Luís de FREITAS BRANCO (1890-1955)
Orchestral Works - Volume 3
Symphony No. 3 (1944) [46.19]
The Death of Manfred for strings (1906) [9.55]
Suite Alentejana No. 2 (1927) [15.58]
RTÉ National Symphony Orchestra/Álvaro Cassuto
rec. National Concert Hall, Dublin 20-21 April 2009
NAXOS 8.572370 [72:13]
Writing as I am from a wet and windy Britain I see Portugal as a country
where the sun meets the sea and where a relaxing holiday in wall-to-wall heat
is the main attraction. I know very little about 20th century Portuguese
classical music. True, Symphonies by Joly Braga Santos did come out and I
purchased two (Marco Polo 8.225233-Symphony No 4 and 8.223879 Symphonies 1
and 5). Luis de Freitas Branco was his teacher and is, as the booklet notes
written by conductor Álvaro Cassuto himself remind us “the most
important Portuguese composer of the 20th Century”. This then is volume
three of a series and with a 4th Symphony already in the can we
await without too much delay the next volume. I reviewed the previous one
of the 2nd Symphony (Naxos
8.572059) and as a result sought out Symphony 1 (Naxos
8.570785) so I am beginning to feel that I am getting to know the composer’s
music.
The 3rd Symphony is the biggest canvas so
far, just exceeding the previous symphony but only by about three minutes.
Although completed in 1944, it can in many ways be heard as a wartime symphony.
Apparently the composer had been working on it for well over ten years. It
falls into four movements. The extra-long first is in sonata-form. After a
short slow introduction there is a defiant first theme and an elegiac even
pastoral second theme. There is also a rather liturgical one, a little like
the Gregorian chant melody used in the 2nd Symphony, which here
is harmonized largely in fourths and fifths. These ideas are dwelt upon and
brooded over throughout. I found the drama of it always gripping and always
retaining my attention.
The main theme of the second movement also in sonata-form, rather like that
of the 2nd Symphony is rather melancholic, modal and folk-like
being stated at one point, in a very English sort of a way, on the cor anglais.
It is a very beautiful movement and one to listen to regularly. The Third
is just marked as an Allegro and I hasten to add not sounding like a Scherzo,
I find it the least successful although its ternary form is clear. The finale
is strong and noble with an amazingly mysterious Lento section three minutes
before the work ends in a joyous and determined dance. The word ‘magisterial’
used at the back of the disc seems a good summing up of the overall feel of
this impressive work.
In contrast to the symphony the brief but very moving ‘The Death
of Manfred’ is slow and generally quiet throughout. Marked to be
played ‘Larghetto doloroso’ it is scored for string sextet played
here however by the rich-sounding strings of the RTÉ Orchestra. When
he was as young as fifteen no doubt under the spell of Byron, Freitas Branco
composed his first orchestral work ‘Manfred, Dramatic Symphony for soloists,
chorus and orchestra’; it seems however that this work was never a part
of the larger one and that this one was played in Lisbon in 1906. Its mood
is utterly mournful with two major climaxes. It deserves to be much better
known.
The Suite Alentejano No 2 is as enjoyable and charming and as beautifully
orchestrated as the First Suite of 1917 (couple with the 1st Symphony).
They are similarly planned with an opening Prelude evoking the expansive landscape
of the Alentejano district where the composer had a large estate. Next comes,
in both suites, an Intermezzo. Álvaro Cassuto, as well as being the
conductor and general scholar on this composer, tells us that on the “occasion
of the work’s premiere in 1941 in Porto, programme notes were supplied
“probably not sanctioned by the composer” but which said that
the music described “a group of women seated in a circle, offer a picturesque
scene. They work and sing a happy song””. The third movement in
both suites emphasizes dancing. In the first it was a Fandango and here we
are “At a fair” using a few local popular melodies and with, towards
the end, an “increase of rhythm and colour” reverberating into
an exciting conclusion.
I found myself wondering why this project to record the Freitas Branco symphonies
was not undertaken by a Portuguese orchestra like the fine Gulbenkian Orchestra
based in Lisbon which I heard last year. If they have played the piece under
Cassuto, and they should have done, then why aren’t they in the Naxos
recording studio? Anyway the RTÉ National Symphony Orchestra are wonderful.
They’re obviously quick readers and more importantly quick ‘understanders’
of the style and language. Álvaro Cassuto is certainly on good terms
with them and understands what the composer is trying to say. Not only is
the music of value but at Naxos price this CD is a gift and surely recommends
itself.
Gary Higginson
The music is highly recommendable and at Naxos price a gift.