A serial beginning; a neo-romantic future

Guerra-Peixe: Symphonies no. 1 and 2; Nonet

Here's a welcome release in the "Music of Brazil" series from Naxos, a must for everyone interested in the classical music of that great country. It's their version of Mostly Mozart: Not Just Villa-Lobos. A few years ago I reviewed an earlier disc in the series that included music by César Guerra-Peixe, performed by the same forces on this album: The Goiás Philharmonic Orchestra under Neil Thomson, though this time we have two choirs added: the Goiânia Symphony Choir and the Goiás Youth Symphony Choir.

Guerra-Peixe was born, and died, about 30 years after Heitor Villa-Lobos; his music represents a major shift in the classical music of Brazil. After World War II, serialism came to the country in the person of Hans-Joachim Koellreutter, a pupil of Paul Hindemith. Guerra-Peixe and a number of his colleagues formed the forward-looking Música Viva group under Koellreutter's guidance.

By the 1940s Villa-Lobos, once the firebrand revolutionary who established new music in his home country - he was the only composer represented in the Semana de Arte Moderna in São Paulo in 1922 - now represented the musical establishment. Villa had moved away from modernism towards an idiom heavily inspired by Johann Sebastian Bach, tinged with folkloric content, a merger of African, European and Indigenous folk musics. Villa was firmly opposed to serialism, and never even dabbled in it, unlike modernist colleagues like Igor Stravinsky and Aaron Copland.

There are two works on this disc that represent Guerra-Peixe's serial period: the First Symphony, from 1945-46, and the Nonet, from 1945. The Symphony is a fine example of a serial work, severe and spiky; but still, this is quite accessible music. The Nonet is written for flute, clarinet, bassoon, trumpet, trombone, violin, viola, cello and piano. Guerra-Peixe must have known Villa's Nonetto, written during his peak modernist phase in 1923, but the two works have little in common. That's partly a question of scope: Villa's interpretation of the number "9" was stretched to include a complete mixed choir (for up to 12 separate voices!), a large battery of percussion instruments, and the doubling of the flute with a piccolo, and the alto saxophone with a baritone sax. And the contrast in style is also clear: Guerra-Peixe's work is austere and inward-looking, but Villa's is, in a word sprawling. Villa's Nonetto is a great work, perhaps his greatest; Guerra-Peixe's Nonet is remarkable, a masterpiece, perhaps, but it seems like it was time for the young composer to move on.

Considering the controversy of Música Viva's reaction against Villa-Lobos in the 40s and 50s, it's a surprise that in the late 50s Guerra-Peixe should have made the same move that Villa made in the late 1930s, from modernism (Villa) or serialism (Guerra-Peixe) to nationalism through popular and folkloric music. It's perhaps no coincidence that Villa-Lobos died in 1959, and Guerra-Peixe's new tonal style came to fruition in his Symphony no. 2, "Brasilia".

The Brasilia Symphony is an out-and-out romantic work, fiercely nationalistic, and quite beautiful. The choral passages are stirring. With its modern new capital, Brazil was moving ahead, and it had a new generation of musicians leading the way: Santoro, Guarnieri, Mendes, Guerra-Peixe, as well as another Koellreuter pupil: Tom Jobim.

The wonderful cover art is Sol nascente, by Pablo Borges.

This album will be released on May 15, 2025.
 

My music growing fainter

Salieri: Piano Concertos

"Mozart’s corpus of piano concertos remains one of the most perfect achievements in all of Western music, on a par with Bach’s cantatas. That’s the miracle of this music." 
     - Andreas Staier

"Goodness is nothing in the furnace of art."
     - Peter Shaffer, Amadeus 

Peter Shaffer's play Amadeus, made into a wonderful film by Miloš Forman in 1984, has given us a very particular, and not at all accurate, picture of Mozart's rival, Antonio Salieri. It's a tribute to Shaffer and Forman, and most especially F. Murray Abraham, who played Salieri in the film, that this portrayal is the first thing I thought of when I came across this new disc of Salieri Piano Concertos. Chances are you did as well.

