- published: 16 Aug 2008
- views: 256082
4:39
HEITOR VILLA LOBOS - O Trenzinho do Caipira
Composição de Heitor Villa Lobos e parte integrante da peça Bachianas Brasileiras nº 2. A ...
published: 16 Aug 2008
HEITOR VILLA LOBOS - O Trenzinho do Caipira
Composição de Heitor Villa Lobos e parte integrante da peça Bachianas Brasileiras nº 2. A obra se caracteriza por imitar o movimento de uma locomotiva com os instrumentos da orquestra.
Regente: Sir Eugene Goosens
Orquestra Sinfônica de Londres
"O Trenzinho do Caipira" is the composition of Heitor Villa Lobos and an integral part of the piece Bachianas Brasileiras No 2. The work is characterized by imitating the movement of a locomotive with the instruments of the orchestra.
- published: 16 Aug 2008
- views: 256082
22:06
Heitor Villa-Lobos - Bachianas Brasileiras, No. 2 Complete
Heitor Villa-Lobos - Bachianas Brasileiras, No. 2 Complete
The Bachianas Brasileiras const...
published: 29 Apr 2012
Heitor Villa-Lobos - Bachianas Brasileiras, No. 2 Complete
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").
- published: 29 Apr 2012
- views: 7408
62:55
Heitor Villa-Lobos: Choros n.11 (1928)
Heitor Villa-Lobos (1887-1959): Choros n.11, per pianoforte e orchestra (1928) -- Cristina...
published: 15 Jan 2012
Heitor Villa-Lobos: Choros n.11 (1928)
Heitor Villa-Lobos (1887-1959): Choros n.11, per pianoforte e orchestra (1928) -- Cristina Ortiz, pianoforte -- São Paulo Symphony Orchestra diretta da John Neschling --
I. Allegro preciso ma non troppo
II. Adagio
III. Allegro moderato
--
cover image by Henri Rousseau
----
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- published: 15 Jan 2012
- views: 24878
21:40
Heitor Villa-Lobos - Suite Populaire Bresilienne
Jan Sommer, guitar.
The basis for this suite is not found in the actual folk music, but...
published: 04 Jan 2012
Heitor Villa-Lobos - Suite Populaire Bresilienne
Jan Sommer, guitar.
The basis for this suite is not found in the actual folk music, but in the popular salon music of those days - with many of the characteristics of this style, blooming so lovely in yhe European, late 18th century. The last piece thoug, Chòrinho, has a more local flavour.
The first four pieces of the suite is composed in a rondo-form : A -B -A - C - A, while the Chòrrinho is more complicated : A - A - B - B - A with variations of the A - section.
- published: 04 Jan 2012
- views: 10556
4:19
David Russell Heitor Villa-Lobos Choro No.1
Courtesy of the Official DavidRussellGuitar.com website. TVE Canal clasico - Spain 2003...
published: 29 Mar 2007
David Russell Heitor Villa-Lobos Choro No.1
Courtesy of the Official DavidRussellGuitar.com website. TVE Canal clasico - Spain 2003
- published: 29 Mar 2007
- views: 849848
30:59
Heitor Villa-Lobos: Sinfonia nº 4 "A Vitória" - Roberto Tibiriçá - FESNOJIV
Gravado ao vivo na Sala Simón Bolívar em 30/01/2011
Orquesta Sinfónica de la Juventud Ven...
published: 12 Mar 2011
Heitor Villa-Lobos: Sinfonia nº 4 "A Vitória" - Roberto Tibiriçá - FESNOJIV
Gravado ao vivo na Sala Simón Bolívar em 30/01/2011
Orquesta Sinfónica de la Juventud Venezolana "Simón Bolívar"
Banda Sinfónica Juvenil Simón Bolívar
Regente: ROBERTO TIBIRIÇÁ
1. Allegro impectuoso
2. Andantino
3. Andante
4. Lento - Allegro
- published: 12 Mar 2011
- views: 11729
3:17
Choro N° 1 (Heitor Villa-Lobos) - Turibio Santos
Choro N° 1, composto em 1920 pelo brasileiro Heitor Villa-Lobos, para violão solo, aqui ex...
published: 31 Jan 2009
Choro N° 1 (Heitor Villa-Lobos) - Turibio Santos
Choro N° 1, composto em 1920 pelo brasileiro Heitor Villa-Lobos, para violão solo, aqui executado pelo exímio violonista brasileiro Turibio Soares Santos.
- Arquivo Raíssa Amaral & Sergio Napoleão Belluco - Piracicaba / SP - Brasil -
- published: 31 Jan 2009
- views: 213208
6:00
Bachianas Brasileiras No 5 - Aria (Heitor Villa-Lobos) - Salli Terri & Laurindo Almeida
Bachianas Brasileiras No 5 (Aria)
music - Heitor Villa Lobos
lyrics - Ruth V Correa
Salli...
published: 13 Jul 2009
Bachianas Brasileiras No 5 - Aria (Heitor Villa-Lobos) - Salli Terri & Laurindo Almeida
Bachianas Brasileiras No 5 (Aria)
music - Heitor Villa Lobos
lyrics - Ruth V Correa
Salli Terri (vocal)
Laurindo Almeida (guitar)
producer: Robert E Myers
recording engineer: Sherwood Hall, III
"Duets with the Spanish Guitar"
US Capitol 8406 (recorded 1958)
The sheet music (with fingering by Andres Segovia) is published by Associated Music Publishers (G Schirmer Inc).
