Marília Vargas sing Villa Lobos - Bachianas nº5
Little song(Cantilena da Bachiana nº5) by Villa Lobos, for 8 cellos and sopran voice. Marília Vargas - Sopran ; Antônio Menezes - Cello; David Chew (Villa-Lobos group). Recorded at the Versailles Casttle, june/2005, for the overture of Brazil and France year. Vídeo gentilmente cedido para divulgação. Enjoy!! Marília Vargas, brasilian, studied with Neyde Thomas, and graduated as Solisten Diplom in the renowned Schola Cantorum Basiliensis, Basle(Basel). Studied too with Christoph Prégardien in the Musikhochschule Zürich, obtaining her Konzert Diplom, with the highest note, and the mention "Summa cum laude". During her studies, she had masterclasses with Monserrat Figueras, and Silvana Bartoli Bazzoni.
Lyric classical Villa Lobos Marília Vargas Menezes Bachianas Brazil
Villa Lobos - Bachianas Brasileiras No 5. Violin & Guitar. The Paganini Duo
"Bachianas Brasileiras": Brazilian 20th century composers became fascinated by the idea: How would JSBach ('Bach-iana, 1685-1750) have written, taken into account his exceptional talent for structure and melody, if he lived today and had grown up in Brazil? - Well, the Bachianas Brasileiras No 5 displays one of the most beautiful melodies ever written! Recorded on Boxing Day 2010 in the Cathedral Chamber, part of the Lucas Cave at Jenolan Caves, world's oldest Cave. Performers are the Paganini Duo with Gustaw Szelski on violin and Georg Mertens on guitar. Instruments used: Violin by Tomasso Balestrieri (Cremona 1740) Guitar by Jayson Elazzi (Sydney 2008) Live Gypsy music concerts with the Paganini Duo are held in the underground Cathedral Chamber at Jenolan Caves (New South Wales / Australia) every 4th Sat of the month 4pm. The Cathedral Chamber is famous for the world's finest acoustics. Bookings (AU) 02 6359 3911 or ticketmaster: www.ticketmaster.com.au For program see: www.georgcello.com Other videos by the Paganini Duo on the same Youtube channel: Gypsy Adagio Son of Puszta Monti Czardas Black Eyes Hungarian Fantasy Invitation to Dance Gypsy Song "My Fiddle is broken" Gypsy "Two Guitars" La Cumparsita Improvisation in the Cathedral Cave in D minor Georg on Solo Guitar: Bach Praeambulum (Prelude) C major Villa-Lobos Prelude No 1 Villa-Lobos Prelude No 3 Villa-Lobos Prelude No 4 Sor Study B minor The Paganini Duo on CD's: 1) Blue Mountains Gypsies - For iTunes click <b>...</b>
Villa Lobos guitar violin cello Duo Prelude Bach Suite Latin Brazil Tango Georg Mertens Paganini
Jorge Aragao/Heitor Villa Lobos - Bachianas Brasileiras No. 5
This is a Samba-version of Bachianas Brasileiras no. 5, written by Heitor Villa-Lobos
Jorge Aragao Heitor Villa-Lobos Samba Bachianas Brasileiras n.
