Luis de Freitas Branco: Orchestral Works
Symphony No. 1 (1924) [30: 50] | Antero De Quental – Symphonic Poem (1908) [12:47] | Budapest PO/Andras Korodi | Recorded Budapest, 21-24 July 1984 | PORTUGALSOM STRAUSS CD 870004/PS
Luis de Freitas Branco: Symphony No. 2 (1926) [43:27] | Alentejo Suite No. 1 (1919) [24:53] | Budapest PO/Gyula Nemeth | Recorded Hungaroton Studios, Budapest, 15-19 Feb 1983, 18-25 April 1979 | PORTUGALSOM STRAUSS CD SP 4073
Luis de Freitas Branco: Symphony No. 3 (1944) [40:43] | Artificial Paradises – Symphonic Poem (1910) [11:51] | Solemnia Verba – Symphonic Poem (1951) [15:16] | Budapest PO/Gyula Nemeth | Recorded Budapest, 26-30 April 1982 (symphony), 18-25 April 1979 | PORTUGALSOM STRAUSS SP 4165
Luis de Freitas Branco: Symphony No. 4 (1952) [35:47] | Budapest PO/Janos Sandor | Recorded Hungaroton Studios, Budapest, 2-5 April 1987 | PORTUGALSOM STRAUSS CD 870018/PS
Luis de Freitas Branco: Violin Concerto (1916) | Tentacoes de S Frei Gil (1911) | Vasco Barbosa (violin) | RDP SO/Silva Pereira | Recorded Lisbon 17-20 June 1980 | ADD
Luis de Freitas Branco: Vathek (1913) [27:07] | Suite Alentejana No. 2 (1927) [17:22] | Budapest PO/Andras Korodi | Recorded Budapest, 2-10 May 1985 | AAD PORTUGALSOM STRAUSS SP 4130
Luis de Freitas Branco (1890-1955), a pivotal figure in Portuguese music, emerges as a composer whose works resonate with both historical significance and a rich tapestry of melodic invention. The recent releases from the Portugalsom label featuring his orchestral oeuvre serve not only as a testament to his artistic vision but also as a reminder of the cultural milieu of early 20th-century Portugal, characterized by a blend of nationalism and European influences.
The Symphony No. 1 (1924) opens with a Lisztian macabre atmosphere that gradually gives way to a buoyant melodic flow reminiscent of the pastoral charm found in the works of Bizet and Chabrier. The first movement’s spirited darting themes flow seamlessly into the Andante, where the dialogue between strings and woodwinds is executed with a refined vulnerability. The Budapest Philharmonic Orchestra, under Andras Korodi, captures this essence well, although moments of ensemble inconsistency in the Allegro vivace slightly detract from the overall effect. The final movement, while infused with melodrama, feels somewhat contrived, and one cannot help but wish for a more organic resolution.
In contrast, Symphony No. 2 (1926) reveals a more expansive vision, clocking in at nearly three-quarters of an hour. The Brahmsian influences are palpable, particularly in the mournful opening anthem which evokes echoes of Sibelius’s Finlandia. Here, the Budapest orchestra under Gyula Nemeth embraces the heavier textures and emotional weight, navigating the symphony’s transitions with a commendable virtuosity. The Alentejo Suite No. 1, composed a few years earlier, contrasts sharply with the symphony’s robust character, offering delicate impressionistic textures that evoke the ethereal landscapes of the Alentejo region. The interplay of high strings and airy colors showcases de Freitas Branco’s deft orchestration and his ability to evoke a sense of place.
The Third Symphony (1944) marks a significant evolution in de Freitas Branco’s style, reflecting a more modern sensibility yet retaining traces of his earlier influences. The work’s darkly atmospheric opening and angular themes hint at the looming shadows of Bruckner and Honegger. The work’s structure, particularly the awkward lento that precedes the allegro, is at times disjointed, yet it remains a compelling listen, revealing a composer grappling with the complexities of his time. The inclusion of Artificial Paradises and Solemnia Verba enriches the discography, showcasing de Freitas Branco’s literary inspirations and his orchestral palette’s evolution towards clarity and impressionism.
The Fourth Symphony (1952), captured in pristine DDD sound, is perhaps the most lyrically satisfying of the cycle. Janos Sandor leads the Budapest orchestra in a performance that balances folk elements with symphonic grandeur. The movement’s pastoral themes and energetic finale evoke the sense of a composer who, despite his political tribulations, found solace and expression in the symphonic form.
The Violin Concerto (1916) and Tentacoes de S Frei Gil reveal another facet of de Freitas Branco’s artistry, one deeply rooted in the lush romanticism of the early 20th century. Vasco Barbosa’s interpretation of the concerto is commendably fiery, particularly in the stormy third movement, which showcases the concerto’s dramatic impulses without veering into sentimentality.
Finally, Vathek (1913) stands out as a vivid orchestral showcase, drawing on rich literary themes and fantastical imagery. The orchestration is strikingly evocative, with raw brass fanfares and sensuous melodies that transport the listener to Beckford’s opulent world.
Recording quality across these releases is generally commendable, with the engineering effectively capturing the orchestral textures and nuances, although some earlier recordings do exhibit the limitations of AAD technology. The notes accompanying the discs, while informative, occasionally fall into overly technical analysis, detracting from the accessible enjoyment of the music.
In conclusion, these releases from Portugalsom not only illuminate the significant contributions of Luis de Freitas Branco to the 20th-century orchestral repertoire but also invite listeners to explore the rich cultural tapestry of early modern Portugal. His works, with their blend of lyrical beauty and complex orchestration, stand as a vital part of the Iberian musical landscape, deserving of wider recognition and appreciation. The recordings are a remarkable resource for those willing to delve into the rich, yet often overlooked, world of Portuguese classical music.
