Villa-Lobos, Heitor - The Ideal Choros and Bachianas Brasileiras (Sao Paulo SO, Neschling, Minczuk) [24bit-FLAC]

  • 15.06.2016, 13:59,
  • Music
Villa-Lobos, Heitor — The Ideal Choros and Bachianas Brasileiras (Sao Paulo SO, Neschling, Minczuk) [24bit-FLAC]
Villa-Lobos, Heitor — The Ideal Choros and Bachianas Brasileiras (Sao Paulo SO, Neschling, Minczuk) [24bit-FLAC]

Villa-Lobos: The Over Choros and Bachianas Brasileiras

BIS-CD — 1830/32 24bit FLAC
Amount To Occasionally: 524'53 – Distribute: June 2009 — 1830-32
Heitor VILLA-LOBOS (1887-1959)
The Over Choros and Bachianas Brasileiras
Stuffed wake trace listing at end of review
Donna Brown (soprano); Elizabeth Plunk (flute); Sato Moughalian (flute); Ovanir Buosi (clarinet); Alexandre Silvério (bassoon); Anders Miolin (guitar); Fabio Zanon (guitar); Cláudio Cruz (violin); Johannes Gramsch (cello); Jean Louis Steuerman (piano); Cristina Ortiz (piano)
São Paulo Symphony Orchestra Choir; Berlin Philharmonic Current Of Air Quintet; São Paulo Symphony Orchestra/Naomi Munakata; John Neschling; Roberto Minczuk
rec. 2002-2006, São Paulo (Choros; Bachianas); 1994, Traumton Studio, Berlin-Spandau (quintet); 1998, Furuby Church, Sweden (guitar solitary). DDD
BIS-CD — 1830/32 [7 CDs: 524:53]

I laud Bis for having taken their Villa-Lobos Choros and Bachianas Brasileiras cycles to Brazil to not for publication during the 2000s; that’s six CDs’ benefit. While I am no believer that the be fulfilled way for any composer must be organize with artists from the composer’s own homeland these are undeniably piquant, hyper-coloured and poetically well judged readings. The technology does not let down the artistry.

With that in the spotlight it comes as no catch napping to me that the six orchestral discs have been gathered as a distinct set. However you may well already have bought them personally. Such is the music-making from Neschling and his soloists and detailed partners that it will be no catch napping if you had asseverative not mark occasionally. The seventh disc is of music for solitary guitar. It was recorded in Europe and has been pressed into employment to over the chain of Choros with Choros No. 1.

In 2003 the till and lamented ASV issued a aggregation of the first seven Choros using Gran Canaria forces (assess). It was a safe disc but there was to be no supply 2 let alone a third. Then again you could pick up some of the Choros on the various EMI controlled editions of the composer in his own music from the 1950s (0077776722924). Nothing however compares with the magnificence of these three discs (assess of special discs) starting with the epic Choros 11.

In Choros 11 we brush the only competent big name soloist in the whole chuck. It is Cristina Ortiz who has recorded epic V-L before: the Momoprecoce and the Bachianas Brasileiras No. 3 (effectively a four upward piano concerto) are vital pieces which she tackled for EMI with Ashkenazy when he was a tyro baton-wielder (assess). She also set down all five of the composer’s piano concertos for Decca. Ashkenazy returned to No. 11 for the conspicuous type that is to be organize on a distinct disc on the Ondine docket.

The smartness of BB3 is romantically in seventh heaven rather than thick with sticky impressions of the Brazilian jungle. There« s something of that smartness in Choros 11. The chief upward is wonderfully life-force-enhancing. It»s a powdery audacious industry with none of the uncontrolled altered consciousness road or jungle attributes. This industry, on a principal prorate increase, dates from 1928 and was premiered in Rio de Janeiro in 1942 conducted by the composer. The dedicatee Artur Rubinstein was at the piano. You must heed it. The blue blood of the recording, which is truly fearsome, can be gained by listening to the last five minutes. Ah! that rasping fringe to the nerve!

More obviously dear and for solitary piano is Choros 5. It is incantatory, rolling, mesmeric yet develops a brightness which might almost be John Ireland after all that rhapsodic tolling. The railroad syncopation of the last part leaves us in no conviction that this is music tapping into the boisterous force of South America. The music then sinks, with acceptance or satiation, into the measurable incantation from which it arose. The Settimino is delightfully alert to with soloistic bustle constantly in collage-kaleidoscopic performance.

The Choros 7 has elements of the state local blue blood chiefly omitted from Choros 11. There is some Stravinsky in this and coincidentally some Lambert as well. This music cheekily and cheerily winks, gleams and glints. Bird-prevarication also cuts through the structure adding peppery harmonies and a feral reverberation.

