Natale a Thomson

Brazilian composers in the 19th century often sought state scholarships to enable them to study in Europe where they were to become influenced by the German, Italian and French compositional schools. They also became involved in the vogue for writing suites based on ancient dances, such as Nepomuceno’s delightful Ancient Suite, premiered at Grieg’s home, or Braga’s Madrigal-Pavana which evokes the belle époque ballrooms of Rio de Janeiro. Miguéz’s Suite in the Old Style is polyphonic and lively, while Gomes’ Sonata for Strings is his finest non-operatic work.

During the '50's and early '60's Mercury recorded some of the lesser known American composers. This particular selection which I originally had on a mono-LP is one of my favorites, and probably the best of Colin McPhee's compositions. Roger Sessions' "The Black Maskers" is also an excellant little heard American Classic. As a bonus the CD includes Virgil Thomson's "Symphony On A Hymn Tune" which was not on the LP.

While the symphonies of Ralph Vaughan Williams continue to enjoy performances in concert halls and recording studios, some of his lesser well-known works languish. Such is the case for the 'Concerto Grosso for String Orchestra', a magnificent work for large ensemble that probes the depths and heights of Vaughan Williams powerful orchestration skills as well as any of the symphonies.

Claudio Santoro was one of Brazil’s most eminent and influential composers. Over a 50-year period, he wrote a cycle of 14 symphonies that is widely acclaimed as the most significant cycle of its kind ever written in Brazil. The two selected works in this inaugural volume of the first complete recording of his symphonies focus on the 1950s, a period when Santoro sought a more direct and communicative idiom using Brazilian elements. His use of folk-based material is nonetheless highly creative, sometimes indeed abstract, as in key moments of Symphony No. 5. Symphony No. 7 is one of his most complex and intense works, a celebration of his country’s new capital Brasília in music of striking modernity. • Claudio Santoro was one of the most restless and versatile musicians of our time – a prodigy, inspired creator and brilliant interpreter, dynamic organizer, lucid educator and researcher. This new release is first in a new cycle of Santoro’s complete symphonies.

The Baroque Ensemble “Carlo Antonio Marino”, directed by Natale Arnoldi, already protagonist of important Classical and late Baroque productions, within this album is faced with the concertos from the seventh opus by Pietro Antonio Locatelli, well known composer and violinist from Bergamo. When it appeared, this collection was not particularly successful; probably the mixture of different musical styles in the Concertos was not appreciated by the public, which by then was moving towards the new sensitivity of the galant style. Op.7, in any case, is an excellent and occasionally brilliant work of Locatelli’s: a musician who, in spite of the fact that in 1741 he had already attained fame and glory, did not hesitate to run the risk of attempting to renew the waning Italian Concerto, by experimenting with approaches that might accommodate the new trends, without however denying his own origins.

César Guerra-Peixe was one of the most versatile Brazilian musicians of the 20th century, gaining a particular mastery of orchestration and creating his own inimitable sound through extensive work in radio, television and cinema. The toe-tapping dance rhythms and lyrical expressiveness in his two Symphonic Suites were inspired by research into Brazilian folk traditions, further enhanced by a broad range of vibrantly eloquent global influences. The lighthearted Roda de Amigos mischievously caricatures Guerra-Peixe’s musical circle of friends and their various woodwind instruments.

Writing in a style that was essentially Romantic, if modified by his study of Classical composers, the Swedish composer Stenhammar enjoyed a successful career also as a pianist and then, primarily, as a conductor. As a leading composer of his generation in Sweden, Stenhammar contributed to a variety of genres. Two symphonies and two piano concertos, in addition to a number of less substantial works, are still in today’s repertoire. The Interlude from his important cantata Sången is a frequent concert item.