The 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 Baroque harmonic 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.).
| Date of composition | 1930 |
| Premiered | 1934, September 3rd in Venice, Italy |
| First published | 1949 |
| Catalogue | W 247 |
| Approx. duration | 20 minutes |
| Instruments | Chamber orchestra |
| In listings |
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Heitor Villa-Lobos: Bachianas brasileiras n°2, W 247 Heitor Villa-Lobos: Bachianas brasileiras n. 2, W 247 Heitor Villa-Lobos: Bachianas brasileiras Nr. 2, W 247 |
Heitor Villa-Lobos - Bachianas Brasileiras, No. 2 Complete The Bachianas Brasileiras constitute 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 between 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 Baroque harmonic 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. 2 Scored for orchestra (1930). There are four movements, the third later transcribed for piano, and the others for cello and piano (Appleby 1988, 64--65). 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) Toccata (O trenzinho [misspelled in the score: "tremzinho"] do caipira: The Little Train of Caipira) Heitor Villa-Lobos (Portuguese pronunciation: [ejˌtoʁ ˌvilɐ ˈlobus]; March 5, 1887 -- November 17, 1959) was a Brazilian composer, described as "the single most significant creative figure in 20th-century Brazilian art music". Villa-Lobos has become the best-known and most significant Latin American composer to date. He wrote numerous orchestral, chamber, instrumental and vocal works. His music was influenced by both Brazilian folk music and by stylistic elements from the European classical tradition, as exemplified by his Bachianas Brasileiras ("Brazilian Bachian-pieces").
Paintings : Eduardo Dhelomme Conductor : Emanuel Krivine Orchestre National de Lyon 0:00 : Prelúdio (O canto do capadócio) Ária (O canto da nossa terra) Dansa (Lembrança do sertão) Toccata (O trenzinho do caipira)
Shanghai Philharmonic Orchestra Liang Zhang, Conductor 2015.07.11 Shanghai Concert Hall 演奏：上海爱乐乐团 指挥：张亮
Bachianas Brasileiras número 2 para orquestra, de Heitor Villa-Lobos Ponteio (Prelúdio) O Canto da Nossa Terra (Aria) Lembrança do Sertão (Dança) O Trenzinho do Caipira (Tocata) Teatro Municipal de Niterói -- 07 de Agosto de 2013
from the Villa-Lobos International Chamber Music Festival, Jan. 16-30, 2015 Villa-Lobos: Bachianas Brasileiras No. 2 I. O Canto do Capadocio (The Song of the Scoundrel) II. O Canto da Nossa Terra (The Song of our Land) IV. O Trensinho do Caipira (The Little Country Train) Lars Hoefs, cello; Rose Chen, piano Calvary Presbyterian Church, South Pasadena, California