Joly Braga Santos

[J.Z. Herrenberg]

You are right about Delius, Ireland and Moeran (+Sibelius).

Of course, the mighty Finn! How could I forget him...

[DavidRoss]

Of course, Moeran--think I'll start the day with his lovely symphony!  (Braga Santos's number 4 won't arrive until Tuesday, drat!)

[Christo]

I am Portuguese and very surprised and pleased to see so many people interested in Braga Santos. I wrote a post on him about 3-4 years ago on the Gramophone forum and there were barely any replies. I enjoy Braga Santos's music and do think that if he were English or German or French he would be on the map in a much bigger way. But actually I prefer Luis de Freitas Branco -- I am listening to his tone poem Vathek right now!

Vathek is colorful but at the same time has a certain starkness about it. Lots of brass fanfares, wild barbaric dances, of strong climaxes. It looks back to Rimsky-Korsakov in a way, but is modern-sounding at times. The Branco's idiom is very recognizably individual though.

You are the first, as far as I'm aware, to point us towards Luis de Freitas Branco and his highly interesting symphonic poem Vathek (1914). I happen to know it (own the Portugalsom CD with it) and it's extraordinary indeed, all the more intriguing for it's use of Portuguese Moorish traditional music in an early-modernist setting. I'm extremely happy to read your comment and to learn that Freitas Branco and his most gifted pupil have their supporters in Portugal. I always planned to invest more in Freitas Branco, but to my regrets I only know his First symphony, not the other ones. But Dundonnell kindly informs us Naxos is going to do the whole cycle:

As you will have seen, Naxos plans to record the symphonies although I know that they are already available in Hungarian performances on Portugalsom.

Btw: I read some very positive reviews of, as far as I know, the only CD that offers works by both composers. Both Braga Santos' works are available on Marco Polo and the Divertimento no. 1 also on Portugalsom, but Freitas Branco's Violin Concerto, dating from the same years as Vathek, is a premiere recording. Perhaps earlier in this thread somebody wrote a personal review, already?
                       

Luis de Freitas Branco (1890-1955), Violin Concerto (1916) [31:52]
Joly Braga Santos (1924-1988), Crossroads Ballet (1968) [16:22] Divertimento No.1 (1960) [20:41]
Alexandre da Costa (violin), Orquestra Sinfónica de Extremadura under Jesús Amigo.
Recorded in the Palacio de Congresos y Exposociones de Merida, October 2004. VMS 158 [total timing 69:28]

[Harry]

I have listen to samples from the Second symphony by Branco, and his Violin Concerto, and both recordings are on my ordering list.
What a amazing sound world this guy creates.
How many composers more are coming my way I wonder?

[mozartsneighbor]

Vandermolen: can't really help you with that question of Freitas Branco's popularity and standing in Portugal. I haven't lived in Portugal since I was 15. Back then I wasn't very into classical music and can't recall hearing his music. I only spend a couple of weeks there each year now and so can't really say. 

[Christo]

The Naxos website under 'News' reported last September  that the company is planning to record all the 5 Freitas Branco symphonies on four discs! No. 1 was recorded in Dublin by the National Symphony Orchestra of Ireland under Alvaro Cassuto-the conductor of the Braga Santos series.

That's the news I was looking for. Great news indeed, since this particular combination, Cassuto conducting the NSO of Ireland produced the finest of all recordings available in the Marco Polo series, imo, namely the one with the Fourth Symphony and Alentejo Variations.

(My other preferred recording being the Third with Cassuto conducting the London Symphony Orchestra, a Portugalsom CD, also a recording served well by a superior orchestra, and finer than his second attempt with the Portuguese Symphony Orchestra for Marco Polo.)

[J.Z. Herrenberg]

That's the news I was looking for. Great news indeed, since this particular combination, Cassuto conducting the NSO of Ireland produced the finest of all recordings available in the Marco Polo series, imo, namely the one with the Fourth Symphony and Alentejo Variations.

(My other preferred recording being the Third with Cassuto conducting the London Symphony Orchestra, a Portugalsom CD, also a recording served well by a superior orchestra, and finer than his second attempt with the Portuguese Symphony Orchestra for Marco Polo.)

A performance that convinced me on a first hearing! The Portugalsom must be quite something...

[Christo]

A performance that convinced me on a first hearing! The Portugalsom must be quite something...

It is - and here it is:
                           

For that reason, the Third, in this performance, is still my favourite Braga Santos symphony. This was actually the one I encountered first, back in 1999. It made the same sort of revelationary effect as did Tubin's Fourth, the Lirica, which I accidentally heard in the radio in 1983 or 1984.