Galina Vishnevskaya:Villa-Lobos: Bachianas brasileiras No.5
The Great Soprano, Galina Vishnevskaya sings "Bachianas brasileiras No.5" by Villa-Lobos Today is her birthday. Happy Birthday ! I used a poem written by Anna Akhmatova, in 1961. Poem called "Listening to the singing," Akhmatova wrote under the impression to hearing "Villa-Lobos: Bachianas brasileiras No.5" by Galina Vishnevskaya
Galina Vishnevskaya Villa-Lobos Bachianas brasileiras No.5 Галина Вишневская Visjnevskaja Вилла-Лобос Бразильская Бахиана №5 Mstislav Rostropovich soprano song sång en kvinnlig kvinnoröst Brasilianska Bach-toner dikt Achmatova vocal aria cantilena manricov
Villa-Lobos - Bachianas Brasileiras No. 5 - Abaca String Band
A series of nine suites, the Bachianas Brasileiras were an homage to JS Bach written by the Brazilian composer Heitor Villa-Lobos between 1930 and 1945. This is probably Villa-Lobos's single most popular composition. Published as a work for Soprano and 8 'Cellos it was originally conceived of as an instrumental piece with violin as the main melody instrument, as it is again in this arrangement. Recorded at the Poway Center for the Performing Arts, San Diego, CA, on October 22, 2008. Music arranged by Andrew Schulman Videography by Gary Stoefen For Concert Bookings Contact: www.abacaproductions.com Formore info about Abaca String Band: www.abacaproductions.com Guitar by Darren Hippner (Point Roberts, WA - 2008) www.hippnerclassicalguitars.com Violin by Giovanni Battista Grancino (Milan - 1700) Domra by Igor Vladimirovich Yemelyanov (Moscow - 1975) Viola by A. Aurelio (Rome - 1920) Messenger Bass by John Knutson (Forestville, CA - 2003)
Villa-Lobos Bachianas Abaca Violin Viola 8-String Guitar Strings Goodale Zubrycki Schulman Hippner
Villa-Lobos: Bachiana Brasileira n°5 - Aria (Cantilena) by Netania Davrath 1/2
Heitor Villa-Lobos (1887-1959) " Bachiana Brasileira N° 5 I. Aria (Cantilena) - Adagio II. Dança (Martelo) - Allegretto Netania Davrath, Ukrainian soprano (1931-1987) New York Philharmonic Conductor: Leonard Berstein
heitor villa lobos netania davrath bachiana brasileira n°5 aria cantilena brazilian art song operazaile
H. Villa-Lobos: Bachianas Brasileiras No. 1 (III. Fugue) cello ensemble
H. Villa-Lobos: Bachianas Brasileiras No. 1, III. Fugue (Conversa) played by CELLOMANIA CROATA directed by V. Despalj live in concert, Dubrovnik Summer Festival 2005
Villa-Lobos Valter Despalj Cellomania Dubrovnik Cello Ensemble cello choir
Heitor Villa-Lobos - Bachiana No. 6
Bachianas Brasileiras No. 6, for flute & bassoon, A. 392 (1938) I. Aria (Choro) II. Fantasia Erik Gratton, flute Cynthia Estill, bassoon This, the only work of true chamber music in Villa-Lobos' popular series of Bachianas Brasileiras, is one of the most important woodwind duet pieces of the twentieth century. Villa-Lobos began composing the Bachianas in 1930. In that year he returned to Brazil to live after more than a decade in Paris. He had become an internationally recognized composer during that period. Therefore the new nationalist regime of Getulio Vargas was willing to embrace his music both for the prestige he brought the government and out of national pride. Villa-Lobos enhanced that national pride when he announced his opinion that the melodic forms of Brazilian music had certain similarities to those of the greatest of composers, Johann Sebastian Bach, and began composing the Bachianas Brasileiras to demonstrate. Most of them contain double sets of titles, one using a musical term known to Bach's era, and the other one referencing Brazil in some manner. This Bachiana is in two movements and takes about 11 minutes to play. It is quite taxing, even though it was written for and dedicated to a pair of amateur players, flutist Alfredo Lage and bassoonist Evandro Pequeno. The first movement, "Aria; Chôro," begins with the flute playing figurations that resemble patterns from Bach Inventions. One therefore expects that the bassoon will play similar material and thus <b>...</b>
Villa Lobos: Bachianas Brasileira n.5 - Anna Moffo
Bachianas Brasileira n.5 by Heitor Villa-Lobos, for 8 cellos and solo soprano voice, in the astonishing performance by Anna Moffo text: Ruth Valadares Correa Tarde uma nuvem rósea lenta e transparente. Sobre o espaço, sonhadora e bela! Surge no infinito a lua docemente, Enfeitando a tarde, qual meiga donzela Que se apresta ea linda sonhadoramente, Em anseios d'alma para ficar bela Grita ao céu ea terra toda a Natureza! Cala a passarada aos seus tristes queixumes E reflete o mar toda a Sua riqueza... Suave a luz da lua desperta agora A cruel saudade que ri e chora! Tarde uma nuvem rósea lenta e transparente Sobre o espaço, sonhadora e bela! (English translation) Evening, a rosy, slow and transparent cloud Over the space dreamy and beautiful The Moon sweetly appears in the horizon, Decorating the afternoon like a nice damsel Who rushes and dreamy adorns herself With an anxious soul to become beautiful Shout all Nature to the Sky and to the Earth! All birds become silent to the Moon's complains And the Sea reflects its great splendor. Softly, the shining Moon just awakes The cruel missing that laughs and cries. Evening, a rosy, slow and transparent cloud Over the space dreamy and beautiful!
