- Villa Lobos - Bachianas Brasileiras 5 - Area
- Villa Lobos Bachianas Brasileiras 1 Last Movt
- Bachianas Brasileiras #5 Text Translation
Guitar, Vocal - Difficulty: medium-difficult
Voice and Guitar. Composed by Heitor Villa-Lobos (1887-1959). Arranged by Andres Segovia. Vocal. 20th Century. Guitar/vocal single (softcover). With standard notation. 7 pages. G. Schirmer #DST9004. Published by G. Schirmer (HL.50223640).
Item Number: HL.50223640
9x12 inches. Key: A minor. Cantilena/Segovia.
Sheet Music.
Guitar, Vocal - Difficulty: medium-difficult
Voice and Guitar. Composed by Heitor Villa-Lobos (1887-1959). Arranged by Andres Segovia. Vocal. 20th Century. Guitar/vocal single (softcover). With standard notation. 7 pages. G. Schirmer #DST9004. Published by G. Schirmer (HL.50223640).
Item Number: HL.50223640
9x12 inches. Key: A minor. Cantilena/Segovia.
Sheet Music.
Jump to navigationJump to searchThe 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.
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).
- Dança (Martelo) (lyrics by Manuel Bandeira)
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)
Villa Lobos - Bachianas Brasileiras 5 - Area
- 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.
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Composer : Villa-Lobos, Heitor
Opus/Catalogue Number: W264 (piano); W424 (orchestra)
Movements/Sections: 4
Year/Date of Composition: 1930-41 (original); 1942 (orchestral version)
First Performance: Original version - 1939-11-27
José Vieira Brandão (piano)
Orchestral version - 1942-07-15 in Rio de Janeiro
Villa-Lobos (conductor) ; Orquestra do Theatro Municipal
First Publication: Original version (W264): 1941
Orchestral version (W424): 1953
Average Duration: 24 minutes
Piece Style: Early 20th century
Instrumentation: Original (W264): Piano
Orchestral version (W424): 1 piccolo, 2 flutes, 2 oboes, 1 english horn, 2 clarinets, 1 bass clarinet, 2 bassoons, 1 contrabassoon, 4 horns, 3 trumpets, 3 trombones, 1 tuba, timpani, bass drum, tam-tam, xylophone, celesta, strings
Midi Author: M. A. K. Fontana
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Bachianas Brasileiras #5 Text Translation
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Bachianas Brasilerias No. 5, W389-391
1st movement: Aria (Cantilena, A minor)
Composer: Heitor Villa-Lobos
Scored for soprano vocal and 8 cellos
Notes:
Divisi bars are labelled below original lines.
Pages | 30 |
Duration | 05:47 |
Measures | 63 |
Key signature | natural |
Parts | 9 |
Part names | Voice, Cello(8) |
Privacy | Everyone can see this score |
License | None (All rights reserved) |