Villa-Lobos: The Guitar
Manuscripts, Volume 1. Andrea Bissoli, guitar; Federica Artuso, guitar;
Stefano Brait, flute; Schola San Rocco Chorus conducted by Francesco Erle;
Minas Gerais Philharmonic Orchestra conducted by Fabio Mechetti. Naxos. $9.99.
Xavier Montsalvatge: Folia
daliniana; Madrigal sobre un tema popular; Concertino 1+13; Serenata a Lydia de
Cadaqués; Cinco invocaciones al Crucificado. Sasha Cooke,
mezzo-soprano; Tim Fain, violin; Perspectives Ensemble conducted by Angel
Gil-Ordóñez. Naxos. $9.99.
James MacMillan: Missa Dunelmi
and Other Choral Works. Cappella Nova conducted by James MacMillan and Alan
Tavener. Linn Records. $22.99 (SACD).
Hindemith: Music for Cello. Sébastien Hurtaud, cello; Pamela
Hurtado, piano. Naxos. $9.99.
Anyone looking to step
outside the standard repertoire and still encounter works of very considerable
musical interest has an increasing numbers of ways to do so. Whether well-known
or less-known, composers often leave behind works that, for any of a variety of
reasons, fail to engage the imagination of performers and audiences – but that
turn out, at a later time, to be well worth exploring. In the case of Heitor
Villa-Lobos (1887-1959), known to most listeners almost entirely through his Bachianas Brasileiras, there is some
music that was thought lost and has only recently been rediscovered – in part
by guitarist Andrea Bissoli, who has now recorded the first of a planned
three-volume set of Villa-Lobos’ guitar works. Very little on this Naxos CD
will be at all familiar to listeners, although the Guitar Concerto, which has been recorded by others and gets
particularly skillful handling here, may be known to some. The final work on
the CD, a transcription of the first movement (“Aria”) from Bachianas Brasileiras No. 5, will be
known to even more people, although not in this version (which features soprano
Lia Serafini). However, several other works here get world première recordings: Cirandas No. 14, Valsa and Motivos
Gregos – the last of these being an interesting choral work that is well
sung by the Schola San Rocco Chorus.
None of these pieces is particularly
substantial – Valsa lasts less
than a minute – but all show the fine workmanship for which Villa-Lobos is
justly admired. The composer’s unique blend of cosmopolitanism with Brazilian
folk music appears again and again on this recording, which is essentially
(except for the Guitar Concerto) a
collection of short pieces. Simples, Valse-Choro
and Cirandas No. 1 are instrumental works;
Floresta de Amazonas: Canção
do Amor and Veleiros, Canção
do poeta do século XVIII, and Serestas
No. 5—Modinha are vocal pieces featuring Serafini. This CD is not a very
good introduction to Villa-Lobos – the pieces are not entirely representative
of his oeuvre and are mostly not at
his highest compositional level, although the Guitar Concerto is very well made. But for listeners with a modicum
of familiarity with the composer, this CD and the two volumes yet to come will
be pleasantly revelatory.
Music lovers attracted to
Villa-Lobos’ Brazilian intricacies may also find themselves interested in the
Catalan sensibilities of Xavier Montsalvatge (1912-2002). Montsalvatge actually
had wide-ranging stylistic interests, and his concern for music went beyond the
works that he himself composed: he was an influential critic. Although not
particularly well-known internationally, Montsalvatge was enormously important
in Catalonia, the area of northeast Spain and adjacent France where the Catalan
language dominates. Montsalvatge’s more-substantial works reach beyond
ethnicity to communicate with cross-cultural genuineness that is highly
effective – especially so in his major song cycles, such as Cinco invocaciones al Crucificado
(1969), sung with intense feeling on Naxos’ new CD by mezzo-soprano Sasha
Cooke, and conducted with sure-handed skill by Angel Gil-Ordóñez, one of the foremost exponents
of modern small-ensemble works, both choral and instrumental. Cooke also gives
a lovely rendition – with cellist Wendy Sutter – of Madrigal sobre un tema popular (1991), whose theme is the well-known
Catalan Christmas song, El cant dels
ocells (“Song of the Birds”), most familiar in its cello arrangement by
Pablo Casals (who was Catalan: his first name was actually Pau). Other pieces here
are Folia daliniana (1995), a fantasy
with elements of Impressionism; Serenata
a Lydia de Cadaqués (1970) for flute (Sato
Moughalian) and piano (Blair McMillen); and the very interesting Concertino 1+13 (1975), in which
violinist Tim Fain is “first among equals” with Gil-Ordóñez’ very adept chamber ensemble. Montsalvatge’s music will be
something of an acquired taste for those unfamiliar with it, but it is a taste
worth acquiring: one whose emotional communicativeness and structural strength
quickly grow on a listener through repeated hearings.