Bachiana nº 5 by Penachi
Agradecimentos especialíssimos à Secretaria Municipal de Cultura e à Fundação das Artes, aqui de São Caetano do Sul, ABC Paulista. Hi people! My modest version of the first part of Bachiana nº 5 - Cantilena. Sorry some little thing ... adapt itself ... without wanting to commit a heresy ... Heitor Villa-Lobos was born in Rio de Janeiro on March 5, 1887 and died in Rio de Janeiro, November 17, 1959. He was a famous composer for uniting music with natural sounds. The cycle of better known works of Villa-Lobos is the nine Bachianas Brasileiras, written between 1930 and 1945, where the composer intended build a national version of the Brandenburg Concertos, using rhythms and musical forms from various regions of Brazil. This intention is clear in Bachianas No. 1, for all of cello, divided into three movements: Introduction (embolism), Prelúdio (chanson) and leakage (Talk). All movements of Bachianas even received two titles: one Bachianas, another Brazilian. Bachianas are excerpts from the famous Tocata, the fourth movement of Bachianas 2, the Aria, which opens to the No. 5 and the Coral and Dance (Squeamish), both in Bachianas No. 4. The instrumentation used in Bachianas Brasileiras was: 1 - orchestra of cello (1932); 2 - chamber orchestra (1933); 3 - piano and orchestra (1934); 4 - piano solo (1930-1940) (later orchestrated in 1942); No 5 - soprano and orchestra of cello (1938); 6 - flute and bassoon (1938); No 7 - full orchestra (1942); 8 - full orchestra (1944) (the one <b>...</b>
Villa Lobos Bachiana nº piano adaptação Penachi música music
Heitor Villa Lobos Bachianas Brasileiras No. 4, I Preludio
Oscar Macchioni plays live Villa Lobos Bachianas Brasileiras No. 4, I Preludio at the Synagogue, EPTA World Piano Conference, Novi Sad, Serbia, May 4, 2009
Heitor Villa-Lobos - Bachiana Brasileira No.2
Heitor Villa-Lobos (1887 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 of all time. 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 Bach-pieces"). Andreas Gursky (1955) is a German visual artist known for his enormous architecture and landscape color photographs, often employing a high point of view. He is represented by the Matthew Marks Gallery in New York and by Sprüth Magers Berlin London in Europe. Visually, Gursky is drawn to large, anonymous, urban spaces—high-rise facades at night, office lobbies, stock exchanges, the interiors of big box retailers. In a 2001 retrospective, New York's Museum of Modern Art called the artist's work, "a sophisticated art of unembellished observation. It is thanks to the artfulness of Gursky's fictions that we recognize his world as our own." Gurskys style is enigmatic and deadpan. There is little to no explanation or manipulation on the works. His photography is straightforward.
Heitor Villa-Lobos - Bachiana No. 9
Bachianas Brasileiras No. 9, for chorus (or string orchestra), A. 449 (1945) I. Prelúdio (vagaroso è mistico) II. Fuga (poco apressado) Nashville Symphony Orchestra Kenneth Schermerhorn As the other Bachianas Brasileiras were written during the 1930s, the period of Gétulio Vargas' regime, No. 9 was the last one, written in the same year Vargas was deposed. Villa-Lobos had become associated with Vargas's government when it appointed Villa-Lobos music education superintendent for Rio de Janeiro. Bachiana Brasileira No. 9 is the only one that does not have double titles (one title based on classical music forms and the other relating to Brazil in some manner). Instead, this eight-minute work (the shortest in the series) is in quintessentially Bachian form of the prelude and fugue. The work is scored for string orchestra (Villa-Lobos also wrote a version of it for wordless choir, but this is rarely performed). The opening, marked with the Italian direction "vague and mystical" begins with a striking sonority using high strings. A very Bachian aria melody unfolds, with harmonization that is often bitonal. The concluding fugue (this Bachiana being one of four in the series that end in a fugue) has a typical quick subject. It rises to a strong and calm conclusion that is a fitting end to one of the most famous series of classical compositions ever written in South America. [Allmusic.com] Art by Antonio Bandeira
Villa-Lobos, Bachiana Brasileira no.4, prelúdio
It is about simple and silly things. We often neglect them, take them for granted. They are of major importance though. Naive phrases like : we must learn to dig the past before we climb the future, we must learn to walk on earth before we fly in the sky. Because ´´flying`` should be our natural condition. Most of these photos of mine belong to the ´failed pictures` category. Today they make sense. Do we take these feeble pictures by chance? The meaning of things is it invented, does it come from their context or is it innate in their nature? Heitor Villa-Lobos (1887-1959) composed his 4th Bachiana Brasileira, for piano, between 1930 and 1941. It was arranged for orchestra in 1941 and premiered in this form in 1942. Prelude is the first of the four parts. Orquestra de Câmara Rio Strings is the most interesting chamber orchestra that I heard in Brazil. It is the fruit of the efforts made by cellist David Chew. Happily enough, they have started to record. I found this music in their highly recommended cd "Fantasia Brasileira", Biscoito Fino 2003. Enjoy.
