Bassoon Brasileiro

Editorial Reviews
FANFARE - May/June 2005
"Recommended to bassoonists? Yes, thanks to the repertoire, to Morelli's tone and technique, and to MSR's really fine recorded sound."

THE DOUBLE REED, WINTER 2005
"...an embarassment of riches...Mr. Morelli has already established himself as one of the great American bassoonists."

Album Description
The Rise of Brazil's Musical Identity

The first decades of the twentieth century fostered an important transformation in Brazil. According to Heitor Villa-Lobos' biographer Simon Wright, there existed "an increasingly volatile artistic climate...which saw to it that the old, monarchical snobbery surrounding serious music was broken down and destroyed by a movement flagrantly demanding change. Of this movement, Villa-Lobos became the vanguard."

Villa-Lobos was born in Rio de Janeiro in 1887. Already playing guitar with the street musicians of Rio while in his teens, Villa-Lobos portrayed his music education this way: "My first book was the map of Brazil, the Brazil that I trudged, city by city, state by state, forest by forest, searching the soul of the land." These experiences would greatly influence the development of the foremost, authentically Brazilian composer outside the realm of popular music.

Francisco Mignone, the son of newly arrived Italian immigrants, was born in São Paolo in 1897, a decade after Villa-Lobos, and like him, began performing popular music while in his teens. Although Mignone wrote numerous popular songs using a pseudonym, his study of composition in the European musical tradition in both Brazil and Europe led him to write "serious" music in the European style until the 1930's.

While Mignone was studying in Europe, the "Week of Modern Art" of 1922 took place in São Paulo. Part of the celebration of the hundredth anniversary of Brazilian independence, the goal was to further the development of a Brazilian cultural identity. The Brazilian writer and ethnomusicologist, Mario de Andrade, underscored this new thinking: "The current historical criterion of Brazilian Music is that of a musical manifestation, which…reflects the musical characteristics of our race. Where are these characteristics? In popular music." Villa-Lobos was seen as the composer best representing the true Brazilian voice in modern music. Poet Ronald de Carvalho, proclaimed: "The music of Villa-Lobos is one of the most perfect expressions of our culture. In it quivers the flame of our race, what is most beautiful and original in the Brazilian race."

After Mignone's return in 1929, he resumed his long friendship with Mario Andrade. Profoundly influenced by Andrade, Mignone came to embrace Brazilian nationalism. Although the form of his Concertino for Bassoon and Chamber Orchestra written in 1957 is traditional, the themes are clearly Brazilian in character. The first movement is a slow modinha or love song, and the rondo theme of the fast second movement is a carioca. Mignone wrote this showpiece for the virtuoso French bassoonist Noël Devos, who had immigrated to Rio in the 1950's.

The Aria movement from Bachianas Brasileiras No. 5, written by Villa-Lobos in 1938, is also a modinha in the popular Brazilian style. Scored for soprano and ensemble of cellos, Villa-Lobos later adapted it for soprano and guitar. In the version heard here, the bassoon sings the soulful soprano line. In the original, the outer sections have no words and are sung as a vocalise. Only in the middle section are there verses, written in a declamatory style. The text, by Ruth Valadares Correa, describes a midnight scene: the moon "glorifying the evening like a beauteous maiden… while sky and earth, yea, nature with applause salute her…waking the soul and constraining hearts to cruel tears and bitter dejection."

Bassoon Brasileiro

Tracks:

Introduction To The Choros - Carlos Oramas
Choros No.1: For Guitar - Carlos Oramas
Choros No.2 For Flute And Clarinet - Radovan Cavallin
Choros No.3 'Pica-Pau': For Male Chorus And Wind Instruments - Coro De La Filarmonica De Gran Canaria
Choros No.4: For Three Horns And Trombone - Adrian Leaper
Choros No.5 'Alma Brasileira': For Piano - Coro De La Filarmonica De Gran Canaria
Choros No.6: For Orchestra - Adrian Leaper
Choros No.7 'Settimino': For 8-Part Chamber Ensemble - Adrian Leaper

Customer Reviews:

Brazilian delight.......2007-06-05

This CD can be recommended as much for its sheer variety as anything else. I imagine that few CDs contain music for such an unusual combination of instruments all written by the same composer. Villa-Lobos was clearly fascinated by the sounds produced by this kind of interaction. Until recently I was only familiar with Choros No. 1 which, together with the etudes, is well-known to guitarists. I had not expected the remaining choros to be so different and yet to share, each in its own way, the strange - to my western ears - rhythms and harmonies which reflect the melange of cultural backgrounds in Brazil. Villa-Lobos wrote 14 choros [or 16, depending on which authority is to be believed] of which only the first 12 appear to be available so far on CDs. It seems that two were lost so maybe, if they exist, two more remain to be recorded. Perhaps one of the more enterprising record companies will oblige.

Works that you must listen !!!.......2005-04-18

The "Choros" is one of the most renowned series of works by Heitor Villa Lobos. These 12 works were conceived during the most advanced period of the composer: from 1920 to 1929.The Choros are strongly influenced by Debussy, Ravel and specially by Stravinsky. But despite these influences we can feel that these compositions are the result of a very personal genius. Influenced by the neo-classical music his next series of compositions, the Bachianas Brasileiras, are much more conventional than these experimental works. I really believe that among these 12 works we can find the most extraordinary works of this outstanding musician. As a Brazilian I can really say without hesitation that I'm proud of works like that . And I'm very happy that after decades we have a new recording of the so called " Chamber Choros" ( "Chôros de Camera" as we say here in Brazil). I must say some words about the old recording that was done in the seventies in Rio de Janeiro with some of the most important musicians of the former Brazilian capital like Paulo Moura, Noel Devos, Jose Botelho and Murilo Santos. This recording appeared in CD by Chant du Monde , but has been absent from catalog for a long time . Now we have the opportunity to listen for this fantastic compositions in less idiomatic readings, but in a fantastic sound quality and with really excellent instrumentalists .
What is a "Choros"? "Choros" is a kind of improvisation , normally played at night. This is part of a urban folklore ,more specifically of the city of Rio de Janeiro, that was a very sophisticated cultural center at the beginning of the century, and has to do with a high quality of some musicians that used to play complicated operas at the Opera Theater , and just for fun , at the end of the night, in a pleasant place , they used to play together some improvisations. This is clearly the mood of works like the Choros 2, 3 , 4 and 7. Choros No 1 is a popular Choros, less sophisticated than the others. Choros No 5 is one nostalgic and impressionist piano music and the wonderful Choros No 6 is a Symphonic Phantasy about Brazilian themes. It is pure tropical , "carioca" ( that means- from Rio de Janeiro), authentic .
The musical result of this CD is so interesting that I'm very anxious to listen to a Volume 2 ,with the other 5 Choros. Performances like these rend justice to these wonderful compositions . The classical catalogue can't be deprived of this works. They are fundamental to place Villa Lobos among the most important musicians of the Twentieth Century.