![]() ![]() The first movement evokes the world of Bach (Prelúdio, Aria, Fuga, and the like), while the second suggests a Brazilian context (as in Embolada, Modinha, Ponteio, etc.). Each allude to the terminology of Bach's Baroque instrumental suites in the composite titles he gives most of the movements. The Bachianas Brasileiras epitomize the composer's preoccupation with his Baroque predecessor and composes a widely spanning series of nine suites that he wrote between 1930 and his time in New York in 1945. Villa-Lobos also had fascinating connections to the European tradition as both exporter of Brazilian idioms and as an importer of such masters as J.S. Although his reputation suffered among his colleagues on account of his connections to the authoritarian regime of the dictator Getúlio Vargas, by the 1940s-when he completed the fifth in his series of Bachianas Brasileiras- Villa-Lobos was riding a wave of international recognition. The quest to develop musical compositions using indigenous Brazilian elements fueled Villa-Lobos across his astonishingly prolific career, making him into his country's leading composer in the past century. ![]() In 1905 - a few years before Bartók began his famous ethnomusicological field research - Villa-Lobos began collecting examples of folk music in the northeastern states of Brazil. Difficulty: V (see Ratings for explanation)Ĭost: Score and Parts (print) - $65.00 | Score Only (print) - $7.50įor further availability information, see Discussion tab, above.Īria Heitor Villa-Lobos absorbed the idioms of the everyday popular music around him in Brazil as an active participant for a time he even earned his living by playing cello as a café musician. ![]()
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