Villa-Lobos - Chôros Volume 3


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Villa-Lobos - Chôros Volume 3



Catalogue No:




Release date:

5th Jan 2009




79 minutes


CD (download also available)
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Villa-Lobos - Chôros Volume 3


Introduction Aux Choros

Two Choros (bis) (1928) for violin and cello

Chôros No. 2 for flute & clarinet

Chôros No. 3 'Pica-Pau' for male chorus & wind instruments

Chôros No. 10 'Rasga o Coraçao' for chorus & orchestra

Chôros No. 12 for orchestra

Fabio Zanon (guitar), Cláudio Cruz (violin), Johannes Gramsch (cello), Elizabeth Plunk (flute) & Ovanir Buosi (clarinet)

São Paulo Symphony Orchestra & Choir of the São Paulo Symphony Orchestra, John Neschling



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The present disc completes the Villa-Lobos’ Choros cycle, which consists of the 12 extant Choros (according to Villa-Lobos himself another two were completed, but the manuscripts were lost before publication), a prologue (the Introduction to the Choros, incidentally composed almost last), and the Two Choros (bis) – an ‘after-thought’ in which a violin and a cello are left to sum up the cycle

Heitor Villa-Lobos: Introduction to Choros

Introduction to the Choros

Heitor Villa-Lobos: 2 Choros bis

I. Modere

II. Lent - Moins - Lent

Heitor Villa-Lobos: Choros No. 2

Choros No. 2

Heitor Villa-Lobos: Choros No. 3, "Pica-Pau"

Choros No. 3, "Pica-Pau"

Heitor Villa-Lobos: Choros No. 10, "Rasga o Coracao"

Choros No. 10, "Rasga o Coracao"

Heitor Villa-Lobos: Choros No. 12

Choros No. 12

Gramophone Magazine

June 2009

“John Neschling has no equal in this repertoire… in the same piece, Villa-Lobos slides from elevated invention towards banality - Neschling makes it hang together, and the kinetic vivacity of the orchestral playing is mesmerising.”

The Guardian

6th February 2009

“The vividness of the orchestration and the vitality of the rhythms are wonderfully conveyed by John Neschling's performances with the São Paulo Symphony, and the disc ends with a sumptuous account of the most ambitious pieces in the series, Choros No 12, which represents Villa-Lobos at his most inspiringly discursive and eclectic, as Stravinskian modernism rubs shoulders with folk-inspired melodic writing.”

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