Villa-Lobos Choros, Vol 3
A rousing chôros of approval for Neschling and his São Paulo players
View record and artist detailsRecord and Artist Details
Composer or Director: Heitor Villa-Lobos
Label: BIS
Magazine Review Date: 6/2009
Media Format: CD or Download
Media Runtime: 80
Mastering:
Stereo
DDD
Catalogue Number: BIS-CD1520
Tracks:
Composition | Artist Credit |
---|---|
Introduction to the Chôros |
Heitor Villa-Lobos, Composer
Fabio Zanon, Guitar Heitor Villa-Lobos, Composer John Neschling, Conductor São Paulo Symphony Orchestra |
Chôros bis |
Heitor Villa-Lobos, Composer
Claudio Cruz, Violin Heitor Villa-Lobos, Composer Johannes Gramsch, Cello |
Chôros No. 2 |
Heitor Villa-Lobos, Composer
Elizabeth Plunk, Flute Heitor Villa-Lobos, Composer Ovanir Buosi, Clarinet |
Chôros No. 3, 'Picapau' |
Heitor Villa-Lobos, Composer
Heitor Villa-Lobos, Composer John Neschling, Conductor São Paulo Symphony Orchestra São Paulo Symphony Orchestra Choir |
Chôros No. 10, 'Rasga o coração' |
Heitor Villa-Lobos, Composer
Heitor Villa-Lobos, Composer John Neschling, Conductor São Paulo Symphony Orchestra São Paulo Symphony Orchestra Choir |
Chôros No. 12 |
Heitor Villa-Lobos, Composer
Heitor Villa-Lobos, Composer John Neschling, Conductor São Paulo Symphony Orchestra |
Author: Philip_Clark
As an example: compare Chôros No 3 with No 10. The earlier work, for male voices and wind instruments, is anchored around a breezy melodic hook that in a different context might have been a showstopper. In comparison, No 10 feels ludicrously overcooked, especially in the closing minutes as a choir evokes Red Indian chanting with all the subtlety of a John Wayne film. The work is meant to portray the primitive world and the information overload of competing orchestral strata in its opening moments is invigorating: in the same piece, Villa-Lobos slides from elevated invention towards banality – Neschling makes it hang together, and the kinetic vivacity of the orchestral playing is mesmerising.
Two chamber Chôros – one for violin and cello, another for flute and clarinet – testify to the brilliance of Villa-Lobos’s counterpoint when he wasn’t trying to be overly fancy. Introduction to the Chôros, too, is delightful because there’s no compositional grandstanding. The 40-minute Chôros No 12 is bigger-than-life, and a mess as it buckles under the weight of clashing styles and schizoid mood-changes. But it’s a sonic spectacle: with Villa-Lobos you quickly learn to take the rough with the smooth.
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