Heitor Villa Lobos bachiana brasileira preludio prelude orquestra de camara rio strings danid chew classical music Brasil photography arts
Bachiana no.5 and Bachianinha no. 1 - Jose Barrense Dias - Paulinho Nogueira
Bachianas arranged by Alfredo Muro Performed at the Music Community Center, Dec 13 4:00pm 2009 Portland, OR Special thanks to Jeff Ashton for making this recital possible.
Heitor Villa-Lobos - Bachiana No. 5
Bachianas Brasileiras No. 5, for voice & 8 cellos, A. 389 (1938-1945) I. Aria (Cantilena) II. Dança (Martelo) Rosana Lamosa, soprano Anthony La Marchina, principal cello Villa-Lobos' series of nine works titled Bachianas Brasileiras reflects both the composer's Brazilian heritage and his lifelong admiration for the music of Johann Sebastian Bach. The fifth entry in the series (1938-1945), which has emerged as the most popular of the composer's works, further suggests the scope of his sonic imagination in its unusual scoring for soprano and eight solo cellos. Like most of its companion works, Bachianas Brasileiras No. 5 exhibits characteristics of the Baroque suite, and those of Bach in particular. The first movement, an adagio Aria, is marked by a particular lyrical expansiveness. The more spirited Danza, noted the composer, "represents a persistent and characteristic rhythm much like the emboladas, those strange melodies of the Brazilian hinterland. The melody suggests the birds of Brazil." [Allmusic.com]
Bachianas Brasileiras No 5 - I Aria
The Project STEP 25th anniversary benefit concert had this performance by Louise Toppin, Mark Churchill conducting, with Tony Rymer cello I, Aristides Rivas cello II, and Javier Caballero cello III, also Adrya Sanchez, Ndidi Menkiti, Alexander Olapade, Felicia Simmons and Larenzo Gousby on cello
Villa-Lobos: Bachianas Brazileiras N.5
Giorgos Mastrogiannopoulos and Hara Saounatsou perform Villa-Lobos Bachianas Brazileiras N.5 on a TV show info: mastrogiannopoulos@gmail.com
Villa-Lobos Bachianas Brazileiras N.5 Cotsiolis Melis Guitar Saounatsou Desiderio Flute
Heitor Villa-Lobos - Bachiana No. 1, II-III
Bachianas Brasileiras No. 1, for 8 cellos, A. 246 (1930) I. Introdução -- Embolada II. Prelúdio -- Modinha III. Fuga -- Conversa Members ot the Nashville Symphony Orchestra Andrew Mogrelia The 1930s brought an increased consciousness among many composers of the need to reduce the complexity of their music in a bid to make their music more appealing to the common people. It was also an era of nationalistic regimes. When Villa-Lobos returned to Brazil in 1930, after several years in Paris, his music was immediately affected by both these trends. Appealing to Brazilian national pride, he announced that he saw great similarities between Brazilian national melody and the melody-style of Johann Sebastian Bach, and began to write his series of works called Bachianas Brasileiras, meant to display this dual nature of Brazilian music. The first of these works was for a new form of chamber ensemble: a group of eight cellos. Villa-Lobos also used this ensemble for some transcriptions of Bach works, so by including this work on programs with these transcriptions he could reinforce his contention about Brazilian music. Bachiana Brasileira No. 1 is in three movements. In accordance with what would become his usual practice Villa-Lobos gave each movement two titles, a "Bachian" one and a Brazilian one. "Introdução (Introduction); Embolada." An embolada is a kind of perpetuum mobile from northeastern Brazilian traveling musicians. It is a rapid and rhythmic invention with a two-section <b>...</b>
Heitor Villa-Lobos - Bachiana No. 4, III-IV
