Here we have another invaluable release from the indefatigable Naxos label, presenting a heretofore unknown orchestra (the Minas Gerais Philharmonic Orchestra in Brazil) and their principal conductor (Fabio Mechetti) playing the music of unknown composer (at least to me) Henrique Oswald. And what discoveries these are! The playing, the music and the recorded sound are all excellent. Exactly what I would expect from Naxos. I loved this CD from beginning to end.
The back cover introduces it succinctly: “Henrique Oswald was perhaps the most European of Brazilian composers, having spent a large part of his life in Italy, and also absorbed influences from France and Germany.” Though it’s not specified exactly how that all came about. Reading further in the booklet, we learn he was born in Rio de Janeiro in 1852 to a Swiss father and Italian mother, and moved to Sao Paulo when he was just two, where he began to study piano. The family eventually moved to Italy, where he was immersed in that culture and exposed to French and German influences as well. He eventually accepted an appointment as Director of the National Institute of Music in Brazil, and later, professor of piano there.
So then, how to describe his music? It’s all of the above elements! There is the lyricism and rich harmonic foundation of Italy, with an elegant touch of French Impressionism becoming more apparent in the main symphony, especially in orchestration, and surprisingly only a vague flavor of Brazil. In fact, I would never guess this music was composed by a Brazilian. I actually hear more of a warm, slow-burning Russian fervor to it. This music is everywhere endlessly fascinating and always alluring and intriguing – melodious and harmonically expansive.
The program begins with the most Italian-sounding of all – a little tone poem, Elegia, which was originally written for cello and piano, but later orchestrated in 1896/7. And indeed, the cellos introduce the main theme before Oswald develops it, expanding it across various sections of the orchestra. There is a powerful, passionate and very operatic climax as the end approaches, before abruptly settling once again into a calming reprise, reintroducing the initial melody to bring it to a pp close. This reminds me a lot of the music on those “opera without words” collections. And I am hearing a truly wonderful composer at work.
Eager to move on, I jump ahead to the Sinfonietta, composed shortly after Elegia was orchestrated in 1897. (And I wonder why Naxos inexplicably places the Symphony of 1910 next on the CD.) I found it interesting this Sinfonietta was later reworked into a string octet just two years after it was composed. It would be fascinating to hear that some day! (Sadly I can find no recordings of it – not surprising, as this orchestral version itself is a world premiere recording.)
Almost instantly in the first movement (no tempo indication, but sounds allegro moderato), I hear hints of Tchaikovsky. It is richly Romantic, enriched with a melodic fervor which is Russian in flavor, but certainly Italian and Brahmsian as well. Yet there is an overriding simplicity as the music unfolds, which is wholly appropriate for a Sinfonietta, with many lighter, more articulate passages propelling it. I certainly become aware early on that Oswald is a wonderful orchestrator. And as it continues, I am reminded over and over of Brahms’ Serenades.
The andante con moto begins similarly, again very much like Brahms, but soon begins to sparkle with more Tchaikovsky and even some Rimsky-Korsakov. Even if you hear it a little differently than I do, this is a delightful combination. The minuetto is charming, dancing along with an athletic liveliness. And the final presto isn’t particularly vivacious, but has drama and vigor to it – again reminding me of Brahms more than any other. I notice the booklet writer makes no mention of a Brahms influence; I wonder how it can be heard as being otherwise. But never mind, this is thoroughly enjoyable, especially as played with such accomplishment and involvement – rich and colorful, with an engaging vitality.
The piece plays for 25 minutes, while the Symphony of 1910 goes for nearly 40. Going back to that now (as it absolutely should have come last on the CD), instantly in the opening Allegro moderato, I hear Impressionism making a more pronounced influence. I hear some Debussy and the Dukas of La Peri, and as it develops, even some of the rich harmonic expanse of Arnold Bax. The scoring is more colorful and interesting, and it’s obvious Oswald has made substantial strides in compositional creativity and orchestration skills. The Adagio then reminds me even more of La Peri – very French and even more Impressionistic. While the ensuing, relatively short (3-minute) Minuetto has a lot of Rimsky to it, certainly in the glittering orchestration, and even some hints of the Minimalism of John Adams yet to be imagined! This is a sparkling little gem which was my favorite of the entire program. Too bad it didn’t go on longer.
The final Allegro deciso is a call to arms by the brass over a flurry of swirling low strings. It soon blossoms into climactic passages for the entire orchestra (there’s that Italian influence again), all the while punctuated by brass fanfares. I continue to hear Rimsky-Korsakov, along with some melodramatic Tchaikovsky (The Tempest for instance) and further hints of Bax. But even as Oswald tries to lighten the mood in the central section, the threat of conflict is never far away, as the fanfare theme is ever-present, passed around among various sections of the orchestra – trumpets, to horns, to double reeds. And I really hear this as Russian more than anything, replete with some soaring string passages, gloriously played here by this excellent orchestra. I suppose this movement does outstay its thematic material a bit much before getting to the end – the movement stretches out those fanfare motifs for nearly 9 minutes. Nevertheless, I loved the piece, the entire program actually, and marvel at the unjustified neglect of this music. It certainly deserves to be heard in the concert hall.
Naxos tells us the Sinfonietta is a world premiere recording; however I can find no other recording of the main symphony either, making this disc even more invaluable and treasurable. Add in the glorious playing and excellent recorded sound, and this disc is a must.
