Бразильские Бачианас

Бачианас Бразильские ( произношение: [Bakiˈɐ̃nɐz bɾaziˈlejɾɐs] ) (приблизительный английский перевод может быть в стиле бахарских бразильских произведений ) представляют собой серию из девяти люксов бразильского Португальское композитора Heitor villa-lobos , написанные для различных комбинаций инструментов и голосов между 1930 и 1945. Представляют фьюжн бразильской народной и популярной музыки, с одной стороны, и стиля Иоганна Себастьяна Баха с другой, как попытка свободно адаптировать ряд процедур барокко гармонических и контрапунтальных к бразильской музыке . Большинство движений в каждом наборе имеют два титула: один «бахиан» (прелюдио, фуга и т. Д.), Другой бразильский (Эмболада, О Канто да Носса Терра и т. Д.).

В Bachianas Villa-Lobos использует сложность контрапункта и гармоники, типичную для музыки Баха, и сочетает ее с лирическим качеством оперного пения и бразильской песни. Слушатель испытывает очарование бразильского пейзажа; энергия бразильского танца; цвет, диссонанс и выражение бразильского модернизма начала 20-го века; и освежающая оригинальность композиционного стиля Вилла-Лобос.

Бразильские Бачианас № 1

Забил за оркестр Виолонцев (1930). Посвящен Пабло Касальсу .

• Введение ( emboada )
• Прелюдия ( Modinha )
• Fuga (Conversa) (Conversation)

Bachianas Brasileiras No. 2

Scored for orchestra (1930). There are four movements. According to one opinion, the third movement was later transcribed for piano, and the others for cello and piano. According to another, it was the other way around: three pieces for cello and piano and a solo piano piece, none of them connected with each other and none of them originally with any Bach associations, were brought together and scored for chamber orchestra.

• 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".
• Aria (O canto da nossa terra)
• Dansa (Lembrança do Sertão) (Memento of the Sertão)
• Toccata (O trenzinho [misspelled in the score: "tremzinho"] do caipira): The Little Train of the Caipira; "caipira" meaning a person from the country, or small town, a "hick" but without the negative connotation.

This work is scored for flute, oboe, clarinet, tenor and baritone saxophones, bassoon, contrabassoon, 2 horns, trombone, timpani, ganzá, chocalho, pandeira, reco, matraca, caixa, triangle, cymbals, tam-tam, bass drum, celesta, piano, and strings.

Bachianas Brasileiras No. 3

Scored for piano and orchestra (1938).

• Prelúdio (Ponteio)
• Fantasia (Devaneio) (Digression)
• Ária (Modinha)
• Toccata (Picapau) (Woodpecker)

The orchestral forces for this work, in addition to the solo piano, are: piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 4 trombones, tuba, timpani, bass drum, tam-tam, xylophone, and strings.

CBS radio premiered Bachianas Brasileras No.3 on February 19, 1947, New York José Vieira Brandão (piano), CBS Orchestra, Villa-Lobos (conductor)

Bachianas Brasileiras No. 4

Scored for piano (1930–41); orchestrated in 1942 (Preludio dedicated to Tomas Terán; Coral dedicated to José Vieira Brandão; Ária dedicated to Sylvio Salema; Dança dedicated to Antonieta Rudge Müller).

• Prelúdio (Introdução)
• Coral (Canto do Sertão)
• Ária (Cantiga)
• Danza (Miudinho) (a type of dance, the word itself meaning "tiny", "playful") as spelled on p. 45 of the orchestra score, and, twice in the piano version and once for the orchestral version,.

The Bachiana Brasileira No. 4 begins with the beautiful Prelúdio (Introdução) (lit: introduction) and features broad lyrical melodies in lush imitative passages. The title of the second movement, Coral (Canto do Sertão) (song of the hinterlands), refers to a song from the arid backlands of the Brazilian northeast. The movement features a clear lyrical melody in a polyphonic setting that ends with a powerful homophonic texture typical of Bach's Lutheran chorales. In Ária (Cantiga), Villa-Lobos borrows a beautiful and nostalgic northeastern Brazilian melody about the sertão and uses it as a cantus firmus for the composition. The final movement, Danza (miudinho), is a bright and energetic dance-like piece subtitled Miudinho, which is a reference to the small playful-like steps typical of a number of Brazilian dance forms such as samba, forró, and capoeira (an African-influenced Brazilian martial art form). The orchestral version is scored for piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, tam-tam, xylophone, celesta, and strings. The first movement (Prelúdio) is scored for strings alone.

Bachianas Brasileiras No. 5

Bachianas Brasileiras nº 5 by Heitor Villa-Lobos, dedicated to Arminda Villa-Lobos, 1938.

Scored for soprano and orchestra of eight cellos (1938/45).

