Track Listing

1. Bachianas Brasileiras No. 4, for piano & orchestra, A. 424: Prelude (Introducao)
2. Bachianas Brasileiras No. 4, for piano & orchestra, A. 424: Choral (Canto Do Sertao)
3. Bachianas Brasileiras No. 4, for piano & orchestra, A. 424: Aria (Cantiga)
4. Bachianas Brasileiras No. 4, for piano & orchestra, A. 424: Danse (Miudinho)
5. Bachianas Brasileiras No. 5, for voice & 8 cellos, A. 389: Aria
6. Bachianas Brasileiras No. 5, for voice & 8 cellos, A. 389: Danza
7. Bachianas Brasileiras No. 7, for orchestra, A. 432: No. 1, "Preludio" (Ponteio)
8. Bachianas Brasileiras No. 7, for orchestra, A. 432: No. 2, "Giga" (Quadrilha caipira)
9. Bachianas Brasileiras No. 7, for orchestra, A. 432: No. 3, "Tocata" (Desafio)
10. Bachianas Brasileiras No. 7, for orchestra, A. 432: No. 4, "Fuga" (Conversa)
11. Bachianas Brasileiras No. 9, for chorus (or string orchestra), A. 449: No. 1, "Preludio" (Vagoroso e mistico)
12. Bachianas Brasileiras No. 9, for chorus (or string orchestra), A. 449: No. 2, "Fuga" (Poco apressado)
13. Ch�ros No. 10, for chorus & orchestra, 'Rasga o Cora�ao' (also ballet, 'Jurapary'), A. 209

Product Details

• Amazon Sales Rank: #169995 in Music
• Brand: RCA
• Released on: 1997-01-14
• Number of discs: 1
• Dimensions: .24 pounds

Amazon.com
This is a really fine record, particularly as it does not include the ubiquitous Bachiana Brasileira No. 2, which will be the only exposure that many people have to these extraordinary "fusion" pieces in which the composer marries forms of Brazilian folk music with those of the J.S. Bach. Of course, No. 5 is even more famous than No. 2, but it's a vocal work in two movements scored for soprano and eight cellos. The first movement is well known, but the second--a zippy little dance--is often omitted, making hash of the composer's intentions. All of this music is well worth knowing, especially in performances as vital and characterful as these. Super. --David Hurwitz

Customer Reviews

Orchestrals sonorous, but...Renee not well-suited
The orchestral selections are rich, spacious, and sonorous...they hold the attention consistently and happily. The CD is well worth its price for those alone.

But, Renee Fleming is not suited for the music in her Bachianas Brasileiras No. 5. The top-most notes get thin and screechy...and the humming section is pinched, pale, and puny -- not pleasant. I am a Renee Fleming admirer of the very first order....but, my "love" is not unconditional, and in this case...if asked, I would have advised her to avoid it.

cool music's hopes not met..
Hard to put a finger on it. LOVE the music - Villa-Lobos is ALWAYS exciting (even his Quartets are wild and fresh), and the Bachianas Basilieras is a magical score. Tilson Thomas attends to the colors, but there's something lackluster about the whole performance. Something missing in the conducting. I find myself NOT in a repeat play mode with this recording! Fleming parades an overstuffed voice in the doleful #5, why is she lately so unnecessary??? Gosh, I'd so like to like her art, but it seems she's lost and passing through some weird phase vocally. Hope it doesnt last. The performances on this recording have too much pretense around them, & it's a real negative. These folks are young and gifted, maybe I'm a crank... but there's no reason not to always make music with integrity, is there? On Joan Baez' first or second album she recorded the No.5.. I'd really like to hear that recording again.

Brazilian Classical Music
I find it very interesting that Heitor Villa-Lobos could so easily equate Brazilian folk music with that of J.S. Bach. All the more interesting are his "tributes to Bach in a Brazilian style". Each of the Bachianas Brasileiras are scored differently, and in many cases, there are many versions of the same work. This disk features four of the Bachianas Brasileiras and one setting of the Choros, Number 10.

Bachianas Brasileiras No. 4 is very thickly textured for the entire orchestra. Percussion and use of brass give the Brazilian feel while the form and many of the progressions give the feel of Bach. Villa-Lobos will often use an actual Brazilian folk melody, but make sure its archetypal shape is Baroque or he will put the melody into a "Bachian" technique. The dance rhythms, however, are Brazilian through and through. No. 5 is scored for multi-divisi cello parts and solo soprano. Only two movemnts long, the 1st is very much a vocalise with is monosyllabic melody. Contrasting, the 2nd movement is more like a patter song. Renee Fleming has a naturally beautiful and resonant voice. She does change the final note from the written C5 to high C6. No. 7's movements are labelled with Baroque forms: Preludio, Giga, Tocata, and Fuga. Like No. 4, it is scored for full orchestra using the same techniques. Villa-Lobos' last contribution of Bachianas Brasileiras, No. 9, is a prelude and fugue. Scored for string orchestra, this one evokes Bach the clearest of all.

Choros No. 10 for orchestra, piano, a battery of Brazilian percussion, and chorus is a bit of a different work. The sound is not so romantic, but revels in using dissonance in nearly a Stravinskian manner. Driving tribal rhythms, virtousic passages for individual instruments, and inclusion of a "tribal" chanting chorus make this a miniature magnum opus.

It is hopeful that with this successful recording, that more Villa-Lobos music will become standard fare. The New World Symphony exploit the exoticism and Neo-Baroque/Romanticism fo the works with pinache. The music is very approachable and fun.