The back cover introduces it succinctly: “Henrique Oswald was perhaps the most European of Brazilian composers, having spent a large part of his life in Italy, and also absorbed influences from France and Germany.” Though it’s not specified exactly how that all came about. Reading further in the booklet, we learn he was born in Rio de Janeiro in 1852 to a Swiss father and Italian mother, and moved to Sao Paulo when he was just two, where he began to study piano. The family eventually moved to Italy, where he was immersed in that culture and exposed to French and German influences as well. He eventually accepted an appointment as Director of the National Institute of Music in Brazil, and later, professor of piano there.
So then, how to describe his music? It’s all of the above elements! There is the lyricism and rich harmonic foundation of Italy, with an elegant touch of French Impressionism becoming more apparent in the main symphony, especially in orchestration, and surprisingly only a vague flavor of Brazil. In fact, I would never guess this music was composed by a Brazilian. I actually hear more of a warm, slow-burning Russian fervor to it. This music is everywhere endlessly fascinating and always alluring and intriguing – melodious and harmonically expansive.
The program begins with the most Italian-sounding of all – a little tone poem, Elegia, which was originally written for cello and piano, but later orchestrated in 1896/7. And indeed, the cellos introduce the main theme before Oswald develops it, expanding it across various sections of the orchestra. There is a powerful, passionate and very operatic climax as the end approaches, before abruptly settling once again into a calming reprise, reintroducing the initial melody to bring it to a pp close. This reminds me a lot of the music on those “opera without words” collections. And I am hearing a truly wonderful composer at work.
Eager to move on, I jump ahead to the Sinfonietta, composed shortly after Elegia was orchestrated in 1897. (And I wonder why Naxos inexplicably places the Symphony of 1910 next on the CD.) I found it interesting this Sinfonietta was later reworked into a string octet just two years after it was composed. It would be fascinating to hear that some day! (Sadly I can find no recordings of it – not surprising, as this orchestral version itself is a world premiere recording.)
Almost instantly in the first movement (no tempo indication, but sounds allegro moderato), I hear hints of Tchaikovsky. It is richly Romantic, enriched with a melodic fervor which is Russian in flavor, but certainly Italian and Brahmsian as well. Yet there is an overriding simplicity as the music unfolds, which is wholly appropriate for a Sinfonietta, with many lighter, more articulate passages propelling it. I certainly become aware early on that Oswald is a wonderful orchestrator. And as it continues, I am reminded over and over of Brahms’ Serenades.
The andante con moto begins similarly, again very much like Brahms, but soon begins to sparkle with more Tchaikovsky and even some Rimsky-Korsakov. Even if you hear it a little differently than I do, this is a delightful combination. The minuetto is charming, dancing along with an athletic liveliness. And the final presto isn’t particularly vivacious, but has drama and vigor to it – again reminding me of Brahms more than any other. I notice the booklet writer makes no mention of a Brahms influence; I wonder how it can be heard as being otherwise. But never mind, this is thoroughly enjoyable, especially as played with such accomplishment and involvement – rich and colorful, with an engaging vitality.
The piece plays for 25 minutes, while the Symphony of 1910 goes for nearly 40. Going back to that now (as it absolutely should have come last on the CD), instantly in the opening Allegro moderato, I hear Impressionism making a more pronounced influence. I hear some Debussy and the Dukas of La Peri, and as it develops, even some of the rich harmonic expanse of Arnold Bax. The scoring is more colorful and interesting, and it’s obvious Oswald has made substantial strides in compositional creativity and orchestration skills. The Adagio then reminds me even more of La Peri – very French and even more Impressionistic. While the ensuing, relatively short (3-minute) Minuetto has a lot of Rimsky to it, certainly in the glittering orchestration, and even some hints of the Minimalism of John Adams yet to be imagined! This is a sparkling little gem which was my favorite of the entire program. Too bad it didn’t go on longer.
The final Allegro deciso is a call to arms by the brass over a flurry of swirling low strings. It soon blossoms into climactic passages for the entire orchestra (there’s that Italian influence again), all the while punctuated by brass fanfares. I continue to hear Rimsky-Korsakov, along with some melodramatic Tchaikovsky (The Tempest for instance) and further hints of Bax. But even as Oswald tries to lighten the mood in the central section, the threat of conflict is never far away, as the fanfare theme is ever-present, passed around among various sections of the orchestra – trumpets, to horns, to double reeds. And I really hear this as Russian more than anything, replete with some soaring string passages, gloriously played here by this excellent orchestra. I suppose this movement does outstay its thematic material a bit much before getting to the end – the movement stretches out those fanfare motifs for nearly 9 minutes. Nevertheless, I loved the piece, the entire program actually, and marvel at the unjustified neglect of this music. It certainly deserves to be heard in the concert hall.
Naxos tells us the Sinfonietta is a world premiere recording; however I can find no other recording of the main symphony either, making this disc even more invaluable and treasurable. Add in the glorious playing and excellent recorded sound, and this disc is a must.
,%20Camilla%20Seale%20(Alcina)%20plus%20chorus%20Credit_%20Genevieve%20Girling%20(1).jpg?w=160&resize=160,160&ssl=1 "It was Francesca Caccini's score, & Vache Baroque's performance, that surprised & captivated: La liberazione di Ruggiero at Buxton International Festival")