Supply 2 includes two of the purely orchestral Choros: 6 and 9. No.8 is also there and is for on the loose orchestra and two pianos. All three are each between 20 and 25 minutes duration. No. 6 includes tons of local Brazilian instruments but used discreetly. Barking nerve nicely offsets the jungle gurgles at 3:45. It is overall a industry of surging and blooming power.

From loud power we come to the winsome intimacy and sweetly tender-heartedness-infused Choros 1 from 1920 for solitary guitar.

Forwards to Choros 8! This is also known as Choros de Danca. It too makes use of local instruments. It bustles and hip-sways from the start. Exceptional topless birds knit together their birdsong into the tangible. It was written in Paris and Rio and premiered in Paris in 1927 at the Concerts Colonne — the composer conducting.

Choros 4 is for four nerve instruments — grumpy, clever, fretful, and at last swept into the carnival with favoured altered consciousness road music as at 4.50. Wonderfully staunch playing.

Choros 9 is also pleasing. It’s from 1929 but had to mark occasionally until 1942 before its original which took consider in Rio. It«s a industry in which the orchestra is again buttressed by various populace instruments. It»s another epic-dynamic industry with principal matters half-bred with hypnotic amiableness and jungle carnival pep. Just be partial to the the main grunt and scratching of the scribble literary works, the bird-prevarication at 18:04 and the commercial altered consciousness road samba-rumba of the nerve. It rises to a celebratory clamber up in the last uproariously joyous pages.

Supply 3 starts with the vital industry that is the Introduction to the Choros with a whopping r for solitary guitar. This prepares the way for the first Choros for solitary guitar. Intriguing that at 5.13 the music evokes Ravel«s Bolero. There is some crafty and unchanged music for flutes coursing altered consciousness and sympathetic at 6:55 - it»s almost a drippy coat notch.

The two Choros Bis were intended as epilogues to the over sequence. Indeed VL had thoughts that the whole sequence would be performed at a distinct or several concerts. The First, for violin and cello, sings capriciously through the violin. The cello acts as arsis man. There is more lyrical industry for the cello in the second of the two.

The Choros No. 2 is for flute and clarinet. It soon gurgles its altered consciousness road arsis and waver with the flute adding bird-prevarication streamers to the unwinding clarinet pencil-mark.

Choros No. 3 Pice-Pau (Woodpecker) is a estimable seismic immersion in the altered consciousness road-jungle smartness for virile choir and current of air instruments.

Choros 12 is a big, swaying piled-altered consciousness hay wagon of a industry. It starts with a teeming cadenced be furious. Soon a engaging drippy theme enters the flat and this is developed to vibrant consequence. This sticky orgasmic industry soon enjoys jungle whoops and chirping on a principal prorate increase. It was premiered in Boston on 21 February 1945 with the Boston Symphony; the composer conducting

Choros 10 is for orchestra and half-bred choir. It is one of his most concealed works: silence, pardon and ghostly at times. Mysteries are hinted at and spells revealed. As it moves into its second half the pecked and sometimes ecstatically wailed choral comparatively becomes more noteworthy with renowned upblasts of nerve expostulation. There is something of Orff«s Carmina Burana here. One uncontrolled blow-up reminds one of nothing so much as Walton»s 1931 Belshazzar’s Treat. Could he have heard Choros No. 10 or seen the score?

After Choros 12 there were to be two other big Choros. Lugubriously these (13 and 14) were adrift when the composer was not able to pay the gash for his definitely in Paris where the scores were kept. No. 13 was for two orchestras and bunch while No. 14 sported a whopping count of performers including instrumentalists and singers. It is said also to have used district tones in the vocal parts.

The Bachianas Brasileiras are much more than museum took consider exhibits. They’re certainly not pot-pourri. Reverence them more as a loose appearance by Villa-Lobos of his honey for Bach’s music. The contain the most ubiquitous of Villa-Lobos’s works the BB No. 5 made eminent by the recording by Victoria de los Angeles. The type here hits the right marques but stands a avoid down from de los Angeles. No. 4 begins with a wake trace of Bach’s Partita BWV 830 before developing into a phantasmagoria of demonstrate at the hands of Jean Louis Steuerman. The Sixth is a subtly rococo forge for two instruments. The First is for an orchestra of swaying and up to date cellos and there’s tons of cadenced torque. The Seventh is very at hand and plenteous and the Sao Paulo forces seem instinctively au fait with the smartness and air. Be apprised that when David Harbin reviewed this disc some years ignore he spoke authoritatively of the Michael Tilson Thomas BMG-RCA recording – a type I have not heard. The forbidding Ninth, is heard here in versions for obligations choir and a cappella voices. The evocative Bachianas Brasileiras No. 8 is not about integument glitter. Safe to have the fortune to heed the Fourth also in its versions for solitary piano and for orchestra. Bis draws on earlier recordings from their moneys. From the 1990s comes the Berlin Philharmonic Current Of Air Quintet in the tastily swung Quinteto em forma de choros. Anders Miolin’s forbidding and revealing sequence of the music for solitary guitar reminds us of Villa-Lobos’s likeable aptitude in the sort. Andrés Segovia was the brisk inspirit for this music. That last disc serves as a palate-freshener after some the more luscious eruptions of the unsparing orchestral scores.

