VELHA GRAVURA

Magestically rich instrumental symphonic prog with some simply killer violin performances. Instrumentally QUATERNA REQUIEM sound much more 70's than 90's to be honest with a very warm analog delivery. "Velha Gravura" is a very dramatic yet wonderfully intense piece of music which carries a highly classical vein throughout. Much of the song writing is actually quite romantic and at times reminds me of some of Italy's more 70's symphonic masters. Songs have been carefully crafted and offer some simply amazing and highly delicate progressive passages. Instrumentation consists of guitars (much acoustic), drums and percussion, piano, synths, violin and bass guitars. This is an essential recording which I recommend everyone who reads this get their hands on a copy.

Well there are a few defects within this Brazilian album of symphonic instrumental new-prog, but at the end this South American ensemble (classical music oriented) is good: first of all the use of poor vintage synthesizers is a bit disappointing, because the orchestrations are based upon a simple Korg syntheziser and this is not enough to make the mini-suites quite lush...nevertheless the classic approach is very interesting, above all the direct interplay between the violin and the keyboards, which is remarkable. The female keyboardist is well prepared, but a bit forced in this role, and some music passages are not convincing anymore, as long as his approach is that one of a student at the Music Academy. Except on this opinion, the other music features typical of a classic suite are well introduced by the band and Elisa Wiermann is conscious enough.

The harmonic solutions are a bit repetitive, but the output is very original!!

Make your own choice!!

Quaterna Réquiem's debut album "Velha Gravura" is an exhibition of compellingly beautiful musical pictures, mostly conceived under a symphonic drive, but leaving room for a varied array of folkish sorts and some jazz rock leanings. As points of reference I can mention 'Snow Goose' Camel, 'W&W'-era Genesis and The Enid, but I think it is fair to point out that this quintet manages to create and convey their own signature sound in the general context of vintage symphonic tradition. Since I regard QR as my all-time favourite Brazilian prog act, it may come as no wonder that I am so in awe with each piece contained in the album's tracklist. My only objection is a formal (not substantial) one: the opening number should not have been 'Ramoniana', since it is not precisely indicative of the overall symphonic pomp and circumstance that expands all throughout the entire remaining repertoire. But now that I mention it, let me tell you that this Creole folk based number is so beautiful, that all in all, I can't help but enjoy it regardless of the location it is in. That interplay between acoustic guitar and flute (the latter played by a guest), with a violin and an oboe intruding softly in order to add some ceremonious colours, and that high spirited coda that fills the last minute and a half, all these things are simply irresistible. The band's caliber comes to the fore in full exposure in tracks 2, 3 and 6, which IMHO are the most notable numbers in the repertoire: 'Aquartha' and 'Toccata' are intense and complex, while keeping an appealing, clear sense of melodic sensibility; the namesake number incarnates a perfect balance between orchestral majesty and rock driven punch. 'Tempestade' and 'Madrugada' find the band sliding along the calmer side of things: the former is serene, something like a contemplation, and the latter is more notoriously introspective, as a reflection that revolves around the mysteries of the inner self. The colourful splendour of 'Toccata' lights things up at the end of the record's official repertoire. The last 2 numbers in the CD tracklist are bonus tracks, very much in the vein of tracks 2, 4 and 6: had they been developed further and arranged with a major dose of symphonic magnificence, each one might have overshadowed some of the official tracks. Since even the bonus tracks in this CD are so good, my rating must indicate "Velha Gravura" as an excellent addition to any good prog collection.

EXCELLENT!!!

Pure melody and emotions!The very thing I like in Prog!Despite the abscence of vocals, this album is flawless.Sometimes music reminds of Jethro Tull (the opening folkish tune), sometimes of Marillion (the main theme of the title track is based on Market Square Heros-like marching rhythm with great harmony - Em/ C/ D/ Hm ),sometimes it is very moody and dark (Madrugada reminds me of "Twin Peaks" theme), but most of the time it flows in subtle intelligent manner of Genesis/Camel/UK/Yes.Highly recommended for every progger - this rare item is a Must! Wow, I'm going to become a fan of instrumental albums!!!

I know, this album seduces to give it full rating, because of, how Prog-Jester said, pure melody and emotions. That's completely true, I can't imagine how deaf, or cold-hearted one would have been to resist this kind of music and not be affected at least partially.

Even you wouldn't guess prog rock from hearing first part of first track, Ramoniana, because it's in fact classical, acoustic guitar played song, as these which Andres Ségovia played. And the rest of them is different, very, very different. This is symphony, true meaning of symphonic rock, I mean classical instruments (just one, violin, but you can be sure it can be heard a lot), or at least classical sounding music together with rock, or in the other words, original description of symphonic prog.

