Villa-Lobos’s music has never really been absent from
the catalogue, although the sheer size and unevenness of his prolific
output will for ever exclude any complete survey of his music. It
must nevertheless be mentioned that Dorian launched a complete recording
of his string quartets whereas CPO’s recording of the symphonies
is well underway. The present release offers three pieces from various
periods of Villa-Lobos’s creative life. What is more, one of them
is rarely heard, if at all.
As is the case with many other Villa-Lobos works,
Uirapurú draws on old Latin American legends,
although one is never really sure whether such legends exist or
have been invented by the composer to suit his musical purposes.
The most important thing, anyway, is the music. In the present
instance, this fairly early score, colourful and lushly scored,
is one of his finest. Some influences may inevitably be spotted
here and there; but the orchestral mastery may not be denied and
the music flows effortlessly. No wonder that this brilliant score
has already been recorded on several occasions (e.g. by the late
Eduardo Mata on Dorian DOR 90211).
The series of Bachianas Brasileiras
is fairly well known and some of them (Bachianas No.2
[‘the Little Train’] and the ubiquitous Bachianas No.5
for soprano and celli) are quite popular. Though the whole cycle
has also been recorded before (e.g. by Enrique Batiz on EMI CDS
7 47901 8), some of the Bachianas are still rarely
heard and recorded separately. Bachianas Brasileiras No.4
is one of them; and I can think of several reasons for its comparative
lack of popularity. Although there are many fine things here,
the whole seems – to me at least – a bit too single-minded in
its homage to Bach and sometimes a bit contrived. The first movements,
and particularly the second one, are rather ponderous. The music
really comes to life and takes flight about halfway through the
third movement and in the final Danza. I must immediately
add that my comparatively lukewarm response to this piece has
nothing to do with the present performance which is excellent
throughout. The fault, if such there is, definitely lies in the
music.
I must admit that I had never heard The
Emperor Jones before; and frankly I first thought (wrongly
so, I must say) that it must be ‘yet another ballet’ by Villa-Lobos.
I must now confess (and gladly so!) that this is a fine score
that should be heard more often. Vintage Villa-Lobos with superb
orchestration and many fine, memorable ideas. The music has much
in common with other late scores by Villa-Lobos such as Erosion
or Dawn in a tropical Forest as well as with some
earlier ones such as Amazonas or Uirapurú.
The jungle setting of much of the play suited Villa-Lobos perfectly,
and he was again able to conjure up both the impenetrable mystery
and the rampant violence of the jungle as well as to suggest the
voices of ancient spirits (wordless vocalises by two uncredited
vocal soloists) and reflect the often violent events. This is
in no way, the product of a failing mind. This one-act ballet
(Villa-Lobos’s last) is based on the eponymous play by Eugene
O’Neill that caused a sensation when first staged and provided
the young Paul Robeson with one of his first notable stage successes
(I owe this information to Malcolm MacDonald’s excellent notes).
Jan Wagner obviously loves this music and has
its full measure. He coaxes fine readings from his Danish forces
who play this unfamiliar music with much assurance and aplomb.
If the coupling appeals to you, you should not hesitate to get
this release.
Hubert Culot
Odense Symphony Orchestra/Jan
Wagner 
for
details 
