Claudio SANTORO (1919-1989)
Symphony No.5 (1955) [33:16]
Symphony No.7 ‘Brasilia’ (1959-60) [37:36]
Goiás Philharmonic Orchestra/Neil Thomson
rec. October 2018, Centro Cultural Oscar Niemeyer, Goiânia, Brazil
NAXOS 8.574402 [70:58]
This CD forms part of the Brasil em Concerto project developed by the Brazilian Ministry of Foreign Affairs to promote the music of Brazilian composers dating back to the 18th Century. Approximately one hundred orchestral works are included, and Naxos are to produce some 30 CDs.
My initial reaction to this was to wish that the UK Government would so something similar for forgotten British composers. Given the decades-long complete lack of political interest in doing anything of the sort, I suppose that such a wish is a bit like hoping that the government will develop a habit of telling the truth.
Santoro’s music in both of these symphonies shows no sign of either Neo-Classicism or Serialism; instead, it exhibits a sort of all-purpose tonal modernism, in which the absence of truly memorable material is compensated for by a reliance on Brazilian percussion when the music is not slow. The composer uses folk-music, but rarely quotes it directly, rather trying to be more abstract in its presentation. This approach was taken up by Santoro after he attended the 1948 Prague Congress of Progressive Composers, in which the Communist sponsors urged delegates of similar political persuasion to adopt a more accessible mode of composition. This, of course, is the standard Communist diktat for the creation of classical music that would appeal to the masses.
Unfortunately, Santoro’s music, as represented in both these works, does not exhibit the degree of melodic invention required to make the works memorable. I have listened to both symphonies at least ten times, and cannot recall a single theme. There is no doubt that he is able to construct impressive climaxes, largely dominated by drumbeats, and he can also compose slow, mysterious music for his slow movements, but how I wish for a good tune that, alas, never arrives. In fact, I cannot detect much by way of a truly personal voice in either work.
The orchestra is very well recorded in a grateful acoustic, and plays in an impressively virtuosic manner under the guidance of their music director, British conductor and professor, Neil Thomson. The booklet notes are detailed, and are presented in English and Portuguese.
Jim Westhead
Previous review: Hubert Culot
