In Naxos' Heitor Villa-Lobos: Piano Music 7, Brazilian pianist Sonia Rubinsky explores some of the parallel piano versions of pieces that Villa-Lobos created in other forms along with some uncollected pieces that remain in manuscript only, many here recorded for the first time. This includes the piano solo version of Villa-Lobos' ballet Amazonas (1917) -- which Villa-Lobos himself transcribed in 1932 -- and José Vieira Brandao's rendering of Villa-Lobos' Guitar Preludes of 1940, which is a superbly pianistic bit of transcribing. The "Lembrancas do Sertao" from the Bachianas Brasileiras No. 2 migrates so well to the keyboard that if the listener didn't know of the original then one can't imagine this ever wasn't a piano piece to start with. The remainder includes the miniature Feijoada Sem Perigo... (1955), not quite a minute long and extremely rare for a composer all about elaborating ideas; the Bailado infernal (1920) is a violent eruption that feels like a harbinger of what would arrive with his Rudepoéma (1921-1926). The rest of the pieces, all very obscure, have an occasional feeling and seem to have been written to address certain places and circumstances; no great discoveries hear, but graceful and/or celebratory pieces that carry a certain casual elegance and pomp. Rubinsky, here as everywhere else in the series, demonstrates her keen acumen for anything Villa-Lobos. While the material on Volume 7 is not as heartstopping as what was on Volume 6, it's still a winner.
AllMusic Review by Uncle Dave Lewis
|Prelúdios (5), for guitar, A. 419|
|Histórias da carochinha (4), for piano, A. 148|
|Canções de cordialidade (5), suite for piano, A. deest|