Scored for symphony orchestra (1942) dedicated to Gustavo Capanema. 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!"). 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). It is a poem of nostalgia ( saudade) for the birds of the Cariri Mountains, in the state of Ceará. The musical form is embolada, a rapid poem/song of the Brazilian Northeast.
Dança (Martelo) (lyrics by Manuel Bandeira). In the evening, a dreamy, pretty cloud, slow and transparent, covers outer space with pink. The gentle light of the moon now awakens the cruel saudade that laughs and cries. The birds silence themselves to her complaints, and the sea reflects all of Her wealth. A soul anxious to be pretty shouts to the sky, the land, all of Nature. In the infinite the moon rises sweetly, beautifying the evening, like a friendly girl who prepares herself and dreamily makes the evening beautiful. This Aria is Villa-Lobos's best-known work. Corrêa) (Later arranged for solo soprano with guitar accompaniment by Villa-Lobos). Scored for soprano and orchestra of cellos (1938/45). The first movement (Prelúdio) is scored for strings alone. 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. Danza ( Miudinho ) (a type of dance, the word itself meaning "choosy", "niggling") as spelled on p. 45 of the orchestra score, and, twice in the piano version and once for the orchestral version. Scored for piano (1930–41) orchestrated in 1942 (Preludio dedicated to Tomas Terán Coral dedicated to José Vieira Brandão Ária dedicated to Sylvio Salema Dança dedicated to Antonieta Rudge Müller). José Vieira Brandão (piano), CBS Orchestra, Villa-Lobos (conductor) 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.ĬBS radio premiered Bachianas Brasileras No.3 on February 19, 1947, New York 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. Toccata (O trenzinho 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. Dansa (Lembrança do Sertão) (Memento of the Sertão). 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. According to one opinion, the third movement was later transcribed for piano, and the others for cello and piano. 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.). They represent 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 to freely adapt a number of Baroque harmonic and contrapuntal procedures to Brazilian music. BACHIANAS BRASILEIRAS 5 SEGUNDA PARTE SERIES
The Bachianas Brasileiras ( Portuguese pronunciation: ) (an approximate English translation might be Bach-inspired Brazilian pieces) are a series of nine suites by the Brazilian composer Heitor Villa-Lobos, written for various combinations of instruments and voices between 19.
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