Odeon "Tango Brasileiro"
Here are three more Nazareth works. These are the last ones for me for now. Time to move on to the "masters."
Since I'd never heard the waltz before, I analyzed it a bit more. Perhaps I overdid it. Don't bother reading the following if you're not interested.
The fact that Nazareth’s waltz “Faceira” was published posthumously engenders some questions in me and the temptation to take some liberties when playing it. First of all, I hope my opinions about this waltz are not too presumptuous. I have never heard it performed. Since Nazareth didn’t discard this waltz in the trash and chose not to publish it immediately, I believe that he probably intended to continue working on it at a later date. Haven’t we all done that before?
There are some places in this waltz that I feel are somewhat unorthodox harmonically for the style in which Nazareth was writing. For example, the cadence at the end of Section C where he abruptly modulates back to C Major, which is the home key for that section, is quite a shock to me. He quickly modulates back to C Major with these chords: E7, a minor, Bb Major, a minor, G7, to C Major. Play those in succession on your piano. What a disappointing shock to my ears! This was particularly disappointing to me in this most “Chopinesque” section of the waltz. Perhaps this was intentional or perhaps Nazareth intended to continue working on this part at a later date. I prefer to think the latter.
I felt that the sudden shifting from major to minor in Section B was somewhat effective though it was again abrupt in places. Did he plan to continue working on those spots? Who knows? But it’s okay to speculate.
There were a few dynamic markings but no tempo markings in the manuscript. I probably wanted to play it more slowly than it was intended by the composer. But that is conjecture on my part since there were no tempo indications. I also would have liked some pedal indications. The chromaticism requires that one use the sustaining pedal sparingly. I took the liberty of playing the first quarter note on the first beat in the bass as a dotted half note at times when I felt it needed to sound sustained but the chromaticism would have caused the notes to blur if the sustaining pedal were used.
Overall, I liked this little waltz. In my fantasies it is reflective of Nazareth’s life. He experienced great joy, but also tremendous tragedy and heartbreak which led to his probable suicide.