Villa-Lobos Choros, Vol 3

A rousing chôros of approval for Neschling and his São Paulo players

Record and Artist Details

Composer or Director: Heitor Villa-Lobos

Label: BIS

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
John Neschling has no equal in this repertoire and it’s fortunate for us that he completed his cycle of Villa-Lobos’s Chôros before a reportedly unhappy split with the São Paulo SO earlier this year. Neschling has often rescued Villa-Lobos from himself, looking benevolently at his elephantine orchestration, thinning and rebalancing where necessary, to reveal the 12-part Chôros as the unheralded imaginative leap they were. But evidently not much can be done about his gaudy lapses of taste.

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.

Discover the world's largest classical music catalogue with Presto Music. 

Stream on Presto Music | Buy from Presto Music

Gramophone Print

  • Print Edition

From £6.67 / month

Subscribe

Gramophone Digital Club

  • Digital Edition
  • Digital Archive
  • Reviews Database
  • Full website access

From £8.75 / month

Subscribe

                              

If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.