The Bachianas Brasileiras (Portuguese pronunciation: bakiˈɐ̃nɐz bɾaziˈlejɾɐs) are a series of nine suites by the Brazilian composer Heitor Villa-Lobos, written for various combinations of instruments and voices between 1930 and 1945.They represent not so much a fusion of Brazilian folk and popular music on the one hand, and the style of Johann Sebastian Bach on the other, as an. Enjoy millions of the latest Android apps, games, music, movies, TV, books, magazines & more. Anytime, anywhere, across your devices.
Brazil's leading composer, Heitor Villa-Lobos, wrote nine compositions under the title Bachianas Brasileiras, including some of his most famous works. They all appeared between the years 1930 and 1945, which coincide with the nationalist and autocratic regimes of Getulio Vargas. The commentator Anna Stella-Schic has noted that in the earlier set of works called Chôros Villa-Lobos had used Brazilian popular and folk materials to create scholarly music, whereas in the Bachianas he used the scholarly base of Bach to write music of a simpler and more popular nature. The populism of this approach was in keeping with the ideological preferences of the Vargas regime, as was Villa-Lobos' assertion that Brazilian folk music had elements in common with the melodies of Bach. Beginning with the composition of the Bachianas Villa-Lobos became identified with the regime, and from 1932 onward served as the Superintendent of Musical and Artistic Education for the city of Rio de Janeiro, which was then the nation's capital.
This Bachiana was dedicated to Villa-Lobos' superior, Minister of Education Gustavo Capanema. It is the one that comes closest to the exuberant contrapuntal density of the Choros series. At over 25 minutes, it is the longest Bachiana, and is often ranked as the best work of the series, though in popularity it probably is third, after the lovely Bachiana Brasileira No. 5 and Bachiana Brasileira No. 2, with its popular 'Little Train of the Caipira' movement.
Each of the four movements has two titles in Portuguese, one drawn from musical forms used by Bach, and the other making a Brazilian reference.
It opens with 'Prelúdio; Ponteio,' the latter being a Brazilian song form. It is a flowing aria with one of the best melodies in this tuneful series, beginning in a flowing Adagio tempo which then speeds up a bit, but slows for the conclusion, in this case to Largo.
The second movement is called 'Giga; Quadrilha Caipira.' The tempo marking is Allegretto scherzando. Here Villa-Lobos happily mixes together several diverse musical influences, and piles them up into his trademark dense and exciting layers. His musical return to the 'caipira' is every bit as rhythmically exciting as the train ride in Bachiana No. 2. ('Caipira,' has been translated as 'hillbilly,' but 'boondocks' seems an apt term.) In this movement Bach's gigue, which itself derives from the Celtic jig, meets a 'boondocks quadrille' or square dance with Brazilian Indian and Afro-Brazilian elements also prominent.
The third movement, 'Toccata; Desafío,' has a strong flavor of festival days in the dry northeastern part of Brazil, in a rapid tempo.
The work ends in a magnificent 'Fuga; Conversa.' Villa-Lobos had in mind the 'conversations' that chôros players have with each other while improvising, yet the fugue in this concluding section is formally correct and takes on the sound of Bach's organ fugues.
Parts/Movements
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The Bachianas Brasileiras (Portuguese pronunciation: [bakiˈɐ̃nɐz bɾaziˈlejɾɐs]) are a series of nine suites by the Brazilian composer Heitor Villa-Lobos, written for various combinations of instruments and voices between 1930 and 1945. They represent not so much a fusion of Brazilian folk and popular music on the one hand, and the style of Johann Sebastian Bach on the other, as an attempt freely to adapt a number of Baroqueharmonic and contrapuntal procedures to Brazilian music (Béhague 1994, 106; Béhague 2001). Most of the movements in each suite have two titles: one 'Bachian' (Preludio, Fuga, etc.), the other Brazilian (Embolada, O canto da nossa terra, etc.).
Bachianas Brasileiras No. 1[edit]
Scored for orchestra of cellos (1930). Dedicated to Pablo Casals.
Bachianas Brasileiras No. 2[edit]
Scored for orchestra (1930). There are four movements. According to one opinion, the third movement was later transcribed for piano, and the others for cello and piano (Appleby 1988, 64–65); according to another, it was the other way around: three pieces for cello and piano and a solo piano piece, none of them connected with each other and none of them originally with any Bach associations, were brought together and scored for chamber orchestra (Peppercorn 1991, 103).
