Johannes Tonio Kreusch : Hommage a Heitor Villa –Lobos : CD
VILLA – LOBOS: 5 Preludios; Simples (Mazurka) ; Valsa (fragment); Valsa Concerto No2 (Unfinished); Valse- Choro; Etude No11 (1928 manuscript version) ; Etude No1 Prelude (1928 Manuscript version);Mazurka – Choro.TULIO PERAMO CABRERA: Cinco Preludios :Homenaje a Heitor Villa – Lobos
Johannes Tonio Kreusch : (guitar)
EC 554-2: Available from www.glm.de
Before any readers think that here is yet another recording of some of Villa – Lobos’ most well- known pieces, let me put you right, here consults not only the published version, but the unpublished ones , and the occasional recordings that Villa – Lobos made, the reason being that they are hardly, if ever , completely identical in content. Indeed, the booklet goes into lots of detail about the entire situation, and makes for as fascinating read, that really makes you wonder how such a situation could have been allowed to occur in the first place!
So, the Five Preludes which, let’s face it , are some of the most commonly recorded works sound, in his hands often quite different. Yes, some of this is the interpretation, but every so often, a detail is there that makes you dive back to your published copy to see if you remembered it wrongly. The answer is, no you didn’t, for those deviations are not on the published versions.
As for the six other rarities from Villa – Lobos, they are just as fascinating. The Simples (Mazurka) is in fact a less complicated version of the Mazurka – Choro from the Suite Populaire Bresilienne, still recognizable as coming from the same material, but utterly different. The Valsa (Fragment) is indeed more of a sketch than a finished work, but still utterly convincing as a work by the composer. The Valsa – Concerto No2 is apparently a work that went missing, until the Brazilian pianist discovered it in a small bookshop in Sao Paolo! It had bars missing, and as a very early work, had elements of his later writing that instantly become obvious when you hear them. The Valse – Choro is another utterly new piece, and not bearing any resemblance to the Valsa – Choro that ended up in the Suite. The two new versions of the Etudes 11 and 1 are from the version that years later, were published with a number of differences.
The new work by Cabrera is immediately one that catches the ear, and lots of fun, with its opening Moderato No1, and its haunting melody and off – beat rhythms. Indeed all five are lovely, engaging pieces that are entirely new to me. Surprisingly Cabrera is not a guitarist, but-has written numerous works for Kreusch, and judging by the standards of this set of 5 Preludios, it is a shame that I haven’t come across the sheet music as they deserve to be seen by many other guitarists.
So in summation, this CD is a fine, and fascinating listen, beautifully recorded, effortlessly played, and a real find! I hope that it will attract the interest that it so richly deserves.