The choral works of James
MacMillan (born 1959) are also an acquired taste, but they are somewhat more
limited in scope and orientation than Montsalvatge’s music, resulting a new
Linn Records SACD getting a (+++) rating despite the fine sound that
complements excellent performances by Cappella Nova. The highlight here is
MacMillan’s conducting of his own Missa
Dunelmi, a compressed Mass (four movements lasting 20 minutes) that lies
well within the vocal ranges of chorus members and hits the right notes both
musically and emotionally, but is not quite as original or heartfelt as some of
the shorter works heard here. Other than the Mass, only Invocation has been recorded before: the six remaining pieces will
be genuine discoveries for those interested in MacMillan and in modern
religious music for chorus, since all are world premières on disc. St. Patrick’s
Magnificat, …fiat mihi…, Cum videsset Jesus, I am your Mother, Domine non
secundum peccata nostra (“Lord, do not pay us in kind for our sins,” best
known in César Franck’s
setting), and Alpha & Omega are
all heartfelt works, paeans to God or prayers of hope, and all are performed
quite well, with their frequent resemblance to plainchant effectively brought
forth and Madeleine Mitchell’s violin in Domine
non secundum peccata nostra adding a particularly nice touch. MacMillan’s
works are determinedly old-fashioned and will be especially appealing to listeners
interested in a modern composer’s adaptation of forms that were already
well-established in Bach’s time.
The discovery element of a
new Naxos CD of Hindemith’s cello music is avowedly the performer: Sébastien Hurtaud was first-prize
winner at the Adam International Cello Competition in 2009, and this disc is
intended to showcase his talent. In reality, though, the music is as much a
discovery as the cellist, since much of Hindemith’s output remains little-known,
and his cello works will be unfamiliar to a great many listeners. Like the
works of the slightly earlier Max Reger, those of Hindemith can come across as
academic and even turgid when not explored thoroughly and performed with
understanding as well as virtuosity. In high-quality readings, though, like
those of Hurtaud and pianist Pamela Hurtado, Hindemith’s music shows
considerable depth and ingenuity – even though its somewhat stolid (if
skillful) construction can make it a bit hard to digest. Two pieces here are
early Hindemith and two are much later, lending this CD something of a “survey”
approach – and indeed, Hindemith’s cello works span much of his creative life. Three Pieces for Cello and Piano
(1914-16) is one of Hindemith’s earliest works for any instruments (it is his
Op. 8), with a brief introductory movement introducing two more-substantial
ones that offer considerable substantiality despite their three rather
lighthearted designations of Capriccio,
Phantasiestücke and Scherzo.
The Sonata for Solo Cello (1925), in
contrast, is a work of quite modest dimensions, its five movements lasting less
than 10 minutes; yet this is an intense, technically demanding piece that quite
obviously owes a debt to Bach’s Cello Suites. On the lighter side – a side not
often in evidence in Hindemith’s music – is A
frog he went a-courting—Variations on an Old English Nursery Song (1941),
which is scarcely evanescent but does give the cellist some chances to skip
pleasantly about. In sharp contrast, the Sonata
for Cello and Piano (1948), the latest work here, is much closer to what
listeners will expect from Hindemith: intense, weighty, serious and steeped in
knowledge of earlier music (the final movement is a passacaglia). Hurtaud
handles all the works with sure technical skill and a level of attachment to
this music that is somewhat surprising in a young cellist. Indeed, the playing
is good enough to earn the CD a (++++) rating even though, on the basis of the
appeal of the music itself, (+++) would be more fitting. This is music worth
discovering – and a cellist definitely worth hearing.
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