Nevertheless, it has remained one of the Brazilian composer’s most recognizable and universally beloved pieces of music from among his over fifteen hundred or more compositions. Many listeners will be reminded of Sergei Rachmaninoff’s earlier Vocalise for soprano and orchestra from 1912, which served as a model for Villa’s later version. Once heard, this hauntingly beautiful melody, augmented by contrapuntal pizzicato effects in the cellos, is not soon forgotten. The cream of operatic vocal talent, including Arleen Auger, Kathleen Battle, Victoria De Los Angeles, Renée Fleming, Maria Lúcia Godoy, Jill Gomez, Barbara Hendricks, Ana Maria Martínez, Eva Marton, Anna Moffo, Bidu Sayão, Kiri Te Kanawa, and Galina Vishnevskaya, has recorded this gorgeous and oft-performed showpiece, focusing primarily on the lyrical Ária ( Cantilena) section.Ī small portion of the aria has even found its way onto the grooves of the post-pubescent Brazilian singing team of Sandy & Júnior, as a brief solo number for Sandy on her live Mercury album Quatro Estações (“Four Seasons,” 2000), further attesting to the popularity of the tune with teenagers.
5 for soprano soloist and eight cellos, written in two movements, with the first having its world premiere in 1938, in Rio de Janeiro, and sung by its lyricist, the singer Ruth Valadares Corrêa and the second, Dança ( Martelo), a song with rapid articulation, completed around 1945, with words by Modernist poet Manuel Bandeira. The most performed of the Bachianas, of course, is the ever-popular No.
#BACHIANAS BRASILEIRAS 5 PIANO FULL#
There were nine Bachianas in all, with the first one, for eight cellos, dedicated to Spanish cellist Pablo Casals the second, for chamber orchestra, featured the delightful toccata movement O Trenzinho do Caipira, or “The Little Train of the Country Bumpkin” the third and fourth were for piano and orchestra, respectively the sixth, for bassoon and flute the seventh and eighth, for full orchestra and the ninth, considered one of his most sonorous musical creations, was composed for mixed voices or string ensemble. In these works Villa-Lobos brought “together his native folk-lore elements with the great European musical tradition, and,” in the estimation of American conductor Leonard Bernstein, “ them into a single style of his own, as he does in the very title of this piece.”
On the occasions when Heitor Villa-Lobos deigned to write memorable vocal music - his failure to create a clear-cut national opera notwithstanding - he was plainly unsurpassed in inventiveness, originality, and means of expression.įor example, a thorough study of his superb Bachianas Brasileiras (1930-1945) is an absolute must for any classically trained artist to achieve a deeper understanding of the Brazilian composer’s methodology and mind-set.
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