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BRAGA SANTOS, J.: Alfama Suite / Symphonic Overture No. 3 / Elegia a Viana da Mota (Royal Scottish National Orchestra, Cassuto)

Composer(s):Braga Santos, Joly
Artist(s) Cassuto, Alvaro, Conductor • Royal Scottish National Orchestra
Period(s) 20th Century
Genre Classical Music
Category Orchestral
Catalogue 8.572815
Label Naxos
Quality   320kbps
 


Joly Braga Santos composed in a wide variety of forms, faithfully mirrored in this selection of his highly appealing music. The Elegy was written for his famous compatriot, the pianist Vianna da Motta, whilst the Symphonic Overture No. 3 utilises his own brand of folkloric material. Braga Santos’ Three Symphonic Sketches offer colouristic virility, full of supercharged rhythmic energy. The Variations for Orchestra reflects a compositional change, more elusive but highly subtle, and Alfama is a delightful ballet score. ‘Don’t miss this one!’ wrote ClassicsToday of Álvaro Cassuto’s recording of the Second Symphony on Marco Polo 8.225216.


   




Review By Raymond Tuttle,Fanfare,May 2012

…the Elegy in Memory of Vianna da Motta, the Portuguese pianist and composer who studied under Liszt. Though it is youthful, it is more typical of the composer—that is to say, very fine indeed…Braga Santos’s intense, even monumental, but not showy or pompous writing does suggest his American contemporary, as does the approachability of his writing, which nevertheless remains firmly committed to its own era.

The Symphonic Overture No. 3 dates from 1954. Here, Braga Santos marries, as he sometimes would do in his career, folkloric elements to sophisticated orchestral writing. Here, the music has a scenic grandeur…

more....


Review By Raymond Tuttle,Fanfare,May 2012

…the Elegy in Memory of Vianna da Motta, the Portuguese pianist and composer who studied under Liszt. Though it is youthful, it is more typical of the composer—that is to say, very fine indeed…Braga Santos’s intense, even monumental, but not showy or pompous writing does suggest his American contemporary, as does the approachability of his writing, which nevertheless remains firmly committed to its own era.

The Symphonic Overture No. 3 dates from 1954. Here, Braga Santos marries, as he sometimes would do in his career, folkloric elements to sophisticated orchestral writing. Here, the music has a scenic grandeur…

more....


Review By Raymond Tuttle,Fanfare,May 2012

…the Elegy in Memory of Vianna da Motta, the Portuguese pianist and composer who studied under Liszt. Though it is youthful, it is more typical of the composer—that is to say, very fine indeed…Braga Santos’s intense, even monumental, but not showy or pompous writing does suggest his American contemporary, as does the approachability of his writing, which nevertheless remains firmly committed to its own era.

The Symphonic Overture No. 3 dates from 1954. Here, Braga Santos marries, as he sometimes would do in his career, folkloric elements to sophisticated orchestral writing. Here, the music has a scenic grandeur…

more....


Review By Raymond Tuttle,Fanfare,May 2012

…the Elegy in Memory of Vianna da Motta, the Portuguese pianist and composer who studied under Liszt. Though it is youthful, it is more typical of the composer—that is to say, very fine indeed…Braga Santos’s intense, even monumental, but not showy or pompous writing does suggest his American contemporary, as does the approachability of his writing, which nevertheless remains firmly committed to its own era.

The Symphonic Overture No. 3 dates from 1954. Here, Braga Santos marries, as he sometimes would do in his career, folkloric elements to sophisticated orchestral writing. Here, the music has a scenic grandeur…

more....


Review By Raymond Tuttle,Fanfare,May 2012

…the Elegy in Memory of Vianna da Motta, the Portuguese pianist and composer who studied under Liszt. Though it is youthful, it is more typical of the composer—that is to say, very fine indeed…Braga Santos’s intense, even monumental, but not showy or pompous writing does suggest his American contemporary, as does the approachability of his writing, which nevertheless remains firmly committed to its own era.

The Symphonic Overture No. 3 dates from 1954. Here, Braga Santos marries, as he sometimes would do in his career, folkloric elements to sophisticated orchestral writing. Here, the music has a scenic grandeur…

more....


Review By Raymond Tuttle,Fanfare,May 2012

…the Elegy in Memory of Vianna da Motta, the Portuguese pianist and composer who studied under Liszt. Though it is youthful, it is more typical of the composer—that is to say, very fine indeed…Braga Santos’s intense, even monumental, but not showy or pompous writing does suggest his American contemporary, as does the approachability of his writing, which nevertheless remains firmly committed to its own era.

The Symphonic Overture No. 3 dates from 1954. Here, Braga Santos marries, as he sometimes would do in his career, folkloric elements to sophisticated orchestral writing. Here, the music has a scenic grandeur…

more....


Review By Raymond Tuttle,Fanfare,May 2012

…the Elegy in Memory of Vianna da Motta, the Portuguese pianist and composer who studied under Liszt. Though it is youthful, it is more typical of the composer—that is to say, very fine indeed…Braga Santos’s intense, even monumental, but not showy or pompous writing does suggest his American contemporary, as does the approachability of his writing, which nevertheless remains firmly committed to its own era.

The Symphonic Overture No. 3 dates from 1954. Here, Braga Santos marries, as he sometimes would do in his career, folkloric elements to sophisticated orchestral writing. Here, the music has a scenic grandeur…

more....


Review By Raymond Tuttle,Fanfare,May 2012

…the Elegy in Memory of Vianna da Motta, the Portuguese pianist and composer who studied under Liszt. Though it is youthful, it is more typical of the composer—that is to say, very fine indeed…Braga Santos’s intense, even monumental, but not showy or pompous writing does suggest his American contemporary, as does the approachability of his writing, which nevertheless remains firmly committed to its own era.

The Symphonic Overture No. 3 dates from 1954. Here, Braga Santos marries, as he sometimes would do in his career, folkloric elements to sophisticated orchestral writing. Here, the music has a scenic grandeur…

more....


Review By Raymond Tuttle,Fanfare,May 2012

…the Elegy in Memory of Vianna da Motta, the Portuguese pianist and composer who studied under Liszt. Though it is youthful, it is more typical of the composer—that is to say, very fine indeed…Braga Santos’s intense, even monumental, but not showy or pompous writing does suggest his American contemporary, as does the approachability of his writing, which nevertheless remains firmly committed to its own era.

The Symphonic Overture No. 3 dates from 1954. Here, Braga Santos marries, as he sometimes would do in his career, folkloric elements to sophisticated orchestral writing. Here, the music has a scenic grandeur…

more....


Review By Raymond Tuttle,Fanfare,May 2012

…the Elegy in Memory of Vianna da Motta, the Portuguese pianist and composer who studied under Liszt. Though it is youthful, it is more typical of the composer—that is to say, very fine indeed…Braga Santos’s intense, even monumental, but not showy or pompous writing does suggest his American contemporary, as does the approachability of his writing, which nevertheless remains firmly committed to its own era.

The Symphonic Overture No. 3 dates from 1954. Here, Braga Santos marries, as he sometimes would do in his career, folkloric elements to sophisticated orchestral writing. Here, the music has a scenic grandeur…

more....


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