Marcelo Bratke

“Hints of wildness, yet with elegant construction, subtle rhythmic dislocations
and shining piano colors” The New York Times

Marcelo Bratke, one of Brazil’s finest pianists, has performed in some of the
world’s most renowned venues, including Carnegie Hall, the Salzburg
Festival, Queen Elizabeth Hall, the Konzerthaus in Berlin and Suntory Hall in

He started his piano studies at the age of fourteen and due to a severe visual
impairment he was unable to read scores, developing his own method of
learning music based on his auditive memory capacity. After ten months of his
first piano lesson he made his debut with the São Paulo Symphony Orchestra
and was awarded the ‘Revelation Prize” by the São Paulo Critics’

Bratke believes music is an important contribution to society and in 2008 he
founded Camerata Brasil, an orchestra formed of young musicians from
impoverished areas of Brazilian society, performing with them more than 300
concerts in Brazil, Argentina, Japan, United Kingdom, Serbia, South Korea,
Netherlands and in the US where their concert at Carnegie Hall was highly
acclaimed by both the public and the critics of The New York Times, New
York Post and Concert Net USA.

He stretches the boundaries of the traditional classical music career and
developed special projects in collaboration with the jazz pianist Julian Joseph,
the first dancer of the Royal Ballet Thiago Soares, the actor Marco Gambino,
the legendary percussionist Naná Vasconcelos and the pop singers Sandy,
Fernanda Takai, Dori Caymmi and Milton Nascimento as well as
performances with great conductors. Among them: Alexander Lazarev, John
Neschling, Roberto Minczuk, Alvaro Cassuto, Eleazar de Carvalho and others.
His multimedia project with visual artist Mariannita Luzzati
entitled Cinemúsica has been performed in venues from Brazilian prisons to
major concert halls around the world. Bratke started his Villa-Lobos Project in
2004, and it includes the recording of the composer’s complete solo piano
works, concerts on the continents of America, Europe and Asia, a weekly
radio program broadcasted by Cultura FM and eight documentaries about
Villa-Lobos for TV (Arte 1)

In 2017 Marcelo Bratke received Brazil’s highest cultural honour given by the
Brazilian President Michel Temer, the Order of Cultural Merit. Featured
among his many awards are First Prize at Tradate International Music
Competition in Italy, Carlos Gomes Award, Classical Discoveries Award (UK)

Brazil in Germany 2006 Award, the 14th Brazilian International Press Award
2011 and the Sarajevo Winter Festival Award 2013. His CD Le Groupe des
Six was voted by Gramophone Magazine as one of the greatest classical
recordings of all time.

In 2004, after successful surgery, Marcelo Bratke recovered the vision in his
left eye.



“superb limpidity of texture”..” “beautifully rendered”…”

The Sunday Times (UK)

“hints of wildness, yet with elegant construction, subtle rhythmic dislocations and shining
piano colors”…”Mr. Bratke is a fine and flexible pianist, perfectly happy either to play
Bach or to plunge into the popular music he set next to it”.

Bernard Holland The New York Times (USA)

“Mr. Bratke’s dynamically fluid interpretations struck a careful balance between the
music’s singing themes and thick-textured accompaniments”...” He proved a fine ensemble
player as well”...” His rapport with his young musicians enlivened the texturally varied
“Children’s Rounds”, performed here with an almost jazzy sense of give-and-take, and with
unexpected timbres”

Allan Kozinn The New York Times (USA)

“One of the world’s greatest classical pianists”

The Daily Mail – Mail On Sunday Review (UK)

“A revelation, strong, considered and with a sense of the music’s inner pace and voicing
that gave character and presence to even the most austerely contrapuntal moments.
Sentimentality can be a problem for players as well, but not for Bratke. He is a gifted
recital pianist: poetic, yet never gushing.’

The Independent (UK)

“a finely composed programme”…”clarity of thought and a superb control of
gesture”…’Bratke’s dry, clean sound and studied approach delivered the music in fresh and
honest way”…”Here the pianist‘s understanding of longer musical arguments was
displayed to the full”.

Belfast Telegraph (UK)

“American music for two pianos that bucked the trend. Bratke and Roggeri performed a
spirited programme that almost had us dancing in the aisles of the Wigmore Hall”

The Spectator (UK)

“With his clean-cut technique, tonal sensitivity and verve, Marcelo Bratke confirms the very
favorable impression created by his previous discs in this present focus on composers in
France around 1920”…”a scintillating vehicle for Bratke’s brilliance of articulation. The
recorded quality matches his excellence”

Gramophone (UK)

“Bratke’s delicacy, neat-fingered playing and tonal sensitivity make a strong appeal. He
manages to invest those little pieces by Villa-Lobos with real character”

Gramophone (UK)

“Marcelo Bratke gives exemplary performances of Krenek’s both works, finding plentiful
light and shade beneath their austere surfaces. His Berg Sonata and Webern Variations are also beautifully thought out”.

