Information
Composer: Camargo Guarnieri
- Seresta for Piano and Orchestra
- Chôro for Bassoon and Chamber Orchestra
- Chôro for Flute and Chamber Orchestra
- Chôro for Violin and Orchestra
Olga Kopylova, piano
Alexandre Silvério, bassoon
Claudia Nascimento, flute
Davi Graton, violin
São Paulo Symphony Orchestra
Isaac Karabtchevsky, conductor
Date: 2020
Label: Naxos
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Camargo Guarnieri is one of Brazil’s most interesting composers. While Villa-Lobos is far more present in the public imagination, there is every reason to look beyond him and investigate the work of composers such as Guarnieri. For this reason alone this release would be extremely welcome, but it is also a highly involving, beautifully executed disc. The composer’s first name was in fact Mozart, and his brothers were called Verdi, Rossine and Belline: their father’s hopes for a musical future for them were obvious, even if his spelling was eccentric.
Like Villa-Lobos, Guarnieri was extremely concerned with the development of a specifically Brazilian contemporary music and adapted musical forms such as the choro in order to pursue this aim. I use the word ‘adapted’ advisedly, since the composer did not simply take the form over but used it, as he said, as ‘a replacement for the concerto’. This recording contains three choros but the most substantial work is Seresta (the name refers to a Brazilian genre of vocal music, a synonym for ‘serenata’) for solo piano, harp, xylophone, timpani and strings. This is a vivacious piece in three movements, built on a kind of distillation of folk melodies, especially in the use of small motivic cells in the first movement, which is quite Bartókian in its rhythmic quality. The second, a kind of modinha, might also suggest Bartók, but this time his mysterious night music. It also shows Guarnieri to be a fine melodist. The final movement is, naturally, wild and exuberant.
The three Choros similarly combine rhythmic punch with lyricism. That for violin and orchestra most closely resembles a conventional concerto, with its three-movement design, but all of them are wonderfully engaging pieces, full of colour and variety. The performances are excellent, from both soloists and orchestra; it is clear that this music genuinely enthuses Isaac Karabtchevsky. There are also excellent booklet notes by Paulo de Tarso Salles.
-- Ivan Moody, Gramophone
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Camargo Guarnieri (February 1, 1907 – January 13, 1993) was a Brazilian composer. He was born in Tietê, São Paulo, and studied piano, composition, and conducting in São Paulo and Paris, where his teachers include Charles Koechlin, among others. A key figure in the Brazilian national school, Guarnieri served as a conductor, a member of the Academia Brasileira de Música, and Director of the São Paulo Conservatório. His extensive oeuvre includes symphonies, concertos, operas, chamber music, piano pieces, and songs. He was regarded by some as the most important Brazilian composer after Heitor Villa-Lobos.
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Isaac Karabtchevsky (born December 27, 1934, in São Paulo) is a Brazilian conductor of Russian-Jewish ancestry. He studied music and conducting in Germany, where his teachers included Wolfgang Fortner, Pierre Boulez and Carl Ueter. Karabtchevsky was principal conductor of the Tonkünstler Orchestra (1988–1994), music director of the Teatro La Fenice (1995–2001), artistic director of the Porto Alegre Symphony Orchestra (2003–2010), and music director of the Orchestre National des Pays de la Loire (2004–2009). Since 2000, he directs masterclasses for conductors from all over the world in the Musica Riva Festival, Italy.
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