Schmitt: La Tragedie De Salome, Le Palais Hante, Psaume 47 Tortelier, Bullock, Sao Paulo Symphony (2011)

In 1907 Florent Schmitt composed music to accompany a ‘mimodrame’ danced by Loïe Fuller, La Tragédie de Salomé . His score is bursting with colour, energy and voluptuousness – and also with oriental influences stemming from his travels to Morocco and Constantinople, where he discovered the howling dervishes. The final scene features the heart-rending ‘Chant d’Aïça’, an oriental melody sung by a soprano. This music, though bold and modern for the listeners of 1907, nonetheless aroused the admiration of another composer, Igor Stravinsky, to whom Schmitt dedicated the Symphonic Suite he subsequently derived from the work. However, Alain Altinoglu, at the helm of the Frankfurt Radio Symphony Orchestra of which he has been Music Director since 2021, has chosen to record the original version of this landmark of early twentieth-century French music. The beautiful Chant élégiaque , in its 1911 version for cello and large orchestra, completes this programme.

The tone poem Cauchemar, which means "nightmare" in Portuguese, is much a product of its time, similar in tone to contemporaneous works by Schoenberg, Massenet, Stravinsky and Schmitt. This is not surprising since the composer was studying in Europe at the time. Despite the title, there is nothing terribly frightening about the music which has a mood rather somewhere between the Rienzi overture of Wagner and something by Nielsen.

The Cello Concerto no.1 was Villa-Lobos’s first major orchestral work. Filled with youthful energy and displaying an eclectic style, it is the sound of the composer finding his voice. Three decades later and with his reputation at its height, the inspired melodies and flowing style of the Fantasia sees Villa-Lobos giving free rein to his vivid imagination. Composed for the Brazilian cellist Aldo Parisot, the no less inventive and lushly scored Cello Concerto no.2 from 1953 suggests man’s solitude when facing the vastness of nature.

Jose Antônio de Almeida Prado was one of the most admired Brazilian composers of his time. The two stylistically diverse works featured on this album exemplify different creative periods in the composer’s life. The prize-winning Pequenos funerais cantantes, which was Almeida Prado’s breakthrough as a composer, is a lament full of unique soundworlds forged from different combinations of choral and orchestral writing. The superbly orchestrated Sinfonia dos OrixAs takes as its subject the Orishas (deities in the Yoruba religion) – and is a personal tribute to the rich Afro-Brazilian religious traditions, a sumptuous melodic and rhythmic feast celebrating the forces of nature.

What attracts us in Guarnieri's music is his warmth and his imagination which vibrate with a profoundly Brazilian sensibility. It is, in its most refined expression, the music of a "new" continent, full of flavor and freshness…

Choral music holds a central position in Villa-Lobos’s catalogue of works, but among these famous pieces is a series of little-known transcriptions for a cappella choir taken from the standard classical repertoire. They were intended for a teachers’ chorus and for use in schools, and through astonishing alchemy they achieve a true ‘orchestration’ of largely piano originals, adding a fresh new repertoire for vocal ensembles. This album also includes the first ever recording of Villa-Lobos’s complete set of a cappella transcriptions from Bach’s The Well-Tempered Clavier.