Editorial Board
MusicWeb International
Founding Editor Rob Barnett Editor in Chief
John Quinn Contributing Editor Ralph Moore Webmaster
David Barker Postmaster
Jonathan Woolf MusicWeb Founder Len Mullenger
Heitor VILLA-LOBOS (1887-1959)
Chamber Music The Jet Whistle (1950) [9:42] Quintette instrumental for flute, violin, viola, cello and harp (1957)
[16:28] Song of the Black Swan for violin and harp (1917) [2:52]
Duo for violin and viola (1946) [16:28] Five Songs (transcribed for flute and harp by Lorna
McGhee and Alison Nicholls) Vida Formose (Beautiful life) (1943) [2:48] Nesta Rua (On this Street) (1943) [2:27] Modinha (1926) [1:46] Chanson de Cristal (Song of Crystal) (1950) [3:28] Cancão do Marinheiro (Sailor’s Song) (1936) [3:18]
Mobius: Philippe
Honore (violin); Ashan Pillai (viola); Michael Stirling (cello);
Lorna McGhee (flute) and Alison Nicholls
(harp)
rec. St Michael’s Church, East Woodhay, May-June 2003 NAXOS 8.557765 [59:16]
Running
from the 1917 Song of the Black Swan to the Quintette,
written two years before his death, this is an engaging selection
of Villa-Lobos’s chamber music. It’s selected with care and
ensures there is plenty of variety. And it’s played – no
less – with understanding of the idiom.
The
Jet Whistle is cast for flute
and cello and makes for a mellifluous and delightful entrée.
With its baroque-evoking patterns and with the flute pirouetting
over the cello line, this is a life-enhancing piece. The
warm lyricism of the central movement is decidedly Francophile
and the finale an exciting terpsichorean one, tinged with
jazz. The Quintette instrumental was one of his
very last completed works; you’d never know. The harmonies
are deft and the whiff of Paris is never far away. As a
composition it’s full of generous ardour – nothing is solemn
or unnecessarily reticent. There’s a Nocturne complete
with birdcalls and a ruminative “Cello and the Nightingales” aura – the
beautiful harp patterns presage the chiming of the clock.
The finale even indulges some Middle Eastern moments – terrifically
verdant and fulsome writing and nothing is overstated or
unwelcome.
The
1946 Duo for violin and viola is a work that has remained
rather too well hidden. That’s a real shame as it has plenty
to offer the inquisitive player – it would do excellently
in a quartet evening for example where a little imaginative
programming could yield great rewards. Counterpoint is the
obvious feature but so too a real and yearning lyricism – reminiscent
of Vaughan Williams in modal mood. The interweaving of lines
is accomplished with the utmost skill and balance and this
performance is thoroughly successful in exploring its lyric
heartland.
The
songs are heard in the arrangements by two members of Mobius,
flautist Lorna McGhee and harpist Alison Nicholls. They range
from melancholy to sultry to warm and lulling - and back
to the delights of tristesse. Naturally they’re played by
their arrangers with artful sensitivity. Song of the Black
Swan is an early work and tenderly lyric, though played
here with too intense a vibrato.
Recording
and programming values are high here – a splendid recital
of some hard-to-resist Villa-Lobos.
Jonathan
Woolf
Reviews
from previous months Join the mailing list and receive a hyperlinked weekly update on the
discs reviewed. details We welcome feedback on our reviews. Please use the Bulletin
Board
Please paste in the first line of your comments the URL of the review to
which you refer.