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Heitor Villa Lobos Villa Lobos par lui m me Boxset with 6 CDs [FLAC] +-Demonoid com-+

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Details for Heitor Villa-Lobos - Villa-Lobos par lui-même - Boxset with	

Created by Ratio: 2.27duchampmacal 2 months ago

Music : Classical : Lossless

Heitor Villa-Lobos



Villa-Lobos par lui-même - Boxset with 6 CDs







A review of this release written by Dean Frey (take a look at his site about Villa-Lobos here
http://www.villalobos.ca/):



This indispensable set of six CDs comes from EMI France, and is entitled "Villa-Lobos par lui-meme." The
six-CD set consists mainly of orchestral music conducted by Villa-Lobos himself. The following works are included:



# Descombrimento do Brasil (4 Suites).

# Invocacao em defesa da Patria.

# Bachianas Brasileiras 1-9.

# Choros No. 2, 5, 10, 11.

# 2 Choros (bis) for violin & cello.

# Momoprecoce (fanasia for piano & orchestra.)

# Piano concerto no. 5.

# Symphony no. 4 "A Vitoria."



The set also includes a fascinating nine-minute talk by Villa-Lobos entitled "Qu'est-ce qu'un Choros?"
recorded at the Club des 3 Centres in Paris.



Over the years, these recordings have been criticized on a number of counts. The following excerpt of a review in the
New Penguin guide to compact discs and cassettes makes the main points:



"It is good to have on EMI's historic References label this generous collection of the composer's own recordings,
not immaculate in performance and with depressingly dry and boxy recording, but full of colour and life."



As to the sound, a quick comparison between any of Villa-Lobos' Bachianas Brasileiras and a modern recording by, for
example, Enrique Batiz and the Royal Philharmonic Orchestra (HMV CDS7 47901-8, recorded in the mid-1980's) will show the
technical constraints Villa-Lobos was working under. That the performances aren't always "immaculate" brings
up questions of authenticity and style. I've already quoted, in the discography section, something that Villa-Lobos
said: "Records are for the moment, the temperamental instant!" Too much polish and precision is bound to be
the enemy of the greatest works of Villa-Lobos.

In this set, then, we find "colour and life," rather than a lifeless perfection. We find authenticity as well,
not forgetting that a composer will not necessarily be able to coax the perfect sound he heard in his head from the
orchestra he has at his disposal. The abilities of the orchestra and the conducting competence of the composer are
factors as well. Villa-Lobos may well have exaggerated the improvisational character of some pieces to counteract a
natural tendency on the part of the players towards a slick elegance. There are stories of Villa-Lobos, a competent
soloist on a wide variety of instruments, demonstrating for the French player a particular passage. The point of most of
the stories relates to rhythm, how a phrase should sound in its context.



The two styles we're talking about are not mutually exclusive, and in fact there is a kind of aesthetic touchstone in
much of Villa-Lobos' music that relates to the dynamic between (European, modernist) sophistication and (Brazilian,
popular) colour and life. In an essay entitled "Improvisation in Jazz," printed as notes to the classic 1959
Miles Davis album Kind of Blue (Columbia VCK-40579,) Bill Evans discusses this very question:

"Group improvisation is a further challenge. Aside from the weighty technical problem of collective coherent
thinking, there is the very human, even social need for sympathy from all members to bend for the common result. This
most difficult problem, I think, is beautifully met and solved on this recording."



Solving the problem in a jazz context is a difficult enough feat; the Miles Davis recording is revolutionary in this
regard. Miles Davis as leader of a group of great instrumentalists is working in a tradition that goes back at the most
fifty years. Villa-Lobos waving his baton in front of a Paris orchestra, by contrast, is working in a direct line that
is centuries-old, going back to the seventeenth century, with Lully banging his staff on the floor (and his foot, but
that's another story.) The task Villa-Lobos has set himself is too great to solve in these sessions; it is a task that
remains for conductors of Villa-Lobos.



This set has all the colour and life Villa-Lobos could coax from the orchestra in their many recording sessions, with
the additional charm of nostalgia, of Paris in the 50's, of the sound of 78's and LP's. Modern digital recordings, with
their silent backgrounds, bright "natural" sound, and their rich strings and solid winds, with all players in
tune and in time, have their own compensations. The Villa-Lobos lover will probably want both.



I have a few miscellaneous comments to finish off the review. The set includes a fine essay by Pierre Vidal entitled
"Visages de Villa-Lobos" - or as Denis Ogan's good translation has it: "The many faces of
Villa-Lobos." Vidal himself spent time with the master during the May 1958 sessions:



"Visiting Villa-Lobos at the Hotel Bedford in Paris in May 1958, we found ourselves in the presence of a man of
typically Brazilian cordiality who knew at once how to set his companions at ease."



These personal reminiscences help us in putting together a better picture of Villa-Lobos the man. Vidal's essay as well
puts Villa Lobos in his French context, with references to Florent Schmitt, Ravel, Honegger, Roussel, Poulenc, Dukas,
Debussy and D'Indy.



A final word: in spite of nearly forty years of many excellent performances, Victoria de Los Angeles in the Aria
(Cantilena) of the Bachianas Brasileiras No. 5 still sounds great. This version remains my personal favourite, though I
enjoy listening to many other worthy recordings, most notably by Bidu Sayão, Barbara Hendricks, Jill Gomez, Dawn
Upshaw, Anna Moffo and Renee Fleming.



Ripped with dbpoweramp from the Boxset released in the US. Log file included. Manually tagged after ripping.



Booklet scans included, with notes by Pierre Vidal in English, French and German.



Cover art included.



Enjoy!

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