Works of Villa-LobosBachianas Brasileiras
Works of Villa-Lobos
#1 |
No. 1 for "an orchestra of cellos" (1930) - Associated Music Publishers (AMP) Premiere:
September 12, 1932, by the Philharmonia Orchestra of Rio de Janeiro, conducted
by Walter Burle Marx.
The movements: 1. Introduction - Embolada
Lisa Peppercorn lists the composition dates for BB#1 as 1930-32 and
1936-38. She says: "I believe that the first movement was written
only between 1936 and 1938, because until 1936 only the last two movements
were ever performed. The first performance of the complete work was
given in 1938." 1
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No. 2 for chamber orchestra (1930-31) - G. RicordiOrchestration:
There are four movements, orchestrations of earlier
works for cello & piano and solo piano:
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#2 |
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#3 |
No. 3 for piano and orchestra (1938) - RicordiComposed in 1938, this piece was first performed on February 19, 1947, by pianist Jose Vieira Brandao with the CBS orchestra conducted by the composer. |
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No. 4 for piano (1930-41) - orchestrated in 1941 - Ricordi Villa-Lobos' orchestration of this piece was made
in 1941. He conducted the premiere on July 15, 1942, with the orchestra
of the Teatro Municipal in Rio de Janeiro.
This piece is best known in its piano version; it's been
often, and often well, recorded. Check out Ricaro
Peres' version. But the orchestral version that Villa-Lobos himself
made, in 1941, is quite lovely as well. It's included, along with
the other 8 Bachianas Brasileiras, in the famous French
EMI set of orchestral works conducted by Villa-Lobos, and there's also
an excellent version conducted by Michael Tilson-Thomas.
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#4 |
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#5 |
No. 5 for voice and 8 cellos (1938 and 1945) - AMPThe most famous and popular of Villa-Lobos' works, the Bachianas Brasileiras no. 5 was famously described by Eero Tarasti as a "black box:""There are works about which the researcher can only make this a posteriori remark: The work is so evidently a classic that there remains only the task of analyzing on which factors the composition's position and reputation are based. Sometimes one can only confirm that the excellence of the classic cannot be indicated through analysis." [Tarasti, Heitor Villa-Lobos, 1995, p. 206.] The piece has two movements, written 7 years apart: an Aria (Cantilena), and a Dansa (Martelo.) Portions of the Aria are sung in wordless vocalise, though the
central section is sung to words from a poem by Ruth Valadares Correia.
The Dansa has a text by Manuel Bandeira.
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No. 6 for flute and bassoon (1938) - AMP |
#6 |
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#7 |
No. 7 for orchestra (1942) - Max EschigOrchestration:
This piece was written in Rio de Janeiro in 1942. It was first performed in 1944. |
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No. 8 for orchestra (1944) - Max Eschig Orchestration:
This piece was written in Rio de Janeiro in 1944, and
first performed (there) in 1947.
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#8 |
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#9 |
No. 9 for chorus or string orchestra (1944) - Max EschigOrchestration: for string orchestra or mixed chorus. |
