Serenata – Brazilian Music for Chamber Orchestra
Carlos Gomes (1836-1896)
Sonata for Strings (1894)
Francisco Braga (1868-1945)
Madrigal-Pavana (1901)
Alberto Nepomuceno (1864-1920)
Suite Antiga, op. 11 (1893)
Serenata (1902)
Leopoldo Miguéz (1850-1902)
Suíte à Antiga, op. 25 (1893)
English Chamber Orchestra/Neil Thomson
rec. 2022, All Hallows, Gospel Oak, London
NAXOS 8.574405 [68]

The notes indicate that this Naxos series “The Music of Brazil” is an initiative of the Brazilian Ministry of Foreign Affairs to promote music by Brazilian composers, and that the orchestral works will be recorded by three Brazilian orchestras. According to the Naxos website, there are fourteen releases thus far: here is a sample of our reviews, all of which have been favourable (review ~ review ~ review). I mention the involvement of Brazilian orchestras deliberately because, as you will see from the details above, the ensemble on this recording is definitely not Brazilian. No explanation is provided as to why the ECO was chosen, but given their pedigree, it is hardly surprising that they play this totally unfamiliar music very well.

Don’t go into this recording expecting proto-Villa-Lobos. Each of the four composers here gained the formative part of their musical education in Europe, either through scholarships or due to a family move. Hence, the style is very much European, and especially influenced by the vogue at the time for works based on ancient dances. Indeed Alberto Nepomuceno’s Suite Antiga (which the notes translate as both antique and ancient) was premiered at Grieg’s home, paying homage to his Holberg Suite.

There is nothing here of the quality of the Grieg work, but it is all charming with delicate textures. It is also quite similar, only the Miguéz involves instruments other than strings. When I listened to the disc first, while doing other things (my usual practice), I found it impossible to tell when one piece finished and the next started, as the styles were so similar. In a listening quiz, the chances of anyone picking Brazil as the origin of the composer of any of these works is zero. The booklet notes, written by a professor in the Music Department of the University of Rio de Janeiro, suggests that Braga’s Madrigal-Pavana evokes the ballrooms of belle époque Rio, which I’m sure is the case, but it could equally have been anywhere in Europe. The Miguéz Suite is the pick of the works, because of the wider range of colours provided by the full orchestra.

As long as you don’t expect exotic Latin rhythms, this is a pleasant hour plus of listening, but unfortunately, there is nothing here that is elevated beyond that.

David Barker

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