Bachianas Brasileiras No. 4, for piano & orchestra, A. 424 (1941) I. Prelúdio (Introducao) II. Coral (Canto do Sertao) III. Aria (Cantiga) IV. Danca (Miudinho) Nashville Symphony Orchestra Kenneth Schermerhorn Seeking to influence the wide-ranging social policy of Vargas' "Estado Nova" (New State) to include national music education, Heitor Villa-Lobos began two major projects: the Guia Prático (Practical Guide), a music curriculum using Brazilian materials; and the nine Bachianas Brasileiras, dedicated to demonstrating a link between Brazilian music and the themes of Johann Sebastian Bach. In 1930 he produced three pieces for the Bachianas, including the eventual fourth movement of this Bachiana, for piano solo. Over the next few years he added three additional movements to make a four-movement suite. In 1941 he orchestrated them for a full symphony orchestra with two flutes plus piccolo, two oboes plus English horn, two clarinets, two bassoons, seven trumpets, three trombones, tuba, strings, and a percussion section of timpani, bombo, tam-tam, xylophone, and celesta. The piano version of this Bachiana premiered in November 1939 with Viera Brandao at the keyboard. The composer conducted the world premiere of the orchestral version in 1942. [Allmusic.com] Art by Emilio Scanavino
♫ Bachianas brasileiras No. 5 for Soprano and Cello Ensemble ♫Heitor Villa-Lobos
Bachianas brasileiras No. 5 for Soprano and Cello Ensemble :Heitor Villa-Lobos - Soprano: Rosana Lamosa. Photographies taken from the main title of "Days of Heaven" *(COPYRIGHT:I don't own anything in this clip. This is totally fanmade for entertainment only.All rights belong to their proper owners and absolutely no copyright infringement is intended.)
Bachianas brasileiras Heitor Villa Lobos Rosana Lamosa clásica Days of Heaven
Villa-Lobos / Victoria De Los Angeles, 1958: Bachianas Brasileiras No. 5 - Aria, Dansa - Vinyl
So thatthere is no question in the mind of the listener, I rely principally on images of the LP and LP jacket in order to document the authenticity of historically important recordings such as these. Victoria De Los Angeles (1923-2005) is soprano in this 1958 performance of Bachianas Brasileiras No. 5 by Heitor Villa-Lobos (1887-1959). Villa-Lobos leads the eight celli; Fernand Benedetti is solo cellist. Notes on the reverse LP jacket are by the composer. I created this video from the LP shown above, issued in 1958 on the Angel label, serial number 35547. Part 1: Aria - Cantilena Part 2: Dansa - Martelo Note: You might be interested in another performance of this work, a year earlier, by Bidú Sayão: www.youtube.com ------------------------------------------------------------------------ Tracks on this LP: Bachianas Brasileiras No. 2 For Orchestra Prelude • The Song Of The Countryman Aria • The Song Of Our Country Dansa Toccata • Little Train Of The Caipira Bachianas Brasileiras No. 6 For Flute And Bassoon Aria ; Fantasia (Bassoon - René Plessier; Flute - Fernand Dufrène) Bachianas Brasileiras No. 5 For Soprano And Eight Cell Aria ; Dansa (Cellist - Fernand Benedetti) Soprano - Victoria De Los Angeles Bachianas Brasileiras No. 9 For String Orchestra Preludio E Fuga ------------------------------------------------------------------------ A 1958 review of this LP from Gramophone Magazine is available here: www.gramophone.net <b>...</b>
Villa-Lobos Victoria De Los Angeles Bachianas Brasileiras Heitor Villa-Lobos Bachianas Brasileiras No. 5 Fernand Benedetti Angel 35547 Bidú Sayão David Hertzberg davidhertzberg jhnnsbstnbch classicvinyl.com Classic Vinyl lps Julian Bream Mazurka-Choro Suite Populaire Brésilienne Valse-Choro Schottisch-Choro
Bachianas Brasileiras Nr.9 - Prelude & Fuga (Villa-Lobos-Duo) www.boyankaranjuloff.de
Villa-Lobos-Duo (Boyan Karanjuloff, guitar and Sven Holger Philippsen, cello) play "Bachianas Brasileiras Nr.9 - Prelude and Fuga" by Heitor Villa-Lobos, arranged by Boyan Karanjuloff. www.boyankaranjuloff.de www.villalobosduo.com
acoustic akustisch guitar gitarra gitarre cello violoncello klassik classical duo live Classical Music Acoustic Music Bach Villa-Lobos-Duo Villa Lobos Duo Villa-Lobos Orchestra Bachiana Brasilien Brazil Brasilianische Musik Brazilian Music Johann Sebastian Bach
Armen Antonian cello BACHIANA VILLALOBOS
Cellist Armen Antonian performing the Villalobos Bachiana
Armen Antonian Villalobos bachiana cello Rostropovich Casals classical music
Norteno plays Bachiana Tanguera
Norteno performs Pierre-Paul Provencher's "Bachiana Tanguera" with the Ottawa Chamber Orchestra. Pierre-Paul Provencher - bandoneon Christian Vachon - violin Laurie Rosewarne - piano Peter Storzenecker - guitar Marie-Christine Desrosiers - double bass
norteno bachiana tanguera astor piazzolla pierre-paul provencher peter storzenecker laurie rosewarne christian vachon marie-christine desrosiers tango nuevo dance ottawa classical chamber music jazz guitar piano violin bandoneon
