Saturday, May 27, 2017

An appealing mix of Brazilian piano music


Grace Alves: Keys to Rio

Along with relatively popular pieces by Ernesto Nazareth and Heitor Villa-Lobos, Brazilian pianist Grace Alves has done a real service in providing some rarities for piano from Marlos Nobre, Oriano de Almeida and especially Chiquinha Gonzaga, a great composer and social activist from the late 19th and early 20th centuries. While the Gonzaga pieces Gaúcho, Suspiro and Atraente might seem slight, they have real dignity and are very much pioneering efforts in the development of Brazilian popular music.  Oriano de Almeida is from two generations after Villa-Lobos, but his music has the same Paris/Rio, modernism/folklore dynamic as Villa, though his style relies more on American jazz. This appealing music sounds more like Gershwin than his compatriot Villa-Lobos. His Valsa de Paris is really delightful. Marlos Nobre, Brazil's most distinguished living composer, provides two serious but accessible pieces that evoke the life and folklore of the North-East part of Brazil, as Villa-Lobos has often done. Alves plays with grace and power throughout, though without the final level of virtuosity and rhythmic control of Sonia Rubinsky or Nelson Freire. This is a fine first effort; I look forward to future recordings.

This review has also been posted at Music for Several Instruments.

Friday, May 26, 2017

Guitar Concerto from New Zealand

Here's a very fine performance of the Concerto for guitar and small orchestra, 1951. Matthew Marshall plays the guitar, and the New Zealand Symphony Orchestra is conducted by Sir William Southgate. Wellington Town Hall, 1993.

Monday, May 22, 2017

Masterpieces revealed


Villa-Lobos Symphonies 8, 9 & 11

Villa-Lobos wrote twelve symphonies, though only eleven of the scores survive, and he wrote them from early in his career (1916) to very late (1957, two years before his death). People have been warning us for a long time not to value Villa-Lobos's symphonies too highly. I know this; I've been one of them. Don't expect too much, was the message, his best works are for the guitar and piano, and in the Choros and the Bachianas Brasileiras series. Now that we're well into the Naxos Sao Paulo Symphony Orchestra (OSESP) series, led by Isaac Karabtchevsky, I'm beginning to think this particular piece of conventional wisdom might be wrong. These three symphonies sound familiar, sure, because they sound like Villa-Lobos. But even though I've heard all three a number of times, in the very good CPO series from Carl St. Clair and the Radio Symphony Orchestra of Stuttgart made around the turn of the last century, the music on the new disc sounds fresh and new and really quite amazing.  This series is forcing all of us to sit up and take notice of a whole big chunk of Villa-Lobos's legendarily large output.

In his really excellent liner notes the guitarist and musicologist Fabio Zanon talks about how Villa's mature symphonies suffered because they were different from people's expectations and because of editorial problems with the scores. Though I hear the odd echo of the Choros from Villa's heyday in Paris in the 1920s, and plenty of call-outs to the Bachianas Brasileiras series of the 1930s and early 40s, the 8th, 9th and 11th Symphonies share something of a reboot feeling for the composer.  Here he finally turns his back, more or less, on modernism, while doing the same, more or less, with the folkloric music that made his worldwide reputation. There's a neo-classical (not neo-baroque) sound that goes along with early classical symphonic structures. Zanon sees and hears both Haydn and Mozart in this music, with Beethoven and Schubert lurking around the edges. Having stripped down his orchestral music to the essentials, we're now more aware than ever of how Villa-Lobos has constructed the music. To be sure this is still music written for large orchestras, but there's no Brazilian percussion component, no prepared pianos or violinophones, and no over-the-top Romantic gestures. The first movement of the 9th Symphony is instructive. Villa zips out three themes in quick succession, gives them a quick run-through in his contrapuntal-light machine, and then, when you expect a fair bit of noodling, he winds things up abruptly, with a typical Villa-Lobos flourish. All done in less than four and a half minutes. I must say that I like the concise Villa-Lobos; it makes a nice change from the often over-blown padding of more than a few of his works. This is vivid, direct, lively music without empty gesticulation. With the varnish of score errors and outdated preconceptions removed, these three symphonies emerge as masterpieces.

A copy of this review is at Music for Several Instruments. The disc drops on June 9, 2017.