There are many myths about Villa-Lobos's production. One is the incredible production of 2000 works. Despite being really big (his catalogue has almost 600 pieces), even if we count all the mouvements of all his works, the number is not reachable. Other myth is the so-called irregularity of his production. Though it's not completely false, his irregularity is not so different from that of most important composers. And in fact his piano music is one of his best moments. Even his simplest pieces have some original details (except for his boring Suites Infantis), and the best works (Rudepoema, 2 Proles do Bebê, Cirandas, Carnaval das Crianças, Bachianas nş4, Choros 5 etc.) are among the best works ever written for the instrument. Nonetheless, they are often quite badly played, or it should be better to say interpretated, because in fact the biggest problem is that many pianists play note after note and can't express the richness of his musical universe.
This first volume shows exactly this problems. Débora Halázs made a marvellous work in the next volumes, mainly in the third and fourth ones (much more intense and clever than Sonia Rubinsky or Anna Stella Schic in theirs). But here she wasn't mature enough to face a so demanding piece as Rudepoema. Anyway, there are some good interpretations, mainly of Bachianas Brasileiras nş4 (even though Antonio Guedes Barbosa's remains as a much better one).