“After the excellent previous volume this successor - as well played as ASV's still incomplete rival survey - augurs well for what will presumably be the final instalment.” --Gramophone Magazine, October 2008
“Villa-Lobos's textural inventiveness is a constant delight in both [Choros 8 & 9] and the São Paulo Symphony's performances under John Neschling exploit it to maximum effect.” --The Guardian, 25th July 2008 ****
Gramophone Magazine Editor's Choice - October 2008
“Villa-Lobos's textural inventiveness is a constant delight in both [Choros 8 & 9] and the São Paulo Symphony's performances under John Neschling exploit it to maximum effect.” --The Guardian, 25th July 2008 ****
Gramophone Magazine Editor's Choice - October 2008
“How many Chôros are there? Fourteen numbered examples (with two claimed as “lost”), two Chôrosbis, a Wind Quintet en forme de Chôros and a con- cluding (!) choral-and-orchestral “Introduction to the Chôros”, all more or less from the 1920s.
No 6 (1926), which opens this second volume of BIS's survey, and No 9 (1929) may not have been written down until 1942 in time for their Rio premieres. Villa-Lobos was unreliable about many details of his work and these would not be unique in his output in being created only when performances finally materialised.
Whenever it was set down, the Sixth is a hugely engaging, if sprawling, orchestral fantasia and like the Eighth (written and premiered between 1925 and 1927) and Ninth, was scored for large orchestra using exotic local percussion instruments. The Eighth is far more barbaric in character, tailored for the fad for primitivism then fashionable in Paris (where it was written), with parts for two pianos. Yet this is no concerto in disguise; although the first is a melodic soloist, the second is deployed as a percussive instrument and both orchestrally. BIS provides a clear balance.
Neschling and the São Paulo SO have the edge in the Ninth, which lies expressively between Nos 6 and 8. Separating these difficult orchestral works come the First for guitar (1920-21) and Fourth for brass (1926). There have been crisper performances of the latter, but Fabio Zanon's of the well known First is really rather good, languid and wistful, the tempi vibrantly elastic. This fine disc augurs well for what will presumably be the final instalment.” --Gramophone Classical Music Guide, 2010
No 6 (1926), which opens this second volume of BIS's survey, and No 9 (1929) may not have been written down until 1942 in time for their Rio premieres. Villa-Lobos was unreliable about many details of his work and these would not be unique in his output in being created only when performances finally materialised.
Whenever it was set down, the Sixth is a hugely engaging, if sprawling, orchestral fantasia and like the Eighth (written and premiered between 1925 and 1927) and Ninth, was scored for large orchestra using exotic local percussion instruments. The Eighth is far more barbaric in character, tailored for the fad for primitivism then fashionable in Paris (where it was written), with parts for two pianos. Yet this is no concerto in disguise; although the first is a melodic soloist, the second is deployed as a percussive instrument and both orchestrally. BIS provides a clear balance.
Neschling and the São Paulo SO have the edge in the Ninth, which lies expressively between Nos 6 and 8. Separating these difficult orchestral works come the First for guitar (1920-21) and Fourth for brass (1926). There have been crisper performances of the latter, but Fabio Zanon's of the well known First is really rather good, languid and wistful, the tempi vibrantly elastic. This fine disc augurs well for what will presumably be the final instalment.” --Gramophone Classical Music Guide, 2010
Không có nhận xét nào:
Đăng nhận xét