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Heitor VILLA-LOBOS (1887-1959) Bachianas BrasileirasNo. 5for soprano and orchestra
of cellos (1938/1945) [11:05]
Bachianas BrasileirasNo. 4version for piano solo (1930-1941)
[18:57]
Bachianas BrasileirasNo. 6for flute and bassoon (1938) [9:09]
Bachianas BrasileirasNo. 1for an orchestra of cellos (1930) [19:11]
Donna Brown (soprano); Jean Louis
Steuerman (piano); Sato Moughalian (flute); Alexandre Silvério (bassoon)
Cellists of the São Paolo Symphony Orchestra/Robert Minczuk
rec. Sala São Paolo, São Paolo Brazil, December 2003 (Nos.
1, 5), February 2003 (No.4), February 2005 (No.6) BIS CD-1410 [59:23]
The
final, glowing instalment of the complete Bachianas Brasileiras
on BIS.
This
is the final instalment of the complete Bis recording of
the Bachianas Brasileiras, withNos.
7-9 having already received glowing reviews, and the
remaining pieces, Nos. 2, 3 and 4 played Jean Louis Steuerman
as piano soloist. Further reading on Villa-Lobos can be
found on Musicweb-International here.
This
disc will inevitably be targeted by Villa-Lobos fans as
it contains one of his most famous and beloved works – the Bachianas
Brasileiras No. 5 for soprano and orchestra of violoncelli,
which has one of those melodies which one feels must have
had some kind of pre-existence – flying around in some
kind of artistic limbo waiting to be picked up on by the
right
composer. Yes, the Cantelina has a structural and
conceptual relative in Rachmaninov’s Vocalise, and
a relationship with Bach’s Air on the G string has
also been mentioned, but with the plucking guitar-like strings
of the cellos it will always be more of a dusky South American
and safely distant cousin of its northern counterparts. Many
collectors will have the version sung by Victoria
de Los Angeles as a reference, and in this I am no exception.
Donna Brown makes for an excellent soloist on this recording,
with a bright, clear sounding soprano. Her vibrato is quite
wide and operatic, but nicely tight and suitably restrained
in the aria of the first movement. Much of the intensity
in this performance is held back for the second movement,
in which Donna Brown throws in plenty of exuberant bravura,
and while the two movements balance well I miss a little
of the mystery and subversive exotic passion which can exist
beneath the surface of that expressive Aria. I’ve
heard and indeed performed this work – admittedly arranged
for flute orchestra – enough times not to suffer the bias
of holding de Los Angeles up as some kind of holy grail in
this regard, but while this is a very nice performance indeed
it hasn’t grabbed my imagination or struck me as being particularly
memorable. It’s not likely to re-visit me in my dreams, but
if it does before I finish this review I’ll be entirely
honest and report back.
Villa-Lobos
wrote the Bachianas Brasileiras No. 4 originallyfor
piano, later orchestrating it himself. This makes it the
only one of the set to have been composed for a solo instrument,
and the booklet notes by Irineu Franco Perpétuo point out
the similarity of the opening Prelúdio to the beginning
of the Toccata from J.S. Bach’s Partita BWV 830.
The recurring motief is treated to some sensitive harmonisations
and counterpoint, but ends in the kind of heart-on-sleeve
bombast whose honesty you can’t help admiring. This kind
of treatment is taken further and becomes a defining character
of the following Choral, subtitles ‘Song of the Jungle’ which
would rouse any football crowd given the right singer and
text. Some of this music is written over four staves, and
it sounds like it. The next movement is an Aria which
quotes a Brazillian ballad called O mana deix’ eu ir,
and the finale Miudinho is inhabited by the infectious
2/4 dance rhythms of the north-east of Brazil. While this
work doesn’t do much more than add ammunition for those who
would argue that Villa-Lobos is an overrated composer, Jean
Louis Steuerman’s remarkable performance certainly turns
this piece into a pianistic tour de force.
The Bachianas
Brasileiras No. 6 is another odd-man in this cycle
of compositions, being the only chamber music example.
Written with perfect idiomatic sensitivity to the qualities
of each instrument, the music is at first impression
relatively straightforward and approachable, but the
complexities
of counterpoint and the ongoing musical dialogue make
this a piece you need to listen to a few times before
appreciating
everything that is going on. I don’t mean that it’s ‘difficult’ music,
just that, as with a Bach two-part invention, the brain
is put to work more actively than with some other kinds
of music, and sometimes gets caught out. The players are
truly excellent in this piece, and other that a little
untidiness around those ‘unplayable’ runs on the flute
at around 4:13 in the second movement the performance
is as good as flawless.
The
star of this CD for me is the raunchily refined and deeply
expressive Bachianas Brasileiras No. 1 for cello
orchestra. The sonorities are fascinating for a start,
and the playing
of the São Paolo Symphony Orchestra cellists with Antônio
Meneses keenly observes and superbly executes all those swinging
rhythms. Their sense of colour and dynamic means that the
various lines of counterpoint, melody and accompaniment are
always clear, which is always a challenge in such a homogenous
ensemble. This is also helped by the nicely separated stereo
spread of the musicians in this excellent recording. The
contrast in Latin dance character and ‘universal’ musical
content make this a fitting conclusion to this CD and this
excellent set of the complete Bachianas Brasileiras.
Did
I dream of the Aria of Bachianas Brasileiras No.
5 last night? Well, yes, but the performance on this
recording kept getting barged out of the way by someone
else’s.
Maybe that’s the problem – it’s just that little bit too
polite: beautiful indeed, but more genteel rather than
really sexy.