Actually, in my perception, this Third comes closest to Vaughan Williams - as does indeed Tubin's Fourth, another point of reference for me. At the same time, neither really resembles RVW, and I completely agree with you that Braga Santos is much closer to Moeran in many respects - keeping in mind not only Moeran's Symphony and Sinfonietta, but the violin and cello concertos as well. At the same time: Braga Santos was very young and extremely inventive and composed four symphonies in just five years time, while Moeran's symphony took a decade or so and was the outcome of a long term development.

Perhaps you, Johan, could present us with a detailed comparision of both composers? Or would you propose to take Lilburn into account as well? Or indeed Tubin? Perhaps even Miaskovsky? (The reason being, that I suspect we might discover a direct link between Moeran and Braga Santos, but connections with e.g. Tubin and Lilburn are simply out of the question, and yet they both composed in a similar style at about the same time.

[J.Z. Herrenberg]

Actually, in my perception, this Third comes closest to Vaughan Williams - as does indeed Tubin's Fourth, another point of reference for me. At the same time, neither really resembles RVW, and I completely agree with you that Braga Santos is much closer to Moeran in many respects - keeping in mind not only Moeran's Symphony and Sinfonietta, but the violin and cello concertos as well.

Perhaps you, Johan, could present us with a detailed comparision of both composers? Or would you propose to take Lilburn into account as well? Or indeed Tubin? Perhaps even Miaskovsky? (The reason being, that I suspect we might discover a direct link between Moeran and Braga Santos, but connections with e.g. Tubin and Lilburn are simply out of the question, and yet they both composed in a similar style at about the same time.

Question: if Braga Santos comes closest to RVW in his Third, the RVW of which symphony/style are we talking about? Now you mention it, I was reminded of Vaughan Williams, but in a more 'spiritual' sense. Moeran is present more literallly: in BS's 3-1 I could hear the first movement of Moeran's symphony quite clearly. Influence or astonishing affinity?

I rate Tubin's Fourth as highly as you do - it spoke to me immediately and it never fails to inspire me. BS's Third did, almost, the same this afternoon.

I don't know if you are joking about a thorough comparison. But all those inter-relationships are intriguing. Give me another year. I am slowly working my way through the Myaskovsky canon (17, 25 and 27 are works that grip and move me in the same way Moeran et al do), and Lilburn is still overshadowed too much by Sibelius (for me, that is) to give me a clear view. Give me another year, after I have assimilated all these composers and then, perhaps, I can come up with something... Now is too early.

[karlhenning]

. . . At the same time, neither really resembles RVW, and I completely agree with you that Braga Santos is much closer to Moeran in many respects  . . . .

Not knowing Moeran at all, I cannot comment on that comparison.  Without necessarily throwing spanners in the works of those who do (for one thing, I've only heard three of the Braga Santos symphonies, for instance), I myself have not remarked any especial resemblance between the Portuguese master, and Vaughan Williams.  I like both composers, know rather a great deal more of the English composer's work than of Braga Santos's . . . to my ear, their voices are distinct.

[vandermolen]

Vandermolen: can't really help you with that question of Freitas Branco's popularity and standing in Portugal. I haven't lived in Portugal since I was 15. Back then I wasn't very into classical music and can't recall hearing his music. I only spend a couple of weeks there each year now and so can't really say. 

Thanks anyway 

[vandermolen]

Because of all the interest here I played my Marco Polo CD of BS Symphony No 3 today.  The opening immediately reminded me of the opening of Vaughan Williams's 5th Symphony. I wish that Portugalsom hadn't disappeared as I'd love to hear that version too. I love the last movement of BS's 3rd Symphony.

[Christo]

I love the last movement of BS's 3rd Symphony.

That, btw, is a highly interesting remark. As the final (fourth) movement is rather different from the first three - more abstract in the classical sense. I myself discovered recently that my whole view of the Third is based on the first three movements, and only recently did I really invest time in listening to the fourth. Great that you love it!

[vandermolen]

That, btw, is a highly interesting remark. As the final (fourth) movement is rather different from the first three - more abstract in the classical sense. I myself discovered recently that my whole view of the Third is based on the first three movements, and only recently did I really invest time in listening to the fourth. Great that you love it!

Have just listened to No 4. Here, the slow movement is my favourite, deeply moving. Am curious to hear the choral version of the finale. Difficult to decide between No 3 and 4 as to my favourite BS symphony.

[Thom]

This thread has completely eluded me so far for one reason or another. Because RVW, Moeran (+Sibelius) and Tubin are very much part of my musical universum and you guys know your business there is nothing else to it. So I have to explore Braga Santos' music. Thank you for guiding the way to - I am sure - another important discovery!

Th.

[DavidRoss]

I've listened to the 4th Symphony recorded by Cassuto and already look forward to hearing more.  Tuneful and sweet, hardly a powerhouse, but not superficial, either--pleasant, in the best sense, and distinctive rather than derivative.  I particularly liked the 2nd and 3rd movements; the tuttis in the 1st and 4th seemed a bit too predictable, expected, mannered--yet I wondered what the finale would be like with a really ballsy orchestra under a conductor who just let 'er rip!

