Camargo GUARNIERI (1907–1993)
Seresta for Piano and Orchestra (1965) [19:26]
Chôro for Bassoon and Orchestra (1991) [9:15]
Chôro for Flute and Chamber Orchestra (1972) ]11:28]
Chôro for Violin and Orchestra (1951) [17:36]
Davi Graton (violin); Olga Kopylova (piano); Cláudia Nascimento (flute); Alexandre Silvério (bassoon)
São Paulo Symphony Orchestra/Isaac Karabtchevsky
rec. 2019, Sala São Paulo, Brazil
NAXOS 8.574197 [57:45]
This disc has been released under the aegis of the Brazilian Ministry of Foreign Affairs with the remit to record approximately 100 orchestral works by Brazilian composers dating back over 200 years alongside the production of printed critical editions of these scores. Naxos will release the recordings of which this is one and the first I have heard.
The music of Mozart Camargo Guarnieri is exceptionally fine and deserves to be far better known outside of South America. BIS, and indeed Naxos, have already supported the cause; the former with a typically compelling and brilliant cycle of his six symphonies while Naxos themselves have contributed discs of the six piano concerti and a two-disc volume 1 (to be continued?) of the piano music. All of those earlier recordings reveal a composer of real individuality who is able to fuse a Nationalistic voice with a contemporary idiom that is both accessible and rewarding for listeners. This new disc is also listed as being the first volume of the complete Choros by Guarnieri. To add to any possible confusion, Villa-Lobos wrote in the 1920's a series of instrumental and concertante works called Chôros. The Guarnieri Choros share their roots in Brazilian music but should not be heard as, or considered an extension of, the Villa-Lobos pieces. Wikipedia defines Choro as; "Choro ("cry" or "lament"), also popularly called chorinho ("little cry" or "little lament"), is an instrumental Brazilian popular music genre which originated in 19th century Rio de Janeiro. Despite its name, the music often has a fast and happy rhythm. It is characterized by virtuosity, improvisation and subtle modulations, and is full of syncopation and counterpoint. Choro is considered the first characteristically Brazilian genre of urban popular music." However, having read the above definition do not expect this music to be some kind of sequence of national dances. In the valuable liner note with this disc Paulo de Tarso Salles writes"[Guarnieri]
often makes references to his native musical culture in either overall or
movement titles, even if his musical idiom does not do so directly...Guarnieri
explained his use of the word; Choro is a replacement for Concerto".
Although the disc contains three of these concertante Choro, it opens with the Seresta for Piano and Orchestra. This Serenade is the longest single work on the disc with the outer two movements muscular and energetic framing a central Sorumbático ("gloomy, melancholy") a reflective, stately but sinuous movement. Here, and indeed throughout the disc, the solo parts are played with great technical skill and musical empathy by principal players from the São Paulo Symphony Orchestra. The musical aesthetic of much of this disc is neo-classical in the Stravinskian spirit of the term. Textures are predominantly kept spare, melodies are angular and the harmony astringent without becoming truly atonal. Rhythmic energy is key and although there are occasional glimpses of something that could be termed Latin American influenced in this department the feel is more 20th Century than Nationalistic. The piece that sounds most overtly Latin American is also the earliest recorded here - the Choro for Violin and Orchestra from 1951. The date places it just one year after Guarnieri wrote an impassioned "Open letter to the musicians and critics of Brazil". In this he insisted that musicians should defend the "true interests of Brazilian music" [in other words native musical culture] rather than being influenced by external forces such as serial technique. The liner goes onto say that in later years Guarnieri distanced himself from this open letter and indeed toyed with elements of serialism himself.
Indeed, much in the same way that a composer such as Ginastera can have his work divided into distinct creative phases moving from overt Nationalism to something altogether more distilled and musically universal, so listening to Guarnieri's scores reveals a similar aesthetic trajectory. Simply comparing the Choro for Bassoon and Chamber Orchestra with the afore-mentioned violin Choro reveals this trend. The Bassoon Choro dates from the very end of Guarnieri's long creative life - he did not live to hear the premiere - and it is also the shortest, most concentrated work on the disc. The same angularity is here but textures are spare to the point of austerity. But at the same time you can hear a masterly control of musical material with no gesture wasted or note written in excess. The emotional landscape is guarded with a kind of baroque objectivity. Written in two movements, the closing motoric allegro is music that enjoys twisting around the basic rhythmic pulse with sweeping glissandi on the harp imitating a guitar perhaps. So even after over seventy years of composing, Guarnieri was staying true to his Brazilian roots right to the last.
Listening to these Choros alongside the six symphonies and six piano concerti is an interesting exercise. Guarnieri wrote each of these series of works across decades; the symphonies 1944-81, the concerti 1931-87 while the works on this new disc span 1951 - 91. While there are clear links and areas of common musical expression, it is apparent that Guarnieri uses the Choros to explore areas of expression that are less overtly folk-derived or indeed dramatic. Perhaps in much the same way Malcolm Arnold's concerti are rarely the big displays of orchestral brilliance and emotional drama that he achieved in his symphonies. Guarnieri's Choros are a more intimate almost forensic affair. The one exception is the work for violin which although far from 'large' - it runs in total just seventeen and a half minutes - seems to fulfil a more traditional role with virtuoso solo writing set against substantial orchestral gestures. The closing Allegro ritmado, which is the final music on the disc as well, bubbles over with a joyful complex interweaving of rhythms and motifs over a steady dancing pulse. This is a piece that deserves to be heard in international concert halls - but that is true of much of Guarnieri's music. In this work the São Paulo Symphony Orchestra's associate concertmaster is the impressive soloist and well supported by his colleagues. Indeed, the playing throughout this disc is very good indeed. The Naxos engineers have opted for a rather close spot-lit position for the solo players. Personally, I would have preferred a more natural balance but the close detail serves the music. Conductor Isaac Karabtchevsky accompanies with flair and sensitivity. I have never heard any of these scores before, but in the absence of comparisons, these sound like carefully prepared and skilfully executed performances.
In my review of the Guarnieri's Piano Concerti 4-6, I commented that his Piano Concerto No.1 had an instant appeal and attractiveness that would surely make it a hit with any audience. Perhaps the Choros presented here do not have that same level of easy engagement but they show another facet of a remarkably fine composer. This was the man after all of whom Copland wrote in 1941; " Guarnieri is the most exciting talent among Latin American composers … what I like best about his music is its healthy emotional expression…he is the most authentic musician of the continent.” Yet, according to the BBC's own archive of music performed at the Proms, not one single piece of Guarnieri has ever been heard at "the world's greatest music festival". While Heitor Villa-Lobos remains the best known Brazilian composer, it can be argued that Guarnieri was even more important in fostering a new and independent musical voice for his country whether through his own extensive compositions, his conducting of the São Paulo Symphony Orchestra and other ensembles, or as a teacher and writer.
These fine performances of significant Latin American music deserve to be heard.
Nick Barnard
Previous review: Rob Barnett