F. Murray Abraham as Salieri. Photo by Phil Bray, 1984

What this means is that even before we listen to this record for the first time, we've lined up Mozart's Piano Concertos on one side - pieces that everyone, most especially including Abraham/Shaffer's Salieri, agrees are miraculous works of art. On the other side is the unfortunate Salieri, the second-rater who came up against Mozart, who he feels is God's Beloved. 

"He killed Mozart and kept me alive to torture! 32 years of torture! 32 years of slowly watching myself become extinct. My music growing fainter, all the fainter till no one plays it at all, and his..."  

Back to the real world: The two Salieri piano concertos recorded here were written in 1773, when he was only 23. They're both confident, melodious and written in the latest galant style. The composer must have been proud of both of them; think of the smug performance of F. Murray Abraham early in the film. He had every right to be smug: he was at the top of his game, soon to be the maestro di cappella of the Imperial Court. 

One thing that's clear from listening to these two piano concertos, and those of composers like Joseph Haydn and Bach's sons, is that the 18th century galant piano concerto is a marvellous creation, providing operatic drama, tunefulness and opportunities to wow the musical cognoscenti of the time. They're just fun to listen to, and from the evidence of this recording, to play as well.

These are fine performances: conductor Giulio Arnolfi keeps things moving briskly, and gets stylish playing from the excellent musicians of the Accademia d'Archi Arrigoni. Pianist Constantino Catena provides elegant, assured, singing tones from his piano. He and Arnolfi are in synch, and together give us a pretty fair picture of Salieri at his best. By the way, both conductor and pianist get their chance to shine alone: in the Sinfonia in D Major "La Veneziana", a short work that shows how much at home Salieri was in the opera world. And for solo piano, a Sonata in C Major that sounds an awful lot like Scarlatti or Haydn, which is high praise. Wonderful stuff!

Both the C major and B-flat Major Piano Concertos have many felicities: some up front and obvious, especially both slow movements, which are lyrical without being overly sentimental. Though there aren't any really memorable themes in either opening movement, these are well-constructed, dramatically successful musical journeys, largely skirting the banal.

When I first heard the Menuetto of the B-flat Major Concerto I thought it was clunky, but in fact Salieri is doing this deliberately; he immediately provides relief with witty passagework for the solo piano. And he keeps us on our toes throughout, with mock-heroic themes, operatic pauses and flourishes, along with more elaborate passagework. In this movement the composer is closest to C.P.E. Bach or Haydn, the composer as magician.

So in the year 1773 things are looking pretty good for Salieri on the piano concerto front. And then, in December, disaster strikes. Wolfgang Amadeus Mozart, who's only just turned 17 (he's six years younger than Salieri), writes his first real piano concerto, in D major, K. 175. No contest. Game over. No más!

Okay, so Salieri wrote some perfectly fine piano concertos, but he was blindingly eclipsed by a teenager on his first try. He still had much more fame and acclaim in his life than Wolfie, who died a largely unappreciated pauper. In his Book of Friends, Hugo von Hofmannsthal tells this story:

When someone mentioned to Kapellmeister Schwanenberg, a friend of Salieri’s, the rumor that Mozart had been poisoned by the Italian, Schwanenberg replied: “Non ha fatto nulla, per meritar tal onore. [He did nothing to merit such an honor.]”

I come away from this fine new recording, and the research I've put into this review, with a new appreciation for Salieri the composer. He isn't the mediocrity that I've lazily assumed him to be. And yet, somehow, the next time I see a new recording by Salieri (and it won't be for a while, I expect), I'll be right back where I started, with F. Murray Abraham's powerful performance overwriting everything we've learned about the unfortunate Salieri.

Ransom Stoddard: You’re not going to use the story, Mr. Scott?
Maxwell Scott: No, sir. This is the West, sir. When the legend becomes fact, print the legend.
     - from John Ford's 1962 film The Man Who Shot Liberty Valence