Villa-Lobos: SQ 1, 2, and 3

 

Beginning yet another set of works from the Brazilian composer.

From Villa-Lobos, I have listened through his twelve Symphonies, many Concertos, Choral Music, Chôros and Bachianas Brasileiras, a smattering of chamber music, and now I begin his set of 17 String Quartets.

With the composer's three early Piano Trios, there was a markéd stylistic change between each trio. The earliest was unabashedly Romantic, the middle was French-influenced, and the final was a mix of what came before and where Villa-Lobos was heading. I expected much the same here, even though there are many more string quartets compared to the trios, but that is not necessarily what I got.

Those who know my musical tastes will not be surprised by my love of the inherent Romanticism and folk attributes of String Quartet no. 1. Its dance-like suite of six named movements are song-filled, generally upbeat, and with a touch of humor, although the middle movements, particularly 4 & 5, exhibit a skosh of harmonic/textural complexities and emotional moodiness.

String Quartet no. 2 opens with an ear-twisting angular motive, which Villa-Lobos shares amongst the instruments, a favorite mode of development from the composer. I still sense the long-breathed, lush Romanticism here, yet the aforementioned harmonies and textures are much more complex for the listener.

Some mention the French nature of this second quartet, but I don't hear that as much; yet there is a popular element hiding within this music all the same. I do rather enjoy the 2nd through 4th movements, but I guess I consider this an uneven experience. Perhaps time will afford me a better relationship with this quartet.

The moniker Quarteto de Pipocas ('Popcorn' Quartet) is attached to String Quartet no. 3, mostly for the 2nd movement's pizzicato, although the technique is continued beyond that movement.

This is another quartet I really enjoy; I think it must be the pentatonic limitations Villa-Lobos put on this work which endears me to it. The composer's use of extended techniques, such as the rampant pizzicato and harmonics are always interesting. Villa-Lobos grounds the listener, though, in strong tunes and musical ideas, including a chugging, train-like finale.

This is a great start to my look into Villa-Lobos' string quartets. I know his music will evolve, and probably to my distaste to some degree, but I like to keep my mind open for the future. I will be sticking to the Latin-American quartet on Dorian (also found on Brilliant), even if they are not always my favorite ensemble. The players seem more sure of themselves in Nos. 1 & 3, but less so in No. 2, where the fourth movement tuning is suspect, for example Otherwise, the NY acoustic captures them in sympathetic sound.

Works
String Quartet 1 (17.24)
String Quartet 2 (21.25)
String Quartet 3 (22.14)

Performers
Cuarteto Latinoamericano
    Saúl Bitrán, violin
    Arón Bitrán, violin
    Javier Montiel, viola
    Alvaro Bitrán, cello

Label: Dorian
Year: 1995-98; 2009

 

 

 

Find more Villa-Lobos recordings HERE!