Composer: Heitor VILLA-LOBOS (1887-1959)
Works: Chôros Nos. 8 (1925) and 9 (1929)
Performers: Hong Kong Philharmonic Orchestra / Kenneth Schermerhorn
Recorded: 1985 at Wan Town Hall, Hong Kong.
Label: NAXOS 8.555241
Duration: 41:47
Heitor Villa-Lobos, a titan of Brazilian music, occupies a singular position in the 20th-century classical repertoire. His exuberant Chôros series, conceived during his formative years in Paris, stands as a testament to his ability to marry the vibrancy of Brazilian folk traditions with the avant-garde currents of European modernism. The recent Naxos release of Chôros Nos. 8 and 9, recorded by the Hong Kong Philharmonic Orchestra under the baton of Kenneth Schermerhorn, invites a renewed exploration of these compelling works, which are often overshadowed by the more frequently performed Bachianas Brasileiras.
Chôros No. 8, a dazzling tapestry of sounds, exudes a festive atmosphere that is unmistakably influenced by the spirit of Rio’s carnivals. The orchestration is strikingly rich, featuring an array of Brazilian percussion instruments—the caracxa, reco-reco, cuíca, and matraca—alongside a robust ensemble of strings, winds, and three pianos. This blend creates a texture that is both intricate and layered, as evidenced in the opening bars where the insistent rhythmic pulse is punctuated by the rattles and scrapers, setting a tone of infectious vitality. Schermerhorn’s direction here is particularly notable for its careful balance between the orchestral forces: the pianos emerge not as mere accompanying instruments but as vital agents of dialogue within the orchestral fabric.
The work’s rhythmic complexity invites comparison to Stravinsky, yet one must recognize Villa-Lobos’s unique voice that emerges from this influence. The savage intensity with which the motifs are developed reflects a deep understanding of both the structural rigor and the cultural exuberance of Brazilian music. For instance, the abrupt shifts from frenetic dance rhythms to moments of serene introspection reveal a sophisticated interplay between chaos and calm, a hallmark of Villa-Lobos’s style.
In contrast, Chôros No. 9, composed as Villa-Lobos was preparing to leave Paris, takes on a more contemplative character. It is imbued with an air of mystery, as he himself described it as containing “no fiction, no memories, and no transfigured thematic factors, just rhythm and mechanical sounds.” This statement, while somewhat enigmatic, can be interpreted as a playful critique of his contemporaries who may have been overly concerned with thematic development. The rhythmic vivacity and melodic grace of this piece, however, contradict the notion of mechanical detachment. The quirky waltz interludes, particularly, lend a pastiche quality that is both whimsical and reflective of Villa-Lobos’s broader artistic ethos.
The Hong Kong Philharmonic’s performance under Schermerhorn is marked by a commendable blend of precision and freedom, capturing the essence of Villa-Lobos’s rhythmic language while allowing the inherent lyricism of the music to shine through. The ensemble’s handling of the Brazilian instruments is particularly commendable; their integration into the orchestral texture feels organic rather than forced, as if they were native to the symphonic fabric. The engineering of this recording offers a clear soundstage, allowing the various instrumental colors to emerge distinctly—a crucial factor given the dense orchestration.
Historically, the Chôros series is significant not only for its innovative integration of Brazilian folk elements into Western classical forms but also for its broader commentary on the evolution of identity in a post-colonial context. Villa-Lobos’s works challenge the Eurocentric narratives that dominated early 20th-century music, asserting the legitimacy and richness of Brazilian culture. This recording serves as an important reminder of Villa-Lobos’s contributions to the canon, providing a vital link between folk traditions and contemporary classical music.
In conclusion, this Naxos release of Villa-Lobos’s Chôros Nos. 8 and 9 offers a compelling insight into the composer’s unique voice and the vibrant cultural tapestry from which it emerged. Under Schermerhorn’s direction, the Hong Kong Philharmonic Orchestra delivers a performance that is both technically assured and artistically resonant, making this recording a noteworthy addition to the catalog of Villa-Lobos’s works. As audiences continue to seek “something new,” this music stands as a rich, multifaceted exploration that merits further attention and appreciation.