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This work is scored for flute, oboe, clarinet, tenor and baritone saxophones, bassoon, contrabassoon, 2 horns, trombone, timpani, ganzá, chocalho, pandeira, reco, matraca, caixa, triangle, cymbals, tam-tam, bass drum, celesta, piano, and strings.
Bachianas Brasileiras No. 3[edit]
Scored for piano and orchestra (1938)
The orchestral forces for this work, in addition to the solo piano, are: piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 4 trombones, tuba, timpani, bass drum, tam-tam, xylophone, and strings.
Bachianas Brasileiras No. 4[edit]
Scored for piano (1930–41); orchestrated in 1942 (Preludio dedicated to Tomas Terán; Coral dedicated to José Vieira Brandão [pt]; Ária dedicated to Sylvio Salema [pt]; Dança dedicated to Antonieta Rudge Müller)
The orchestral version is scored for piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, tam-tam, xylophone, celesta, and strings. The first movement (Prelúdio) is scored for strings alone.
Bachianas Brasileiras No. 5[edit]
Scored for soprano and orchestra of cellos (1938/45).
In the evening, a dreamy, pretty cloud, slow and transparent, covers outer space with pink. In the infinite the moon rises sweetly, beautifying the evening, like a friendly girl who prepares herself and dreamily makes the evening beautiful. A soul anxious to be pretty shouts to the sky, the land, all of Nature. The birds silence themselves to her complaints, and the sea reflects all of Her [the moon's] wealth. The gentle light of the moon now awakens the cruel saudade [nostalgic or melancholic longing] that laughs and cries. In the evening, a dreamy, pretty cloud, slow and transparent, covers outer space with pink.
Villa Lobos An Aria From Bachianas Brasileiras Free Mp3 Download Mp3Bachianas Brasileiras No. 6[edit]
Scored for flute and bassoon (1938)
Bachianas Brasileiras No. 7[edit]
Scored for symphony orchestra (1942) (dedicated to Gustavo Capanema [pt; fr; tr])
This work is scored for piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 4 trombones, tuba, timpani, tam-tam, xylophone, coconut shell, bass drum, celesta, harp and strings.
Bachianas Brasileiras No. 8[edit]
Scored for symphony orchestra (1944) (dedicated to Mindinha)
This work is scored for piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 4 trombones, tuba, timpani, tam-tam, xylophone, 3 wood blocks (high, medium and low), tarol, bass drum, celesta, and strings.
Bachianas Brasileiras No. 9[edit]
Scored for chorus or string orchestra (1945)
Ambiguities in the scores[edit]
Because Villa-Lobos dashed off compositions in feverish haste and preferred writing new pieces to revising and correcting already completed ones, numerous slips of the pen, miscalculations, impracticalities or even impossibilities, imprecise notations, uncertainty in specification of instruments, and other problems inescapably remain in the printed scores of the Bachianas, and require performers to take unusual care to decipher what the composer actually intended. In the frequent cases where both the score and the parts are wrong, the recordings made by the composer are the only means of determining what he actually intended (Round 1989, 35).
Recordings[edit]
Villa-Lobos made a number of recordings of the Bachianas Brasileiras, including a complete recording of all nine compositions made in Paris for EMI in the 1950s, with the French National Orchestra and Victoria de los Ángeles as the soprano soloist in the no. 5. These landmark recordings were issued in several configurations on LP, and were later reissued on CD. Other musicians, including Joan Baez, Enrique Bátiz, Leonard Bernstein, Felicja Blumental, Nelson Freire, Werner Janssen, Isaac Karabtchevsky, Jesús López-Cobos, Cristina Ortiz, Aldo Parisot, Menahem Pressler, Mstislav Rostropovich, Kenneth Schermerhorn, Felix Slatkin, Leopold Stokowski, Michael Tilson Thomas, and Galina Vishnevskaya have subsequently recorded some or all of the music.
See also[edit]
References[edit]Villa Lobos An Aria From Bachianas Brasileiras Free Mp3 Download Fally Ipupa
Villa Lobos An Aria From Bachianas Brasileiras Free Mp3 Download YoutubeFurther reading[edit]
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