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 ...
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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...
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