Todd A
pfm Member
Villa Lobos yet again
Time for some more. This time I went for a more recent volume volume four. This disc opens with the solo piano setting of the fourth Bachianas Brasileiras. The opening Preludio is quite somber, very serious, and decidedly formal. And romantic! It sort of sounds like Bach meets Rach. The Coral is again quite serious, and is richly textured and comparatively heavy. Rubinsky keeps things moving along quite strictly until after 330, when pounding chords juxtapose against tinkly arpeggios and other contrast-y devices until the end. The Aria alternates between slow, somber music and vigorous, lively music, and the concluding Dansa sounds very much dance like. Imagine that.
Next up is another of Villa-Lobos numerous little pieces Poema Singelo. It sounds lovely and lyrical and romantic almost a little song without words. Next is another childrens piece, the Carnaval das Criancas. The overall demeanor is light and bubbly, but the overall style is decidedly complex. Modern children, I guess. After that is yet another childrens piece, Francette et Pia. Here the subject is of a little Brazilian boy meeting a little French girl. A charming conceit, to be sure, and its charming music charmingly played. (The ending duets in both this and the preceding piece are as well done as the solo pieces.) Were Villa-Lobos not so good at writing such works, one could tire of them quickly. As it is, one cannot. A series of little pieces finishes off the disc. A Fiandeira is a lyrical, perpetual motion piece; Simples Cloetanea is itself a collection of three unrelated yet irresistible little pieces; and Valsa Romantica is, you guessed it, a romantic waltz.
As with the prior two discs, sound is superb and Sonia Rubinskys playing is simply top-notch. Another winner in the series.
Time for some more. This time I went for a more recent volume volume four. This disc opens with the solo piano setting of the fourth Bachianas Brasileiras. The opening Preludio is quite somber, very serious, and decidedly formal. And romantic! It sort of sounds like Bach meets Rach. The Coral is again quite serious, and is richly textured and comparatively heavy. Rubinsky keeps things moving along quite strictly until after 330, when pounding chords juxtapose against tinkly arpeggios and other contrast-y devices until the end. The Aria alternates between slow, somber music and vigorous, lively music, and the concluding Dansa sounds very much dance like. Imagine that.
Next up is another of Villa-Lobos numerous little pieces Poema Singelo. It sounds lovely and lyrical and romantic almost a little song without words. Next is another childrens piece, the Carnaval das Criancas. The overall demeanor is light and bubbly, but the overall style is decidedly complex. Modern children, I guess. After that is yet another childrens piece, Francette et Pia. Here the subject is of a little Brazilian boy meeting a little French girl. A charming conceit, to be sure, and its charming music charmingly played. (The ending duets in both this and the preceding piece are as well done as the solo pieces.) Were Villa-Lobos not so good at writing such works, one could tire of them quickly. As it is, one cannot. A series of little pieces finishes off the disc. A Fiandeira is a lyrical, perpetual motion piece; Simples Cloetanea is itself a collection of three unrelated yet irresistible little pieces; and Valsa Romantica is, you guessed it, a romantic waltz.
As with the prior two discs, sound is superb and Sonia Rubinskys playing is simply top-notch. Another winner in the series.