Maybe it sounds strange, but I hear bass guitar all over the place, trying to reach first place of your most loved instrument here, but of course, 1st is far, far away, with violin sitting here and spicing this tasty music food flavour.

4(+), because few flaws, some inevitable, others made by accident. There are calm parts, where not much is going on. I know, it's part of long compositions and can't be separated, but still, it's here. And other things, well, here and there, not so big ones. Maybe I'll give more after few listens more will pass bye. But I'm aware that as all classical influenced prog albums, even this can fool one to give 5 star masterpiece rating just because of it.

It took me quite a long time to review this CD. By the name of the band, I thought it was one of those essembles of classical musicians that form a group to record an album or two under the banner of progressive music but actually plays a kind of their own version of classical music, sometimes adding rock instruments. And the first track seems to be just like that: classical guitar solo, with violin, flute and oboe. Good, ok, but not really prog rock.

Fortunatly the following tracks showed very good rocking moments, even if classical music is indeed their forte (nothing against it!). Only the 10 minute Madrugada showed the same rock-less vein of the opener. All others are great and the 12 minute title track is simply brilliant! Terrific violin played by Kleber Vogel (who would soon be leading his own prog outfit Kaizen, with a similar style of music). The production is not the best, but does not spoil the final result either.

In the end I have to agree with most reviewers here that this album is an excellent addition to any prog music collection. Pretty good music done by skillful musicians and strong compositions. I´m looking forward to hear their latest works. For a first one, Velha Gravura is quite promising and outstanding, even if it has its (minor) flaws. Final rating: 4 stars.

Quaterna Requiem means "the rest of the four". The name was given by Cláudio Dantas (the band's drummer and co-founder alongside Elisa Wiermann) to the first line up. "Velha Gravure", the band's debut, was released in 1990, but it really sounds a lot like a 70's album.

It's quite easy to characterize the band's music: instrumental, keyboard-orientated symphonic prog rock. The biggest influences of this brazilian band are Camel, Yes and UK, and the similarities are too obvious in some specific moments (especially the title track, which sounds a bit too much like "Snow Goose" around the 4th minute. Great piece anyway).

However, the band's perfectionism and obvious love for symphonic prog rock wins in the end of every listen. "Velha Gravure" is a great album from start to finish, full of energy, and inspiration that might appeal not only to the fanatics of the subgenre.

The things that hold me from characterizing this album a masterpiece is the excessively polished sound of the synths in most tracks (typical of many late 70's and neo-prog bands), which is not exactly my cup of tea and the relatively poor sound.

Apart from the title track, it is really impossible to mention some standout songs here. Brilliant album.

South America is to Europe as Brazil is to...Italy? Apparently so at least where QUATERNA REQUIEM are concerned. This early 90s instrumental debut album seems inspired as much by the classical aspects always near the surface in the RPI giants, while hardly ignoring the British masters along the way.

If Elisa Wiermann leads the group and grants herself free reign on keyboards, "Velha Gravura" succeeds as much in spite of as because of her contribution. The violins of Kleber Vogel are the real leaders, dominant in most tracks and toeing the line between effusive warmth and jazzy cool. QUELLA VECCHIA LOCANDA at their best might be a helpful point of reference. While Wiermann's synths occasionally border on strident, and she may have been better to limit herself to her brilliant organ and piano workouts, Vogel's strings take chances and succeed brilliantly. "Aquartha", "Tempestade" and "Madrugada" together form the core of this precise yet vivacious disk. "Aquartha" is perhaps the standout, a quasi medieval romp reminiscent of PAUL BRETT's "Eclipse" but with that angular Latin attack. The rhythm section, consistent throughout, shines especially brightly here.

I should also mention the opening tune which finds sprightly flute and oboe in charge and recalls the achievements of SOLARIS. The title piece, while being the most ambitious, borrows so from CAMEL's "Rhayader" as to be a distraction, the blatant idolatry hijacking clarity for about 12 minutes. Luckily, this is but a misstep on a disk that keeps sounding better to me, like an old engraving that magically returns to focus, proving that what is old is new again, only better.

Brazil was among the countries to partcipate in the prog revival of the 90's and Quaterna Réquiem was a good reason for this, a band from Rio De Janeiro formed in 1986 and centered around Classically-trained female keyboardist Elisa Wiermann and drummer Claudio Dantas.With Jones Junior on guitars, Marco Lauria on bass and Kleber Vogel on violin, Quaterna Requiem released their debut LP ''Velha Gravura'' in 1990 as a private press, followed two years later by its CD edition.