I heard almost nothing that recalled Sibelius, except for the lilting theme in the 3rd that reminded me somewhat of The Oceanides, but the emotional space reminded me of a refined, stripped-down Bax (of course without the density and excess Bax would hardly be Bax, would he!).  This brief exposure really reminded me more of Delius than anyone else, although movie composers like John Barry and James Horner came to mind more than once.

[vandermolen]

I've listened to the 4th Symphony recorded by Cassuto and already look forward to hearing more.  Tuneful and sweet, hardly a powerhouse, but not superficial, either--pleasant, in the best sense, and distinctive rather than derivative.  I particularly liked the 2nd and 3rd movements; the tuttis in the 1st and 4th seemed a bit too predictable, expected, mannered--yet I wondered what the finale would be like with a really ballsy orchestra under a conductor who just let 'er rip!

I heard almost nothing that recalled Sibelius, except for the lilting theme in the 3rd that reminded me somewhat of The Oceanides, but the emotional space reminded me of a refined, stripped-down Bax (of course without the density and excess Bax would hardly be Bax, would he!).  This brief exposure really reminded me more of Delius than anyone else, although movie composers like John Barry and James Horner came to mind more than once.

Thanks for the interesting feedback David. Vaughan Williams comes to mind when I listen to Braga Santos; especially Symphony No 1 and the opening of No 3. If you don't already know it I'd strongly recommend No 3; a great work in my view.

[mr_espansiva]

As it's been a long time, I thought I'd listen to the finale of No4 - oh boy, that needs a trim - it's 16' long and has a great main theme but it is dragged out far too long - I think this is an example of why BS wasn't a great composer -  he didn't know when he had said enough.

[vandermolen]

As it's been a long time, I thought I'd listen to the finale of No4 - oh boy, that needs a trim - it's 16' long and has a great main theme but it is dragged out far too long - I think this is an example of why BS wasn't a great composer -  he didn't know when he had said enough.

Yes, I see what you mean, but I think that the end of Symphony No 3 is great and does not go on for a moment too long.

[karlhenning]

As it's been a long time, I thought I'd listen to the finale of No4 - oh boy, that needs a trim - it's 16' long and has a great main theme but it is dragged out far too long - I think this is an example of why BS wasn't a great composer -  he didn't know when he had said enough.

In my review of the only other performance of this magnificent symphony (on Portugalsom), I expressed the hope that Álvaro Cassuto's forthcoming recording would not include the insipid chorus that the composer superimposed on the finale's coda at the suggestion of conductor Silva Pereira, an addition that creates an ending at once bombastic, anti-climactic, and incompatible with what had come before. Happily Cassuto agrees with this assessment, and so presents the work in its pristine, incomparably gorgeous original version. Although Santos was only 27 when he completed his Fourth Symphony, it represents a culmination of his first stylistic phase, that characterful mingling of Vaughan Williams (in its modal harmony), Respighi (the "Pines of Rome" climax of the slow movement), and Sibelius (scherzo of the Fourth Symphony) that comes out sounding wholly natural and homogenous.

The symphony's four well-balanced movements last more than 50 minutes, making this piece the composer's longest and grandest orchestral work in any form, and it all culminates in a finale whose allegro contains 10 of the most purely exhilarating minutes of orchestral writing that you will ever hear. In his excellent notes to this recording, conductor Cassuto expresses his disappointment that Santos gradually abandoned this appealing idiom after completing this symphony in 1951 and turned to more avant-garde musical explorations. Many music lovers will agree, but it's difficult to see what Santos could have done after this stunning work but repeat himself, however attractively, and I certainly would not want to be without the Fifth Symphony of 1965, one of the most astonishing and original of 20th century masterpieces in the medium.

In any event, Cassuto coaxes from his Irish players a performance of boundless energy and excitement. The allegro sections of both outer movements really rip, and Marco Polo has managed spectacular sonics: just listen to the way the recording captures Cassuto's steady build-up of the second movement's climactic march, from the soft thud of the bass drum through to its glowingly rich-textured brass summit. The same observations hold true for the Symphonic Variations, one of the most purely beautiful pieces of music in any medium (Santos obviously had an eye on the "Sunrise" from Ravel's Daphnis and Chloe in the work's first section). Once again, in playing the game of reminiscences it's easy to ignore the composer's originality, but the synthesis that he achieves in this music is wholly personal. This performance of the Fourth Symphony in particular, effectively its CD premiere, must be accounted an event of the first magnitude, not to be missed. On now, please, to the haunting Divertimento No. 1 and the concertos! [9/28/2002]

Hurwitz doesn't sound as if he wished the symphony at all shorter than it is . . . .