratic diversity sounds “live.”

For this concert at the SESC (and probably further concerts), the usual trio formation is uplifted to a quartet. Besides the amazing Ari Colares (drums and percussion) and the solid and masterful bassist Zeca Assumpção, we enjoy the presence of flutist Toninho Carrasqueira. His participation gives the music an even deeper dimension.

The repertoire for the concert is a cleverly chosen mix of compositions from the above-mentioned four albums. This setlist shows the diversity in the music of Heloísa Fernandes, while, at the same time, the concert still sounds as a whole. The concert starts up with two works by the quartet. In “Praiás,” Heloísa Fernandes delivers an outstanding piano solo built up in a very jazzy way. Breathtaking! What follows are four beautiful pieces of work in an intimate setting. The first is performed on solo piano. The unique style of the pianist shines throughout the flawless performance of one part of the suite “As Três Graças” from the album Faces. Then, the three fantastic accompanying instrumentalists are individually featured in three duo settings. Flutist Toninho Carrasqueira delivers another great performance in “Abraços.” Caetano Veloso’s “Trilhas Urbanas” gets a very special treatment (piano and drums/percussion). And Zeca Assumpção shows how beautiful a bass can sound on “Stefania.” There’s lots of room for improvisation, in which it’s noticeable how well the musicians are familiar with these exceptional and at moments complex compositions of the pianist. The concert ends with the full quartet on stage for three more compositions.

It must be a thrill to witness this explosion of originality and craftmanship by these four fine musicians. An absolute “must” to see and hear the quartet whenever they’re around. Highly recommended!

Here is a link to the entire concert.