Even today, the piano music of Villa-Lobos remains an untapped trove that suggests something of the exotic. Despite the popularity of a handful of his works such as the Bachianas Brasileiras series, Villa-Lobos’ prodigious output for his own instrument boasts much unfamiliar music, thereby requiring a devotional sort of elucidation.
Apparently up to such a task is veteran pianist (and native Brazilian), Flavio Varani. He brings an unusual commingling of old-school romanticism and ardent, fiery command to his new disc where accompaniments leap and melodies spring about the keyboard. Varani’s training as a student at the Juilliard School with the great Rosina Lhevinne – and subsequently Arthur Balsam – reveals an integral approach to his art and a careful conception of pianistic lineage in general. The listener is aware that Varani has lived long and purposefully with the music of his homeland; the relationship of composer and interpreter here recalls the great association John Browning, (also a Lhevinne student), had with Samuel Barber.
Villa-Lobos’ strange and exotic piano calls to us from unexpected pieces throughout this record: Chôros No.1 W161 “Chôro tipico brasileiro” (a transcription from guitar) and the Danças características africanas W085 are examples. Conversely, Varani chooses the oft-loved eighth piece from Cirandas W220, “Vamos atrás da serra, Calunga,” as epilogue.
Regrettably, the recording quality here is not of the highest calibre. Levels are noticeably out of balance and extraneous studio noises disturb the overall flow of an otherwise convincing disc.