Aria from Bachianas Brasileiras # 5 by Lilly Abreu
Aria from Bachianas Brasileiras # 5 Heitor Villa-Lobos (1887-1950) by Lilly Abreu, soprano, David Bennett, cello and Leon Salcedo, guitar. Recorded at the Chatham University, Campbell Memorial Chapel, April 2, 2011."Celebrate Japan". Lilly Abreu Brazilian Portuguese Language and Culture workshops this Summer cdbaby.com www.lillyabreu.com www.myspace.com/sopranolillyabreu www.youtube.com www.pittsburghlive.com Carnegie Mellon University University of Pittsburgh Chatham University Pittsburgh Opera Video Editing by Victor Beltran / vmanuelbeltran@mac.com
Bachiana Brasileira No. 5. - Amazon Youth Cello Choir
The Bachiana Brasileira No. 5. was performed by the Amazon Youth Cello Choir at the Teatro da Paz, in Bele - Brazil, in 2007. It was directed by Dr. Aureo DeFreitas
ISME Beijing Tianjin AYCC AYCC; EMUFPA; Aureo defreitas; Amazon; Youth Cello Choir; Program; Bachiana Brasileira No. 5; Heitor Villa Lobos
Heitor Villa-Lobos - Bachiana No. 1, I
Bachianas Brasileiras No. 1, for 8 cellos, A. 246 (1930) I. Introdução -- Embolada II. Prelúdio -- Modinha III. Fuga -- Conversa Members ot the Nashville Symphony Orchestra Andrew Mogrelia The 1930s brought an increased consciousness among many composers of the need to reduce the complexity of their music in a bid to make their music more appealing to the common people. It was also an era of nationalistic regimes. When Villa-Lobos returned to Brazil in 1930, after several years in Paris, his music was immediately affected by both these trends. Appealing to Brazilian national pride, he announced that he saw great similarities between Brazilian national melody and the melody-style of Johann Sebastian Bach, and began to write his series of works called Bachianas Brasileiras, meant to display this dual nature of Brazilian music. The first of these works was for a new form of chamber ensemble: a group of eight cellos. Villa-Lobos also used this ensemble for some transcriptions of Bach works, so by including this work on programs with these transcriptions he could reinforce his contention about Brazilian music. Bachiana Brasileira No. 1 is in three movements. In accordance with what would become his usual practice Villa-Lobos gave each movement two titles, a "Bachian" one and a Brazilian one. "Introdução (Introduction); Embolada." An embolada is a kind of perpetuum mobile from northeastern Brazilian traveling musicians. It is a rapid and rhythmic invention with a two-section <b>...</b>
Bachiana Bulgara - Asen & Milena Group
"Bachiana Bulgara" is a traditional Bulgarian folk tune performed here by Asen & Milena Group.Featured guest - Ljubomir Nikov, violoncello Guitar based on JSBach's Prelude BWV1007 The song talks about a girl who, while picking flowers in her garden, falls asleep and then a young man comes with a bouquet of flowers and a ring to wake her up and propose to her. Asen&Milena Group appeared in 2009 to unite the magic of the Bulgarian folklore with the classical music and jazz traditions. The performances at several classical and ethno music festivals in Sofia, Plovdiv, Velingrad, etc. received great response from the audience. The first album of A&M Group "Na Srede Zemja" was released in June 2011. Milena Karadjova - Vocal Milena was born in Strandzha-Sakar mountain and grew up with the love for the local folklore. In 2008 and 2010 Milena released 2 albums with songs from Rhodopi Mountain, arranged in a folk-jazz style. With the label of "Riva Sound", the CDs had been played in number of TV and radio broadcasts, including the Bulgarian National Radio and Jazz FM. Both CDs feature musicians such as R. Toskov, Hr. Jotsov, V. Veselinov-Eko, and Tsv. Nedjalkov and V. Kojchev. Asen Marinov -- Classical Guitar He completed his MA in classical guitar at the New Bulgarian University, Sofia, Bulgaria, with proff. D. Doychinov.Asen is a winner of several awards at National and International Guitar Festivals. As a member of EPIKA Guitar Quintet and as a soloist, his performances have <b>...</b>
Asen Marinov Milena Karadjova Hristian Georgiev Asen and Milena Group Bulgarian folk music ethnic music Bulgarian folk-jazz bulgarian vocal music НА СРЕДЕ ЗЕМЯ АСЕН И МИЛЕНА ГРУП Милена Караджова Асен Маринов Християн Георгиев Bulgaria classical music
