Santoro Symphonies Revel in Brazilian Sound

This is the fourth volume in Naxo's traversal of Claudio Santoro's symphonies. And I'd say it's about the halfway point. This Brazilian composer wrote 14 symphonies. With this volume, seven are now available.

The Goias Philharmonic is ably directed by Niel Thomson. Santoro wrote challenging music. And he saturated these compositions with the musical language of Brazil. 

So it's not enough to play the notes. Musicians have to feel the music to bring out the subtext. And that's what Thomas and the Goias Philharmonic deliver. 

The works on this album document Santoro's turn from serialism to nationalism. The 1951 "Canto de Amor e Paz" marked the change. There are some Brazilian elements present. But the work has a more cosmopolitan character.

That changes with the 1953 Symphony No. 4, "Sinfonia da Paz." The music is energetic, celebratory, and enthusiastically Brazilian. That's also the case with the concise Symphony No. 6 from 1957. Although here the Brazilian elements are reigned in slightly. 

Also included is the Choro Concertante for Tenor Saxophone (1951) and the Fantasia for Violin (1959). Both show Santoro's skill in solo instrument writing. He provides idiomatic and engaging music for each instrument. And both embued with Santoro's nationalist style.   

I recommend this release to anyone not familiar with Santoro. These works illustrate the essence of his style. That style evolved. But his Brazilian heritage can be most clearly heard in these works. Looking forward to volume five! 

Claudio Santoro: Symphonies Nos. 4 and 6
Choro Concertante for Saxophone; Fantasia for Violin
Pedro Bittencourt, tenor saxophone; Emmanuele Baldini, violin
Goiânia Symphony Choir
Goiás Philharmonic Orchestra, Neil Thomson, conductor
Naxos 8.57472