PROGRAM NOTE
My interest in Brazilian music began over fifteen years ago, and it grew into such a passion that I eventually learned Portuguese fluently. During this time, I have sung Brazilian jazz extensively, performing repertoire that taught me the phrasing, groove, and expressive nuance of the tradition from the inside out. I have traveled to Brazil many times to perform, record, give masterclasses, and continue learning the language and music alongside extraordinary Brazilian colleagues. I also compose and perform vocal music with my own original Portuguese lyrics; the language carries its own innate melodic and rhythmic contours that continue to fascinate and inspire me. Some years ago, I co‑founded the cross‑cultural InterXchange Ensemble with Brazilian woodwind player, arranger, and bandleader Gerson Galante, and later had the privilege of editing his textbook “Samba from the Streets: A New Approach to Samba Improvisation.”
In “Cafajeste,” I wanted to speak the language of samba without text, using only melodic and rhythmic elements. The flute steps into the spotlight much like in the Brazilian jazz classics I love — especially the iconic Danilo Caymmi flute solo on Tom Jobim’s “Chovendo na Roseira.” At the same time, I wanted to merge this aesthetic with my classical roots, translating the samba vocabulary into a chamber‑music context. The vibraphone and bass form a kind of rhythm section, with the bass grounding the groove and the vibraphone contributing both percussive drive and melodic color, creating a supportive foundation for the flute’s leading role.
As a vocalist, I approach instrumental writing, especially for woodwinds, through a singer’s lens. The phrasing, breath, articulation, and natural rise and fall of a melodic line are all shaped by my experience with the voice. Portuguese itself has a rhythmic and melodic cadence that has become part of my musical DNA, and those inflections inevitably find their way into my instrumental writing. When I compose for flute, I’m often imagining how the line would feel to sing: where it needs space, where it needs lift, where it should glide, and where it should bite. In many ways, the flute becomes an extension of the voice, capable of expressing the same fluidity, nuance, and emotional immediacy — just without text. That connection between vocalism and flute writing is central to how I think about melody, and it’s one of the reasons I love writing for the instrument.
The score is available at Sheet Music Direct for $16.99: https://www.sheetmusicdirect.com/se/ID_No/2053765/Product.aspx
For more information, please contact melanie@melaniemitrano.com. And, to explore more of Mitrano’s music visit: http://www.melaniemitrano.com