Heitor Villa-Lobos - Bachiana No. 2, I-II
Bachianas Brasileiras No. 2, for orchestra, A. 247 (1930) I. Prelúdio -- O Canto do capadócio (Scamp's Song) II. Aria -- O Canto da nossa terra (Song of Our Land) III. Dança -- Lembrança do Sertão (Remembrance of the Bush) IV. Toccata -- O trenzinho do Caipira (The Peasant's Little Train) Nashville Symphony Orchestra Kenneth Schermerhorn Among the Heitor Villa-Lobos's first actions on arriving back in Brazil, after living in Paris for 13 years, was to announce that he had discovered a link between Brazilian music and the great timeless qualities of the melodies of Johann Sebastian Bach, and would demonstrate them with a series of works called Bachianas Brasileiras. This composition quickly followed. It is scored for a small orchestra of ten wind instruments, a standard string section, piano and celesta, and a percussion section of standard instruments and four native Brazilian rattles (ganzá, chocalhos, matraca, and recoreco). It is the most popular of all the eight purely instrumental Bachianas Brasileiras and is one of the rare pieces in the series that includes descriptive music. Here Villa-Lobos describes scenes of the Brazilian countryside and its people. (As usual in the Bachianas series, Villa-Lobos provided dual titles, one stating the name of a form known to Bach and the other identifying its Brazilian characteristic.) "Prelúdio; O Canto do Capadocio." The first movement is a lovely and insinuating Adagio with a somewhat faster (Andantino mosso) central dance <b>...</b>
Heitor Villa-Lobos - Bachiana No. 4, I-II
Bachianas Brasileiras No. 4, for piano & orchestra, A. 424 (1941) I. Prelúdio (Introducao) II. Coral (Canto do Sertao) III. Aria (Cantiga) IV. Danca (Miudinho) Nashville Symphony Orchestra Kenneth Schermerhorn Seeking to influence the wide-ranging social policy of Vargas' "Estado Nova" (New State) to include national music education, Heitor Villa-Lobos began two major projects: the Guia Prático (Practical Guide), a music curriculum using Brazilian materials; and the nine Bachianas Brasileiras, dedicated to demonstrating a link between Brazilian music and the themes of Johann Sebastian Bach. In 1930 he produced three pieces for the Bachianas, including the eventual fourth movement of this Bachiana, for piano solo. Over the next few years he added three additional movements to make a four-movement suite. In 1941 he orchestrated them for a full symphony orchestra with two flutes plus piccolo, two oboes plus English horn, two clarinets, two bassoons, seven trumpets, three trombones, tuba, strings, and a percussion section of timpani, bombo, tam-tam, xylophone, and celesta. The piano version of this Bachiana premiered in November 1939 with Viera Brandao at the keyboard. The composer conducted the world premiere of the orchestral version in 1942. [Allmusic.com] Art by Emilio Scanavino
Heitor Villa-Lobos - Bachiana No. 3, III
Bachianas Brasileiras No. 3, for piano & orchestra, A. 388 (1938) I. Prelúdio (Ponteio) II. Fantasia (Devaneio) III. Aria -- Modinha IV. Toccata (Picapu) José Feghali, piano Nashville Symphony Orchestra Kenneth Schermerhorn The nine Bachianas Brasileiras as a group are the most popular compositions of the great Brazilian composer Heitor Villa-Lobos (1887 - 1959). Villa-Lobos began to compose the series in 1930. In that year he returned from Paris, where he had lived for about a dozen years and made himself into one of the leading composers of the modernist generation. On return to Brazil, with a nationalist government headed by Getulio Vargas now in power, he proposed a national system of musical education based on Brazilian musical material. The Bachianas Brasileiras were intended to show the worthiness of indigenous music, which Villa-Lobos praised as having inherent similarities to the greatest music of Johann Sebastian Bach. All the Bachianas, therefore, have two sides: Brazilian and Bachian. They are uniformly simpler in texture and more classical in structure than Villa-Lobos' prior great series of compositions, the Chôros, which are based on a type of urban street music of Brazil bearing that name. The third Bachiana Brasileira was actually the fourth to be composed. Number Four of the group was written as a piano solo before the instant work, but orchestrated later. When Villa-Lobos numbered the set, he counted this one as the third. It is the only Bachiana <b>...</b>