The opening ''Ramoniana'' is a short smooth symphonic suite with strong Classical content, based on lovely acoustic guitars and flutes.''Aquartha'' is a totally different beast, being an hybrid of Symphonic Rock and complex Fusion with violin in evidence, nice synth work and a couple of good guitar explosions.The long eponymous track sees the band back in a symphonic mood, a great composition of energetic Progressive Rock with dominant violins leading the way and a combination between organs and synths to support, the somewhat plastic keys though hold this one from being a masterpiece.''Tempestade'' is very close to the style of SAGRADO CORACAO DA TERRA, keyboards are being held off to the background to give the basic role to piano and violins,another decent track split between melody and dissonance.''Madrugada'' is off to a low start close to Classical Music, again grandiose piano and calm violins lead the way from start to end in a rather depressive atmosphere, which lasts a bit too long to be fully appreciated.With ''Toccata'' Quaterna Requiem return to the energy of the opening tracks, excellent blend of bombastic violins with atmospheric synths with a nice guitar ending solo, a great outro to say the least.

What really prevents this album from being a really stunning release is definitely the techniques and instrumentation used, still the material is of high calibre and even a couple of tracks are true stand-outs.Strongly recommended, especially for fans of Symphonic Rock or high-class instrumental Progressive Rock...3.5 stars.

QUATERNA REQUIEM were a five piece from Brazil and this is their all instrumental debut released in 1990. And I remember taking a chance on this purely because of that release year a tough one for me, maybe the worst. The music is a symphonic/ classical blend with the violin and synths usually leading the way.

The synths don't exactly work for me most of the time sounding so modern they should have stuck with the piano and organ that is used less frequently on here. Not much electric guitar but the acoustic on the opener dominates for the first 4 minutes. The bass and drums have a back seat here even if both have their moments. Oh there's two guests both playing on the opener only adding flute and oboe.

This is almost too clean if you know what I mean although "Toccata" has some ripping organ. We have the pretty "Madrugada" with 10 1/2 minutes of mostly piano and violin. The title track at over 12 minutes is the longest and very hit and miss. "Aquartha" sounds odd, almost jumbled the way the violin and synths collide. This track at least has some upfront bass I appreciate.

Not my music but this gets some high grades.

Once I bought a CD just because I found the band name so beautiful. The group was called Quaterna Requiem, and all I knew was that they were a prog band from Brazil. Their debut album was titled "Velha Gravura." The LP was released in 1990, followed by the CD two years later. Lucky for me, I enjoyed the album, and to this day, I still like listening to the instrumental masterpiece with its sophisticated blend of classical music, folk, jazz-rock, symphonic, and progressive music.

However, it's unfortunate that the CD's sound pressure is quite thin, which affects the dynamics of the music. Hopefully, the album will be remastered someday. The efforts of the five musicians certainly deserve a better fate. Keyboardist Elisa Wiermann and drummer Cláudio Dantas, not entirely coincidentally the founders of the band, play with drive and passion. The most talented band member, undoubtedly, is violinist Kleber Vogel, who creates a wide range of atmospheres with his acoustic instrument. Sometimes he whirls, sometimes he sounds melodramatic. Most of the time, he chooses a nuance somewhere in between. And then there's guitarist Jones Júnior. While he can play decently, you won't hear an Andy Latimer-like solo from him. Instead, it's mainly the violin that colors the canvas. The whole is neatly held together by bassist Marco Lauria and the aforementioned drummer Claudio Dantas. I want to praise the latter, the former only occasionally.

The CD contains eight tracks. The first six tracks are the regular material from the LP, while the following two tracks are bonus tracks without guitarist Jones Junior. That doesn't really make much of a difference, though.

The album kicks off with the light-hearted Ramoniana, compositionally consisting of two pieces. The first few minutes are dedicated to classical music with violin, acoustic guitar, flute, and oboe, while the rhythm then shifts towards folk. It's not the most exciting piece of music on the album, something that can't be said about the following Aquartha. It's full of tempo and mood changes. In this jazz-rock-infused composition, we really hear a band because there are synchronized runs at every turn.

Next, the Brazilians present a track of more than twelve minutes. This Camel-like title track Velha Gravura is in my ears the most formidable of the album. Delicious riffs on the Moog and dazzling drum breaks come your way as if it's the most natural thing in the world. The band continues with Tempestade where Vogel sounds like Jean Luc Ponty in his most progressive years, and because Wierman's keys sound so fat here, you can give five thumbs up. Don't be misled, though; the time indication on the cover and on the internet is three minutes too long. In Madrugada Vogel shows how much melancholy he can evoke from his instrument, and that is considerable. Additionally, Wiermann adds beautiful keyboard parts under his graceful playing. Toccata is a baroque-tinged piece full of bombastic and pompous organ sounds. Of course, it's Vogel again who brings refinement to this concluding track.

Cárceres and Elegia are the bonus tracks with the most added value. Especially the cinematic atmosphere of Elegia enriches the palette.

In the end, I'm glad the CD came my way back then. "Velha Gravura" may not be a top-notch quality album, sometimes different criteria apply.

Orginally posted on www.progenrock.com