Reviews and occasional notes on classical music

Reviews and occasional notes on classical music

"Music, both vocall and instrumental, so good, so delectable, so rare, so admirable, so super excellent, that it did even ravish and stupifie all those strangers that never heard the like." - Thomas Coryat, after hearing 3 hours of music at the Scuola di San Rocco in Venice, 1608.

Monday, October 22, 2018

Complex music from a child-like world


Villa-Lobos: Guia Prático, Petizada, Brinquedo de Roda, Historias da Carochinha

In the early 1930s Heitor Villa-Lobos published his collection of 137 children's songs from around Brazil, entitled Guia Prático (Practical Guide). This was an educational project he undertook as Director of SEMA (the national Superintendency of Artistic and Musical Education).

This is only the fourth recording of the complete Guia Prático. The first, by Villa's friend Anna Stella Schic, released in 1976, has the merit of authenticity, if not the same qualities of pianism or recording technology of later releases. Clara Sverner had a fine complete Guia Prático in 2007, on the Biscoito label in Brazil, which might be hard to find on disc, but it's available for download and streaming. The gold standard for all of Villa-Lobos's piano music, though, is Sonia Rubinsky's complete set, released in the first decade of the 2000s and now available in an affordable Naxos box set. Her Guia Prático is outstanding in its sensitivity to the childlike nuances of the music, without any loss of virtuosity in these often very difficult works.

This really is a tightrope walk: playing through works of significant technical and musical complexity without losing the link to child-like innocence and wonder. Villa-Lobos had been down this path before, with his two sets (a third was lost) of A Prole do Bebê, modernist masterpieces exploring the world of children, but requiring virtuoso technique.  Marcelo Bratke has this technique, and seems very much at home in the musical worlds of Brazil's regions. As well played as this music is, though, I think it's complementary to Rubinsky's set, rather than in any sense supplanting it.

I'm usually a big fan of Naxos sound engineering, though there are occasional missteps along the way in the Rubinsky set. Quartz delivers very lifelike sound for Bratke here, and I have no complaints about the sound in this album, or in the previous three releases. Bratke's complete piano set began in 2010, with the second release in 2012 and the third in 2013. These two discs comprise the 4th and 5th volumes, which means there are probably three discs to come.  They will be welcome when they arrive.

This disc will be released on November 16, 2018.

This review is also posted at The Villa-Lobos Magazine.

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