by Rebecca Cochran
The Brazilian cellist/composer, Heitor Villa-Lobos, wrote between 1930 and 1945 nine pieces he called Bachianas Brasileiras (Brazilian Bach pieces). These take the forms and nationalism of the Brazilian Chôros, and add the composer's love of Bach.
I recently heard no. 4 performed live. It is scored for piano solo. Bach’s influence was evident throughout the four-movement work. Probably the most famous of these nine pieces is no. 5, scored for soprano and an orchestra of cellos. No. 9 takes the concept so far as to be an abstract Prelude and Fugue.
Villa-Lobos made a number of recordings of the Bachianas Brasileiras, including an integral recording of all nine compositions made in Paris for EMI in the 1950s, with the French National Orchestra.
The Brazilian cellist/composer, Heitor Villa-Lobos, wrote between 1930 and 1945 nine pieces he called Bachianas Brasileiras (Brazilian Bach pieces). These take the forms and nationalism of the Brazilian Chôros, and add the composer's love of Bach.
I recently heard no. 4 performed live. It is scored for piano solo. Bach’s influence was evident throughout the four-movement work. Probably the most famous of these nine pieces is no. 5, scored for soprano and an orchestra of cellos. No. 9 takes the concept so far as to be an abstract Prelude and Fugue.
Villa-Lobos made a number of recordings of the Bachianas Brasileiras, including an integral recording of all nine compositions made in Paris for EMI in the 1950s, with the French National Orchestra.
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