César Guerra-Peixe (1914-1993)
Symphony No.1 (1945-46)
Nonet (1945)
Symphony No.2 ‘Brasília’ (1960)
Goiânia Symphony Choir, Goiás Youth Symphony Choir
Goiás Philharmonic Orchestra/ Neil Thomson
rec. 2017, Centro Cultural Oscar Niemeyer, Goiânia, Goiás, Brazil
Naxos 8.573926 [73]
The Naxos “Music of Brazil” series continues to go from strength to strength. The quality and value of these discs does not so much lie in the musical ‘worth’ of any individual work or composer but rather the way in which this comprehensive developing survey shows the rich diversity, range and quality of Brazilian composers and performers. A case in point is the work of César Guerra-Peixe. This is the third release of his orchestral music in this series before which – outside of South America at least – he was probably little more than an entry in specialist literature. My enthusiastic reviews of the earlier releases can be read here and here.
As liner note writer Marshal Gaioso Pinto states; “It’s hard to think of any two works in the same genre, and by the same composer, that are as different from one another as the two symphonies by César Guerra-Peixe. A little biographical digging provides a simple answer; at the time of writing the Symphony No.1 in the mid 1940’s Guerra-Peixe was firmly in the sway of a strictly held doctrine of 12-note serialism introduced to Brazil by the German musicologist Hans-Joachim Koellreutter. During this time both Symphony No.1 and the Nonet included on this disc [both receiving world premiere recordings] were written. After six years of intense commitment to this style of composition, Guerra-Peixe had a very public falling out with his former teacher and the composers he had gathered around him. From the mid 1950’s through to the end of his life the music he wrote embraced a more Nationalist style although this should not be confused with easy-on-the-ear populism.
Before his dalliance with serial composition, Guerra-Peixe had worked with Brazilian Radio Orchestras as well as writing in a neo-classical style. This probably in part explains the scale and timbral clarity of the symphony. As played here it is in three compact movements lasting a total of 19:04 and is written for single wind (plus a 2nd clarinet), trumpet, timpani, piano and strings. According to the liner this work is strictly written throughout using serial techniques but as ever my ear is not discerning enough to hear the inversions and retrogrades of the original 12 tone row. What is very evident here is the attractive lucidity of the writing as well as the skill of the Goiás Philharmonic Orchestra. Another by-product of this series is increased international awareness and appreciation of the quality of the various Brazilian orchestras, soloists and ensembles that feature in it. Indeed, given the sense of isolation from the rest of the Classical Music world, it is interesting to read that this symphony received its premiere by the BBC Symphony Orchestra in London the year of its completion and went on to be well received around Europe soon after.
These are the first scores included in this Naxos series that come from the period of Guerra-Peixe’s infatuation with serial techniques which adds considerably to the overview of his development as a composer. But I do find that these are scores I can admire, even respect, without particularly enjoying. Perhaps the most interesting aspect of this score is the way Guerra-Peixe holds true to certain aspects of ‘traditional’ form – three movements in a fast-slow-faster format – for example. His handling of solo lines and instrumental groups also appears quite traditional. So while the thematic material might be derived from a serial tone-row how it is handled feels quite ‘normal’. No instrument plays with any kind of extended techniques or at the extremes of their range whether pitch or dynamic. Perhaps part of the reason for the work’s relative neglect after the positive initial reception is that it was simply too decorous for the gritty world of Post War contemporary music. The Nonet dates from the same time as the symphony as is described in the liner as “employ[ing] a more austere serialism it lies at one of the extremes of Guerra-Peixe’s stylistic spectrum.” The instrumental group is three wind, two brass, three strings and piano. Again a three movement fast-slow-faster form is used but on an even more compact scale – just 11:36. Clarity in the composition and the performance is again impressive – by definition with just nine solo parts the writing is demanding and the Goiás soloists perform with technical security and musical confidence. Their playing is expressive and sensitive which is exactly right in this style of music which can sometimes sound dry and mechanistic as if ‘just’ playing the notes is enough. Credit to the engineers here and throughout the disc for creating a very attractive soundstage with excellent balance and spread achieved with all the instruments.
This is especially necessary in the ambitious and large-scale [41:50] Symphony No.2 ‘Brasília’ which dominates the disc. The work was written in response to a competition organised in 1960 by the Brazilian Department of Education for a work to celebrate the construction of the country’s new capital Brasília. The specification was for a nationalist symphony for large orchestra, with or without choir lasting 30 – 45 minutes. Guerra-Peixe’s work in four movements uses adult and childrens choir as well as a brief spoken role where excerpts from a speech given by the then Brazilian President Juscelino Kubitschek to the workers building the new city. In this performance a recording of that original speech is used. A very substantial cash prize awaited the winner which the government neatly avoided paying by awarding no first prize but a three way tie for (a cashless) second place. This included the symphony recorded here much to Guerra-Peixe’s disgust to the point the liner suggests being the reason why that he never wrote another symphony. The liner calls the symphony programmatic but this is a very generalised programme – broadly descriptive is probably nearer the mark. Each of the four movements has a title; “The Worker in his Land”, “The Work”, “Elegy for the Absent Friend” and “Sunday Morning-Children’s Afternoon-Nightfall-Return to work-Inauguration of the City-Apotheosis”. The “Inauguration” section is where the recorded speech occurs. The titles allow the work to follow a fairly standard symphonic form with an opening Allegro non troppo followed by a scherzo Presto, slow movement Andante and a festive finale.
As was evident in the previous releases by this composer, his nationalist scores are influenced by the colours and rhythms of his country’s musical heritage but they go far beyond being simply symphonic realisations of folk music. Quite whether this is truly symphonic in its handling of the thematic material or more a large-scale symphonic suite is less clear. As well as a large orchestra, Guerra-Peixe deploys adult and children choruses although they do not sing texts but rather act as an additional timbral colour. In the closing movement the children’s choir sing a Brazilian nursery rhyme for which the liner provides the untranslated text with the caveat “no translatable meaning”. The outer movements have a feeling of musical collage with lots of musical incident jostling for attention. As pure music the shorter central movements are more impressive with the second movement Presto – The Work the section that most satisfyingly serves the competing needs of illustrative and symphonic. I wonder if this movement is ever played as a stand-alone work? (probably not given the chorus!). Certainly it acts as a fine showcase for the skill and virtuosity of the Goiás Philharmonic Orchestra. Their British conductor Neil Thomson has been the artistic director for a decade now and certainly he seems completely at home in this music – as he did in many of the earlier releases in the series. The closing movement with the inclusion of the uplifting speech and the slightly cinematic ending is possibly more compelling/convincing for those for whom the building of Brasília was a source of national pride. My personal response is that I enjoyed the music on the previous releases more while acknowledging the significant value of this latest volume in widening the general listener’s appreciation of Guerra-Peixe’s skill and stature as a composer.
Certainly this disc is another fine addition to this excellent series and one that collectors attracted by the vibrant and diverse music of South America will want to hear.
Nick Barnard
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