Villa Lobos An Aria From Bachianas Brasileiras Free Mp3 Download

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.

1. Villa Lobos An Aria From Bachianas Brasileiras Free Mp3 Download Free

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.

Listen to your favorite songs from Villa-Lobos: Bachianas brasileiras by Various artists Now. Stream ad-free with Amazon Music Unlimited on mobile, desktop, and tablet. Bachianas brasileiras No.5, W389-391 (Villa-Lobos, Heitor) This work is likely not in the public domain in the US (due to first publication with the required notice after 1924, plus renewal or 'restoration' under the GATT/TRIPS amendments), nor in the EU and those countries where the copyright term is life+70 years. 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.

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

1. Prelúdio (Ponteio)
2. Giga (Quadrilha caipira)
3. Tocata (Desafio)
4. Fuga (Conversa)

Appears On

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.

• Introdução (Embolada [pt])
• Prelúdio (Modinha)
• Fuga (Conversa) (Conversation)

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).

• Preludio (O canto do capadocio) [Despite the five translations—French, English, Italian, Spanish, and German—printed in the score, the composer's own notes on this movement make it clear that the meaning of capadocio is not 'campagnard', 'countryman', 'campagnolo', etc., but rather 'Teddy boy' or 'layabout' (Round 1989, 39).]
• Aria (O canto da nossa terra)
• Dansa (Lembrança do Sertão) (Memento of the Sertão)
• Toccata (O trenzinho [misspelled in the score: 'tremzinho'] do caipira: The Little Train of the Caipira; 'caipira' meaning a person from the country, or small town, a 'hick' but without the negative connotation.^{[citation needed]}

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)

• Prelúdio (Ponteio)
• Fantasia (Devaneio) (Digression)
• Ária (Modinha)
• Toccata (Picapau) (Woodpecker)

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.

Keep your tracks in time with a simple beat matching display next to waveforms.Full DVS supportUse club standard setups with Serato Control Vinyl or CDs for the perfect emulation of. For turntablists there is the unique sticker lock feature to keep your routines super tight.Recording + SP6Record your full sets in customizable high quality formats, ready to share with your followers online. Never miss an incoming vocal or bass drop. Serato scratch live sl2 setup.

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)

• Prelúdio (Introdução)
• Coral (Canto do Sertão)
• Ária (Cantiga)
• Danza (Miudinho [pt]) (a type of dance, the word itself meaning 'choosy', 'niggling') as spelled on p. 45 of the orchestra score, in Villa-Lobos 1974, 190, and, twice in the piano version and once for the orchestral version, in Villa-Lobos 2009, 14–15.]

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).

• Ária (Cantilena) (lyrics by Ruth V. Corrêa) (Later arranged for solo soprano with guitar accompaniment by Villa-Lobos). This Aria is Villa-Lobos's best-known work (Béhague 2001). Lyrics in Portuguese. English translation:

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.

• Dança (Martelo) (lyrics by Manuel Bandeira). Lyrics in Portuguese The musical form is embolada, a rapid poem/song of the Brazilian Northeast. It is a poem of nostalgia (saudade) for the birds of the Cariri Mountains, in the state of Ceará. The lyrics contain a list of species of birds: ben-te-vi (Pitangus sulphuratus), sabiá (Turdus fumigatus), juriti (Leptotila rufaxilla), irerê (Dendrocygna viduata), patativa (Sporophila leucoptera), cambaxirra (Odontorchilus cinereus). The music imitates bird song: 'La! liá! liá! liá! liá! liá!' 'Sing more', the words say, 'to remember Cariri' ('Canta mais! canta mais! prá alembrá o Cariri!').

Bachianas Brasileiras No. 6[edit]

Scored for flute and bassoon (1938)

• Ária (Chôro)
• Fantasia

Bachianas Brasileiras No. 7[edit]

Scored for symphony orchestra (1942) (dedicated to Gustavo Capanema [pt; fr; tr])

• Prelúdio (Ponteio)
• Giga (Quadrilha caipira)
• Tocata (Desafio [pt]) (Dare)
• Fuga (Conversa)

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)

• Prelúdio
• Ária (Modinha)
• Tocata (Catira batida)
• Fuga (Also arranged for four-part a cappella choir.)

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) Programa djay para windows xp.

• Prélude
• Fugue

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]

• -ana, for other musical works using the suffix '-ana' to pay homage to another composer

References[edit]

• Appleby, David P. 1988. Heitor Villa-Lobos: A Bio-Bibliography. Bio-Bibliographies in Music 9. New York, Westport, and London: Greenwood Press. ISBN0-313-25346-3.
• Béhague, Gerard. 1994. Heitor Villa-Lobos: The Search for Brazil's Musical Soul. ILAS Special Publication. Austin: Institute of Latin American Studies, University of Texas at Austin. ISBN0-292-70823-8.
• Béhague, Gerard. 2001. 'Villa-Lobos, Heitor'. The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
• Peppercorn, Lisa M. 1991. Villa-Lobos: The Music: An Analysis of His Style, translated by Stefan de Haan. London: Kahn & Averill; White Plains, NY: Pro/Am Music Resources Inc. ISBN1-871082-15-3 (Kahn & Averill); ISBN0-912483-36-9.
• Round, Michael. 1989. 'Bachianas Brasileiras in Performance'. Tempo, new series, no. 169 (June, '50th Anniversary 1939–1989'): 34–41.
• Villa-Lobos, Heitor. 1974. 'Bachianas brasileiras (Estudo de H. Villa-Lobos)' [from a manuscript dated 'Rio, 4 May 1947']. In Villa-Lobos, sua obra, second edition, edited by Programa de Ação Cultural, 187–97. Rio de Janeiro: MEC, DAC, Museu Villa-Lobos.
• Villa-Lobos, sua obra. 2009. Version 1.0. MinC / IBRAM, and the Museu Villa-Lobos. Based on the third edition, 1989.

Further reading[edit]

• Arcanjo, Loque. 2008. O ritmo da mistura e o compasso da história: o modernismo musical nas Bachianas Brasileiras de Heitor Villa-Lobos. Rio de Janeiro: E-papers. ISBN978-85-7650-164-0.
• Nóbrega, Adhemar. 1976. As Bachianas brasileiras de Villa-Lobos, second edition. Rio de Janeiro: Museu Villa-Lobos.
• Palma, Enos da Costa, and Edgard de Brito Chaves Júnior. 1971. As Bachianas brasileiras de Villa-Lobos. Rio de Janeiro: Companhia Editôra Americana.

Villa Lobos An Aria From Bachianas Brasileiras Free Mp3 Download Free