That Villa-Lobos has
often been touted as the greatest Brazilian
composer gets further support in these
superb performances of some of the most
engaging music that I have heard in
months. Clearly influenced by French
impressionist models, these two piano
trios which, although I could find the
date for only one, seem to come from
about the same period. They are full
of ideas and provide for a most ethereally
atmospheric and evocative listening
experience.
(We are grateful for
information from Don Petter that the
third dates from 1918)
At over thirty minutes
each, these are substantial works, but
unlike other extremely prolific composers
(Alan Hovhaness comes to mind), there
is no shortage of ideas here. The listener
is drawn in from the very first bars
with captivating melodies, a fresh and
interesting harmonic language, and above
all, a discernable structure that although
perfectly logical, is never boringly
predictable.
Of particular merit
is the stunningly gorgeous Berceuse-Barcarolla
from the second trio. This music is
so wonderfully serene that one can,
from one’s own listening space, conjure
up dozens of images and blissful scenarios.
I cannot recall ever being so immediately
captivated by a piece of music and being
so thoroughly held to attention.
As for the performances,
they are almost above reproach. Spot-on
intonation, a perfect sense of line
and forward motion, superb ensemble
musicianship and a oneness of ideas
as to this music’s meaning, all come
together to make some of the most satisfying
playing to grace my speakers in some
time. But, you may ask, why then did
I say "almost" above reproach?
Alas, these players have succumbed to
the same pandemic that seems to have
infected so many similar ensembles.
That is, the constant sniffing and snorting
in some effort to make us believe that
wind is required to produce a sound
on a violin. Hmmm, have I harped on
this issue before? Indeed I have and
shall continue to do so until I have
accomplished my mission to eradicate
tubercular string playing.
Sound quality is quite
fine, but here the praise must end.
Meridian have let go of a release that
is so artistically superb, that they
should be fined for the pathetic production
values. The mistakes and sins of omission
are practically innumerable and completely
inexcusable, to wit: the total timing
listed on the box is 58:28, when indeed
it is 69:01; no keys, opus numbers or
any other cataloguing information is
given; no individual movement timings
are listed; a date of composition for
the opening work is carefully hidden
in the program notes, but there is no
mention whatever of the date for the
second work; there are no locations
or dates given for the recording sessions;
and the program notes, written by one
of the performers, read like they were
written by an undergraduate. It is quite
beyond me. A public that is expected
to pay full retail deserves and should
get better.
I should stress again,
however, that this is a release that
is absolutely worth owning, as this
is music that anyone would enjoy, performed
with a sincerity and integrity that
is of the first order. Since this is
the third volume in a series, let us
hope that the production department
at Meridian gets a make-over soon, and
that this was an aberration.
Kevin Sutton
Richard Milone, violin 