• Ária (Cantilena) (lyrics by Ruth V. Corrêa) (Later arranged for solo soprano with guitar accompaniment by Villa-Lobos). This Aria is Villa-Lobos's best-known work. English translation:

In the evening, a dreamy, pretty cloud, slow and transparent, covers outer space with pink. In the infinite the moon rises sweetly, beautifying the evening, like a friendly girl who prepares herself and dreamily makes the evening beautiful. A soul anxious to be pretty shouts to the sky, the land, all of Nature. The birds silence themselves to her complaints, and the sea reflects all of Her [the moon's] wealth. The gentle light of the moon now awakens the cruel saudade [nostalgic or melancholic longing] that laughs and cries. In the evening, a dreamy, pretty cloud, slow and transparent, covers outer space with pink.

• Dança (Martelo) (lyrics by Manuel Bandeira). The musical form is embolada, a rapid poem/song of the Brazilian Northeast. It is a poem of nostalgia (saudade) for the birds of the Cariri Mountains, in the state of Ceará. The lyrics contain a list of species of birds: ben-te-vi (Pitangus sulphuratus), sabiá (Turdus fumigatus), juriti (Leptotila rufaxilla), irerê (Dendrocygna viduata), patativa (Sporophila leucoptera), cambaxirra (Odontorchilus cinereus). The music imitates bird song: "La! liá! liá! liá! liá! liá!" "Sing more", the words say, "to remember Cariri" ("Canta mais! canta mais! prá alembrá o Cariri!").

Bachianas Brasileiras No. 6

Scored for flute and bassoon (1938).

• Ária (Chôro)
• Fantasia

Bachianas Brasileiras No. 7

Scored for symphony orchestra (1942); dedicated to Gustavo Capanema.

• Prelúdio (Ponteio)
• Giga (Quadrilha caipira)
• Tocata (Repente) (Dare)
• Fuga (Conversa)

This work is scored for piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 4 trombones, tuba, timpani, tam-tam, xylophone, coconut shell, bass drum, celesta, harp and strings.

Bachianas Brasileiras No. 8

Scored for symphony orchestra (1944); dedicated to Mindinha.

• Prelúdio
• Ária (Modinha)
• Tocata (Catira batida)
• Fuga (Also arranged for four-part a cappella choir.)

This work is scored for piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 4 trombones, tuba, timpani, tam-tam, xylophone, 3 wood blocks (high, medium and low), tarol, bass drum, celesta, and strings.

Bachianas Brasileiras No. 9

Scored for chorus or string orchestra (1945).

• Prélude
• Fugue

Ambiguities in the scores

Because Villa-Lobos dashed off compositions in feverish haste and preferred writing new pieces to revising and correcting already completed ones, numerous slips of the pen, miscalculations, impracticalities or even impossibilities, imprecise notations, uncertainty in specification of instruments, and other problems inescapably remain in the printed scores of the Bachianas, and require performers to take unusual care to decipher what the composer actually intended. In the frequent cases where both the score and the parts are wrong, the recordings made by the composer are the only means of determining what he actually intended.

Recordings

Villa-Lobos сделал ряд записей Bachianas Brasileiras , в том числе полную запись всех девяти композиций, сделанных в Париже для EMI в 1950-х годах, с французским национальным оркестром и Викторией де Лос-Энгелесом в качестве солиста сопрано в № 5. Знаковые записи были выпущены в нескольких конфигурациях на LP, а затем были переизданы на CD. Другие музыканты, в том числе Джоан Бэз , Биду Скай , Энрике Батис , Леонард Бернштейн , Феличжа Блюматаль , Нельсон Фрире , Вернер Янссен , Исаак Карабатчевский , Хесус Лопес-Кобос , Кристина Ортиз , Алдо Парисот , Менэм Пресслер , Мастовик , Роз , Роз Аткин , Леопольд Стоковски , Майкл Тилсон Томас и Галина Вишневская , впоследствии записали некоторую или всю музыку.

Смотрите также

• -ana , для других музыкальных произведений, использующих суффикс «-ана», чтобы отдать дань уважения другому композитору

Ссылки

• Раунд, Майкл. 1989. " Bachianas Brasileiras в производительности". Темп , новая серия, нет. 169 (июнь, «50 -летие 1939–1989»): 34–41.

Дальнейшее чтение

• Архангел, Локе. 2008. Ритм микса и компас истории: музыкальный модернизм в бразильских бахианах из Heitor Villa-Lobos . Рио-де-Жанейро: электронные карты. ISBN   978-85-7650-164-0 .
• Нобрега, Адгема. 1976. Бразильские Бачианас из Вилла-Лобос , второе издание. Рио-де-Жанейро: Музей Вилла-Лобос.
• Пальма, Энос -да Коста и Эдгард де Брито Чейвс Юниор. 1971. Бразильские Бачианас из Виллы-Лобос . Рио -де -Жанейро: американская компания Editôra Company.