Why did we named this project named “Entre sombra e luz”?


Why did you named this project named “Entre sombra e luz”?


The idea came when listening to Emilio Santiago, singing a song called like this, on one of his last Album.

But I could has well have called this project “Schiaroscuro” or “light dark” or “clair obscur” in French.

“Light-dark” in art, is the use of strong contrasts between light and dark; It is also a technical term used in cinema, with the use of contrasts of light to achieve a particular sense of volume.

In our project, the contrast will be very important between the Marcos Valle, compositor, performer that everybody knows around the world for his role in the Bossa Nova history, and the fabulous jazz pianist he is.


With “Entre sombra e luz”, you are willing to bring back Marcos to its origin, with a piano more acoustic than what he did the biggest part of his career?

Also, what gave you this idea to imagine this format totally unusual, between Piano, cello and percussions?


These are the circumstances that led me arrive to this original orchestral configuration. This idea arose a few years ago while I was living in Rio, and after witnessing several episode of André Midani’s project “Inusitado”. Like him, the goal of our project is to pull artists out of their comfort zone, by giving them the freedom to express a less known, more intimate side of their talents.

Lately, as part of my projects related to the french crooner Henri Salvador, and for an interview for a French television, I have asked Marcos to play on the acoustic piano of his living room, a music of Henri that influenced his artistic work as a teenager.

Leading up, 60 years later, without a second of hesitation, he interpreted for me this waltz in such a precise and delicate way that I was moved to tears.


Why then have you chosen Jaques Morelenbaum and Joyce Moreno to play with Marcos?


As for Marcos Valle, my interviews with Joyce and Jaques made me understand that all this artist had at least one thing in common, that they each other knew the secret of Chopin.


Chopin’s secret, what is it?


Admit that Marcos, Joyce and Jaques are making this exceptional career because they are showing themselves great musicians, attaching equal importance to melodies, harmonies, chords, and to many other good things, superior to mere virtuosity.

To understand the secret of Chopin, as described in the novel of the French author Eric Emmanuel Schmitt, “Madame Pylinska Chopin’s secret”, you must be capable to delicately gather a flower without dropping the morning dew, you must be capable to listen  to the silence …

In practice, is it to marvel at the simple beauty of things, it’s the delicacy, the ability to arouse emotions with one’s fingers, in other words, it is quite the opposite of a virtuosity sometimes soulless.


A pianist, a cellist, a percussionist, a singer, is A risky formula, especially in the current context of Brazil?


Maybe, but I felt that the time had come to imagine this project now, with artists that I really appreciate. I just wanted to highlight them in an original way. So, I thought about this formula.

It’s true that it’s very demanding, but I really like this kind of marriage, because I want at all cost to avoid this project looking like a pale copy of what could already have been done 1000 times in their career.

We will therefore present Marcos Valle interpreting in a very new form his own repertoire, but also performing with Joyce’s delicate voice and the magic cello of Jaques Morelenbaum, great jazz standards, as well as a other less known music, music that marked the 50’s and 60’s. Among them “Cherchez la Rose” that Henri Salvador offered to the great Marlene Dietrich, or “L’étang” from Paul Mistraki, once performed by Blossom Dearie.

And there will be much more surprises?


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