Heitor Villa-Lobos - Bachiana No. 7, I-II
Bachianas Brasileiras No. 7, for orchestra, A. 432 (1942) I. Prelúdio (Ponteio) II. Giga (Quadrilha Caipira) III. Toccata (Desafio) IV. Fuga (Conversa) Nashville Symphony Orchestra Kenneth Schermerhorn Brazil's leading composer, Heitor Villa-Lobos, wrote nine compositions under the title Bachianas Brasileiras, including some of his most famous works. They all appeared between the years 1930 and 1945, which coincide with the nationalist and autocratic regimes of Getulio Vargas. The commentator Anna Stella-Schic has noted that in the earlier set of works called Chôros Villa-Lobos had used Brazilian popular and folk materials to create scholarly music, whereas in the Bachianas he used the scholarly base of Bach to write music of a simpler and more popular nature. The populism of this approach was in keeping with the ideological preferences of the Vargas regime, as was Villa-Lobos' assertion that Brazilian folk music had elements in common with the melodies of Bach. Beginning with the composition of the Bachianas Villa-Lobos became identified with the regime, and from 1932 onward served as the Superintendent of Musical and Artistic Education for the city of Rio de Janeiro, which was then the nation's capital. This Bachiana was dedicated to Villa-Lobos' superior, Minister of Education Gustavo Capanema. It is the one that comes closest to the exuberant contrapuntal density of the Choros series. At over 25 minutes, it is the longest Bachiana, and is often ranked as the best work <b>...</b>
Heitor Villa-Lobos - Bachiana No. 3, II
Bachianas Brasileiras No. 3, for piano & orchestra, A. 388 (1938) I. Prelúdio (Ponteio) II. Fantasia (Devaneio) III. Aria -- Modinha IV. Toccata (Picapu) José Feghali, piano Nashville Symphony Orchestra Kenneth Schermerhorn The nine Bachianas Brasileiras as a group are the most popular compositions of the great Brazilian composer Heitor Villa-Lobos (1887 - 1959). Villa-Lobos began to compose the series in 1930. In that year he returned from Paris, where he had lived for about a dozen years and made himself into one of the leading composers of the modernist generation. On return to Brazil, with a nationalist government headed by Getulio Vargas now in power, he proposed a national system of musical education based on Brazilian musical material. The Bachianas Brasileiras were intended to show the worthiness of indigenous music, which Villa-Lobos praised as having inherent similarities to the greatest music of Johann Sebastian Bach. All the Bachianas, therefore, have two sides: Brazilian and Bachian. They are uniformly simpler in texture and more classical in structure than Villa-Lobos' prior great series of compositions, the Chôros, which are based on a type of urban street music of Brazil bearing that name. The third Bachiana Brasileira was actually the fourth to be composed. Number Four of the group was written as a piano solo before the instant work, but orchestrated later. When Villa-Lobos numbered the set, he counted this one as the third. It is the only Bachiana <b>...</b>
Bachianas Brasileiras No.5 Aria, Donna Brown.
From the BIS CD Villa-Lobos "Bachianas Brasileiras: Nos. 1,4,5,6 " Donna Brown soprano, Antonio Mesnesis, solo cello. Roberto Minczuk, conductor, Sao Paolo cellists, "No. 5 with Donna Brown has to be the quintessential performance of this most famous of the Bachianas. She is absolutely liquid from start to finish." (American Record Guide) "In Bachiana No.5, Donna Brown sings her way to first place in my opinion, arrived at by a lot of comparative listening. The clarity of diction and the way she carries the voice are excellent, and the lyrically soulful singing of the agile soprano results in pure delight for the ear. (Pizzicato ) "Soprano Donna Brown is splendid, rivaling even the classic recordings of de los Angeles, and Sayao in tonal beauty in the aria, and clarity of diction, and rhythmic precision in the Dansa." (Fanfare)
Donna Brown Antonio Mesnesis Donna Brown soprano Bachianas Brasileiras No.5 Roberto Minczuk