Joly BRAGA SANTOS (1924 – 1988)
Symphonic Overture No.3 Op.21 (1954) [13:57]
Elegy in memory of Vianna da Motta Op.14 (1948) [10:37]
Alfama: Ballet Suite (1956, arr. Á. Cassuto) [24:23]
Variations for Orchestra Op.55 (1976) [12:50]
Three Symphonic Sketches Op.38 (1962) [10:49]
Royal Scottish National Orchestra/Álvaro Cassuto
rec. RSNO Centre, Henry Wood Hall, Glasgow, 8-9 March 2011
NAXOS 8.572815 [72:36] 
This release is a logical sequel to Cassuto's recordings of Braga Santos'
symphonies as well as other miscellaneous orchestral works released on Marco
Polo: the Fourth
Symphony and Nos. 1/5
3/6 and No
2.
The earliest works here - Elegia a Vianna da Motta Op.14 and
Abertura Sinfónica III Op.21 - are still much indebted to Braga
Santos' early aesthetics as reflected in the first four symphonies. The overture
is a sunny work full of lively rhythms and catchy melodies enlivened by a
masterly orchestral flair. The music is pretty straightforward and is mostly
based on two main themes, both original but clearly folk-inflected. These
dialogue, oppose and – at times – superimpose. This bright, lovely work ends
with a short timpani tattoo based on the underlying rhythm of the first main
theme and a firmly assertive coda. As may be expected Elegia a Vianna
da Motta is a more serious work and one in which the composer allows
some dissonance and harmonic tension often absent in the other works from
that period. Again the overall structure of this compact work is simple enough.
It opens with a mournful first section leading into a somewhat more troubled
central core capped by a short, slightly varied restatement of the opening.
This is a sincere and deeply felt piece of music that achieves its expressive
aims through simple, though highly effective means.
Três Esboços Sinfónicos (“Three Symphonic Sketches”) is clearly
a transitional work in Braga Santos' output, in that the music moves away
from the modally inflected, richly melodic early style to open out into new
territories. Braga Santos was never a radical modernist although he was aware
of what was going around him. The music in the first and second movements
is fierce, angular and dissonant. The slow movement displays some stringency
absent from many earlier works. The final movement, however, is a simpler,
more straightforward affair that brings this fine work to its happy conclusion.
The Variações para Orquestra Op.55 is far more searching. It
is clearly the result of the preceding period in Braga Santos' output in which
his music leaned towards other models such as Bartók and Roberto Gerhard,
the latter being heard in parts of the Fifth Symphony. By this time the music
of Braga Santos displayed a comparatively greater complexity. The way the
variations unfold is not easily traced. However, I think that Álvaro Cassuto
may be trusted when he writes in his liner-notes that “a theme does exist,
just as there is a series of variations”. What comes clearly through is that
this compact, but inventive work is probably one of Braga Santos' most important
works. It may at first sound a bit 'difficult' but repeated hearings bring
out the inventiveness and mastery of the music. By the way this set of orchestral
variations must not be confused with the earlier Variações sobre un
Tema Alentejano Op.18 of 1951.
I very much wanted to review this disc because I have a real love of Braga
Santos' music. I was also intrigued by Alfama, a work that I
could not trace anywhere, not even in the list of works available on www.instituto-camoes.pt.
It turns out that he composed it in 1956 when he was about to get married
and was cash-strapped. The score was written in some haste and he was not
afraid of using repeats of various sections to achieve the desired duration.
He also resorted to his early musical vein so that the music is full of colourful
scoring and simple themes. However, it seems that the composer was dissatisfied
with the work and dismissed it after one performance. One may nevertheless
think that it was played more than once. Cassuto, however, eventually had
access to the score and could examine it in detail. He came to the conclusion
that for all its simplicity – or because of it – the score (or parts of it)
could be usefully rescued. He set to work, mostly by shortening some episodes
and by eliminating unnecessary repeats to draw out a ballet suite which is
a dance sequence of simple, unpretentious vignettes deftly scored and full
of lively rhythms and lovely orchestral touches. This is definitely no imperishable
masterpiece but a quite attractive, unproblematic work displaying Braga Santos'
craftsmanship even when not at his most inspired.
Cassuto knows and understands Braga Santos' music well. He thus conducts impeccable
and committed readings of these often quite beautiful works. The Royal Scottish
National Orchestra respond with equally committed playing. So, if you have
been hooked by Cassuto's recordings of the symphonies, this generously filled
release is for you. It may also be safely recommended to anyone new to Braga
Santos' music, were it only because it offers a fair survey of this composer's
stylistic evolution over the years. I hope that Álvaro Cassuto will continue
recording other works by Braga Santos for there are two other overtures, a
piano concerto and a handful of shorter orchestral works that still await
professional recordings. Would it be too much to expect a recording of one
of Braga Santos' operas; perhaps Trilogia das Barcas Op.49?
I would like to add a short footnote either for Mr Cassuto or anyone who could
help. I mentioned a list of works that I found in the website of the Institute
Camões. I notice that there was a discrepancy as to the opus numbers mentioned
there and those generally mentioned on record-sleeves and covers. Could anyone
shed some light on this?
Hubert Culot
A fine release that should appeal to anyone interested in attractive, melodic and colourful music.