There have been several cycles of these works on LP and CD with other Brazilian artists on labels. I have not heard these – but would like to.

Cleverly Bis have side-stepped the contention by fusing the two cycles. No-one else has done that. However be apprised of Batiz’s sparkling sequence of the BB on EMI. From the same docket comes another big boxed set Villa-Lobos par lui-même. It runs to six CDs of the orchestral music in performances by Heitor Villa-Lobos conducting L'Orchestre State de la Radiodiffusion Française, with Fernand Dufrene (flute), Maurice Cliquennois (clarinet); Jacques Neilz (violin), Henri Bronschwak (cello), Manoel Braune, Aline van Berentzen, Magda Tagliaferro and Felicia Blumental (piano); Rene Plessier (bassoon) and Victoria de los Angeles (soprano). That undone Parisian sequence is in 1950s mono. Ian Lace’s assess of one of the CDs gives a safe stamp of the suffer. Contest these with the Ortiz Decca aggregation of all five piano concertos and CPO’s very evocative over print run of all twelve symphonies and you have much of the non-vocal V-L commodiously available to explorers, the strange and collectors. The solitary piano music is on Naxos and the over obligations quartets can be had in a engaging boxed set from the inspired Cuarteto Latinoamericano on Dorian Sono Luminus.

You can still get each of the Bis discs one at a occasionally but at a very tidy amount to rate for the seven.

The notes are safe and intriguing. The few sung words are in the booklet

Look at the playing times on these CDs. One is in residual of 81 minutes. And, by the way, I had no grief playing it.

This set is the consider to go for a distinct aggregation conjoining the Choros and the Bachianas Brasileiras — brilliantly ignited and unchanged from dear solitary works to seismic overspending.

Rob Barnett

Masterwork Directory: Bachianas Brasilerias

Wake Trace listing
CD 1:
Introduction to the Choros for guitar and orchestra [13:32]
Two Choros (bis) for violin and cello [8:41]
Choros No.2 for flute and clarinet [2:42]
Choros No.3, Pica-Pau for virile choir and current of air instruments [3:32]
Choros No.10, Rasga o Coração for orchestra and half-bred choir [13:01]
Choros No.12 for orchestra [37:01]
CD 2:
Choros No.6 for orchestra [24:49]
Choros No.1 for guitar [5:09]
Choros No.8 for on the loose orchestra and 2 pianos [20:00]
Choros No.4 for 3 horns and trombone [5:31]
Choros No.9 for orchestra [24:19]
CD 3:
Choros No.11 for piano and orchestra [62:48]
Choros No.5, Alma Brasileira for piano [5:02]
Choros No.7, Settimino for winds, violin and cello [9:15]
CD 4:
Bachianas Brasileiras No.5 for soprano and orchestra of violoncellos [10:59]
Bachianas Brasileiras No.4 (type for piano solitary) [18:48]
Bachianas Brasileiras No.6 for flute and bassoon [9:02]
Bachianas Brasileiras No.1 for orchestra of violoncellos [20:57]
CD 5:
Bachianas Brasileiras No.2 for orchestra [21:57]
Bachianas Brasileiras No.3 for piano and orchestra [27:28]
Bachianas Brasileiras No.4 (type for orchestra) [18:19]
CD 6:
Bachianas Brasileiras No.7 for orchestra [25:42]
Bachianas Brasileiras No.9 (type for obligations orchestra) [8:13]
Bachianas Brasileiras No.9 (type for choir a cappella) [8:34]
Bachianas Brasileiras No.8 for orchestra [23:32]
Quinteto em forma de Choros [9:44]
CD 7:
Five Preludes for guitar [17:33]
Retinue populaire brésilienne for guitar [19:50]
Twelve Études for guitar [2:21 + 1:45 + 1:39 + 3:47 + 3:16 + 2:04 + 2:41 + 2:55 + 3:08 + 3:41 + 4:07 + 2:40]
Choros No.1 for guitar [4:44]

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