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Barbirolli, Bernstein, Golschmann, Mehta, Monteux, and Stokowski. Tailor-made: Premiere of the Second Cello Concerto by Heitor Villa- Lobos–the sounds of Brazil. Meeting János Starker. Establishing himself in Europe as a solo performer.
“I looked at the audience and I remember thinking, “SO WHAT?”
Aldo ParisotParisot received excellent reviews for his debut at Town Hall on 30 March 1950. The New York Times wrote, for example:
Aldo Parisot, Brazilian cellist, has a winning way with a musical phrase…Mr. Parisot's best moments (as those of most cellists) came in the quiet, sustained passages on the upper half of his register. His gentle attacks and shaded endings, along with the variety of colors and speech-like dynamics between, contributed to a communication of high order in those places. He achieved a delightfully deft handling of the light rhythms in Mozart's “Sonatina” (an arrangement by Piatigorsky) as well, and his intonation was quite accurate. Some of the evening's best playing came in the first performance of Villa-Lobos's Fantasia, whose characteristically soulful melodies and exotic effects seemed well suited to Mr. Parisot's temperament.”
The excellence of performance, including delicate shadings of color and affinity for Brazilian music that Parisot is known for, is clearly in evidence. Parisot has a very positive attitude towards performing as we can see from the quote that precedes this chapter. Town Hall, with its intimate setting and central location, has traditionally been a focal point for many prominent creative artists, among them classical musicians and jazz artists, as well as poets. His cello must have sounded magnificent in this elegant space with its plush red seats and curtain.
With this recital, he not only furthered his reputation as an outstanding solo performer, but also continued another facet of his professional life—his interest in contemporary music. His performance contained the familiar and the new—as well as the exotic. After playing a Mozart Sonatina and a Beethoven Sonata, he gave the first performance in the U. S. of the Villa-Lobos Fantasia with piano accompaniment. (The Municipal Orchestra of Rio with Villa-Lobos conducting first performed it in Brazil.) On the second half, which included works for chamber orchestra conducted by Eleazar de Carvalho, was another first—the premiere of Yale composer Quincy Porter's Fantasy and Dance, which Parisot had requested, and which was written especially for and dedicated to him.
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