Introduction Dr. Edino Krieger President of the Brazilian Academy of Music The   project   Poetry&Music     –     Brazilian   Sounds     is   one   of   the   most brilliant   and   fruitful   initiatives   to   increase   the   art-song   repertoire and   familarity   with   Brazilian   culture   that   I   have   come   across   in   my long   career.   The   plan   to   build   a   cultural   bridge   between   continents with   poetry   and   music   is   certainly   not   unique;   however,   all   those who   lived   through   the   work   that   I   wish   here   to   introduce   know how   tastefully,   elegantly,   sensitively   and   competently   it   has   been carried   out.   It   is   also   unusual   systematically   to   give   poems   in   their original   language   to   composers   with   a   different   mother   tongue   for them   to   set   to   music.   In   this   way   Brazilians   set   German   poems   and German-language   recreations   of   Brazilian   poems,   and   composers from Germany composed for works of Brazilian poets. The   theme   of   this   year’s   project    is   Amazonia   –   not   the   mythical, exotic   Amazonia   of   adventure-fantasies,   but   the   Amazonia   which   is being    violated    by    human    greed    and    ignorance,    that    nevertheless holds   its   ground,   sovereign   and   full   of   tellurian   power   and   mystery,           in   the   expectation   of   being   released   from   the   claws   of   the   civilized world.   I   do   not   think   it   is   necessary   to   say   any   more   on   this   subject here.   The   texts   that   are   to   be   found   in   the   following   programme, selected and set to music with great sensivity, speak a clear message. Last   year   I   had   the   honour   and   good   fortune   to   take   part   in   the   series   Poetry&Music    and   to   attend   the   première   of   the   project world   world   wide   world   in   Germany,   that   gave   its   first   hearing   to   a   song-cycle   I   composed.   On   this   occasion   it   was   for   me   a memorable   experience   to   get   to   know   the   work   of   the   two   Brazilian   artists,   who   are   not   only   excellent   interpreters   but   also   true ambassadors    for    music,    especially    Brazilian    music:    the    singer    Renato    Mismetti     and    the    pianist    Maximiliano    de    Brito .    Their achievement   is   Herculean,   not   only   in   relation   to   the   conception   and   execution   of   the   project   at   the   head   of   dozens   of   colleagues, but   above   all   in   relation   to   the   interpretation   of   so   varied,   dense   and   demanding   a   programme   as   that   which   I   was   privileged   to experience at the première of the 2002 series. This   year   the   duo,   who   devote   their   whole   creative   energy   to   the   realisation   of   Brazilian   Sounds,   are   enriched   by   the   participation of   three   outstanding   female   musicians:   the   North   American   flautist   Carin   Levine  ,   the   German   cellist   Cordula   Rohde     and   the Brazilian   percussionist   Cláudia   Sgarbi  .   This   is   proof   of   the   growth   and   progress   of   the   project   that   is   achieving   more   and   more recognition   and   admiration   of   those   who   come   to   know   it.   Its   objective   is   precisely   this   expansion   of   the   sphere   of   its   activities and   participation   of   all   genres   of   art   and   of   the   sciences   that   study   them,   by   winning   over   more   and   more   artists,   doyens   of culture   and   a   public   that   is   receptive   to   new   discoveries   and   the   care   of   a   fragile   world   that   like   Amazonia   is   more   and   more threatened and massacred. The    discovery    of    unknown    writers ,    respect    for    famous    poets,    the    careful    selection    of    texts,    the    conception    of    a    balanced dramaturgy,   the   commitment   of   the   most   representative   composers   of   contemporary   music   and   of   renowned   literary   academics and   translators   is   truly   a   brilliant   performance   by   all   participants   in   the   realization   of   the   project,   all   the   more   so   because   their work   takes   place   in   the   frame   of   a   small,   private   charitable   institution   which   depends   on   the   voluntary   efforts   of   people   who   have at heart the spiritual well-being of our global, ever harsher world. I   congratulate    the   Apollon   Foundation   for   this   idealistic   project   that   certainly   makes   a   real   contribution   to   a   creative   and   promising exchange   between   artists,   public   and   arts   of   the   most   various   artistic   circles.   This   project   is   also   admirable   for   its   commitment   to peace   and   greater   understanding   between   different   peoples,   mentalities,   languages   and   feelings      especially   today   when   there   is so much talk of globalisation without imperialism. In   conclusion    I   would   like   to   express   the   wish   that   everyone   will   enjoy   this   great,   exciting   and   enriching   poetic-musical   adventure, which is managed by such competent, sensitive and at the same time courageous hands.