Gramophone (UK)

“Bratke plays Nazareth tangos with much sensitivity and feeling for colour”…”His
Milhaud pieces are captivating performances”

Gramophone (UK)

“I was alerted to Bratke`s musicianship by the most feeling interpretation of the Webern
Variations I have yet come across on CD, and he has also made a buoyant disc of Nazareth
and Milhaud . Here he fulfills the promise of those earlier recordings, for he invests Villa-
Lobos`s often brittle textures with rare power”

CD Review (UK)

“Marcelo Bratke gives the authentic touch to Brazilian tangos and saudades. The
programme is excellently played”

Classic CD (UK)

“Marcelo Bratke and Marcela Roggeri sound as if they have been playing for a long time.
They only looked at each other when they started each piece, not needing to afterwards
because they felt the music together. It was an object lesson of true ensemble”…”In
Danzon Cubano by Aaron Copland they got its cheeky rhythmic
syncopations perfectly”…”It was very well played”

The Independent (UK)

“stylish freshness and breezy élan, and in his hands the music has an irresistible charm and swagger that keeps one's feet tapping all along – a feisty dance feast from beginning to end.”

MusicWeb International

“Marcelo Bratke is a young Brazilian pianist, with a fine technique and a big career ahead
of him. Watch out for this young man. We’ll be hearing more of him in the future.”

MusicWeb International

“His interpretation proves that Berg’s sonata, situated on the threshold of atonality, and
Webern’s twelve-tonal variations are not constructions in a vacuum but highly expressive

Phonoforum (Germany)

“Lets eagerly await comparisons with the truly great. Someone notable is about to make his way.’

Repertoire (France)

“An authentic and valuable artistic creation”...” impeccable”...” they manage to fascinate
and provoke the admiration of the public with technical virtuosity, subtle touches, a
precise and endless musical capability”...”fantastic sense of rhythm”...”perfect
integration between Bratke, playing “Tenebroso” by Nazareth marvelously and Alves with
his tambourine from which he extracts the most unusual sounds and with which he
produced the most aerial and volatile colors and rhythms ”

La Nacion (Argentina)

“popular or classical in a stimulating fusion“...”the recital’s Idea is one of the most
original I ever saw”...”spectacular virtuosity ”

O Estado de São Paulo (Brazil)

“Musical Party”...”fantasy recital or allegory concert”...”Carnival Trilogy appears as the
climax of the creative path created by Marcelo Bratke since 2000 when he took his first
conceptual concert to the Queen Elizabeth Hall in London”...

Valor Econômico (Brazil)

Marcelo Bratke at the Wigmore Hall (full review – Musical Opinion – UK)

If Vienna and Brazil suggested opposite poles of music style, their complementarities gave an original edge to the Twentieth-century program by the Brazilian pianist Marcelo Bratke at the Wigmore Hall on 5 April, given before an enthusiastic audience in the presence of the Brazilian Ambassador and his wife. Bratke`s serious intellectual approach combined with a sure yet fine pianistic touch well suited to the two Second Viennese School with which he bravely began. It was the music`s poetry rather than structure that emerged most strongly in both Webern`s Opus 27 Variations and Schoenberg`s Six Pieces Opus 19, expressive rather than expressionist. Webern`s microcosmic symmetries of motif and interval, abrupt register and dynamic contrasts were supply characterized. Though the almost violent energy of the work was understated this did not detract in Schoenberg Six Pieces, each delicately sculpted and shaded. So too an evocative performance of Alban
Berg`s Sonata which emphasized its redolent Romanticism, the surging climaxes articulated in rising sequences of Straussian passion, clearly projected the motives’ logic impregnated with Tristanesque yearning.
Of the Brazilian music of the second half, which complemented the dodecaphonists in sheer coloristic and rhythmic exuberance, the highlight was Villa-Lobos`s First Cycle of the Baby`s Family, comprising eight pieces which feast the ear with evocative impressionism echoes Ravel and Debussy in the textures and whole tune and modal harmonies. Here Bratke` was at his best, controlled and yet free in his projection of pedaled glissandi , delicate and driving ostinati in syncopated South American rhythms, and brightly etched melodic lines, often enriched with parallel fourths and fifths . Particularly appealing were the jazzily harmonized Mulatinha , the helter-skelter patterns of O Polichinelo , or the slower Branquinha , and plangent nostalgia of Caboclinha. Bratke`s admirable clarity added scintillating energy to Milhaud`s Saudades do Brazil, six dances whose exuberant polyrhythm and polytonality are full of surprises, as in the remarkable key switches of
Corcovado. Here a whirling choreography of the keyboard evinced both humor and poignancy. The Four Brazilian Tangos by Ernesto Nazareth, a Brazilian Strauss-cum-Joplin of the tango concluded on a high note. One could relish the consummate virtuosity and enjoyment of the complex accentual patterns and harmonics hints, the high music-box-like effects of the third piece and chromatic refrains, all evidence of Bratke`s impressive artistry, affirmed in his final encore, Chopin`s A minor Mazurka.







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