1959 grammy nominations -
Best Engineered Record, Classical (winner)
Best Classical Performance, Vocal Soloist
Villa Lobos considered this version of the Aria, by Salli Terri and Laurindo Almeida, to be the best recorded performance. He originally scored it for voice and eight cellos, and later arranged it for voice and guitar.
"Tarde, uma nuvem rosea lenta e transparente,
sobre o espaco sonhadora e bela!
Surge no infinito a lua docemente,
Enfeitando a darde, qual meiga donzela
Que se a presta e alinda sonhadoramente,
Em anseios d'alma para ficar bela,
Grita ao ceo e a terra toda a Natureza!!!
Ca la a passarada aos seus tristes queixumes,
E reflete o mar to da a sua riqueza...
Suave a luz da lua desperta agora,
A cruel saudade que ri e chora!
Tarde uma nuvem rosea lenta e transparente,
Sobre o espaco sonhadora e bela!"
"Lo, at midnight clouds are slowly passing, rosy and lustrous,
o'er the spacious heav'n with loveliness laden.
From the boundless deep the moon arises
wondrous, glorifying the evening like a beauteous maiden.
Now she adorns herself in half unconscious duty,
eager, anxious that we recognize her beauty,
while sky and earth, yea all nature with applause salute her.
All the birds have ceased their sad and mournful com-plaining;
now appears on the sea in a silver reflection
moonlight softly waking the soul and constraining hearts
to cruel tears and bitter dejection.
Lo, at midnight clouds are slowly passing rosy and lustrous
o'er the spacious heavens dreamily wondrous."
(English translation - Harvey Officer)
more info at http://www.salliterri.org
- published: 13 Jul 2009
- views: 168092
24:37
VILLA-LOBOS: Bachianas Brasileiras 4 - Orquesta Sinfónica Simón Bolívar/Roberto Tibiriçá
Orquesta Simón Bolívar
Regente: Roberto Tibiriçá
Gravado ao vivo durante o V Festival Vill...
published: 13 May 2012
VILLA-LOBOS: Bachianas Brasileiras 4 - Orquesta Sinfónica Simón Bolívar/Roberto Tibiriçá
Orquesta Simón Bolívar
Regente: Roberto Tibiriçá
Gravado ao vivo durante o V Festival Villa-Lobos em 15/04/2012
Sala Simón Bolívar - Caracas, Venezuela
Centro de Acción Social por La Música
Sede Nacional de las Orquestas y Coros Juveniles e Infantiles de Venezuela
- Preludio
- Canto do sertão (Chorale)
- Cantiga (Aria)
- Miudinho (Dance)
- published: 13 May 2012
- views: 34916
5:11
Heitor Villa-Lobos - O trenzinho do caipira (Bachianas brasileiras #2)
Composed by Heitor Villa-Lobos (1887-1959).
Performs:
"The Royal Philarmonic Orchestra...
published: 06 Oct 2010
Heitor Villa-Lobos - O trenzinho do caipira (Bachianas brasileiras #2)
Composed by Heitor Villa-Lobos (1887-1959).
Performs:
"The Royal Philarmonic Orchestra", conductor Enrique Arturo Diemecke.
- published: 06 Oct 2010
- views: 93809
7:05
Bidu Sayão - Bachiana nº 5 - Cantilena
De Heitor Villa-Lobos - Bachiana Brasileira nº 5 - Uma raridade para ouvir e degustar!!!...
published: 17 Nov 2007
Bidu Sayão - Bachiana nº 5 - Cantilena
De Heitor Villa-Lobos - Bachiana Brasileira nº 5 - Uma raridade para ouvir e degustar!!!
- published: 17 Nov 2007
- views: 321509
6:51
Villa Lobos - Bachiana nº 5 - Amel Brahim
Nº 5 de las Bachianas Brasileiras de Heitor Villa-Lobos, interpretadas por
Amal Brahim Dj...
published: 02 Aug 2007
Villa Lobos - Bachiana nº 5 - Amel Brahim
Nº 5 de las Bachianas Brasileiras de Heitor Villa-Lobos, interpretadas por
Amal Brahim Djelloul (soprano) Gautier Capuçon (cello) Orchestre Du Violon Sur Le Sable (Les films Jack Febus)
- published: 02 Aug 2007
- views: 586286
27:28
Heitor Villa-Lobos - Bachianas Brasileiras No. 7 Complete
Heitor Villa-Lobos - Bachianas Brasileiras No. 7 Complete The Bachianas Brasileiras consti...
published: 30 Apr 2012
Heitor Villa-Lobos - Bachianas Brasileiras No. 7 Complete
Heitor Villa-Lobos - Bachianas Brasileiras No. 7 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. 7
Scored for symphony orchestra (1942) (dedicated to Gustavo Capanevia)
Preludio (Ponteio)
Giga (Quadrilha caipira)
Tocata (Desafio)
Fuga (Conversa)
- published: 30 Apr 2012
- views: 20042
Youtube results:
17:20
Heitor Villa-Lobos - Five Preludes for guitar
Jan Sommer, guitar - Villa-Lobos, Heitor. Cinq préludes: pour guitare.
Lyric melody....
published: 04 Jan 2012
Heitor Villa-Lobos - Five Preludes for guitar
Jan Sommer, guitar - Villa-Lobos, Heitor. Cinq préludes: pour guitare.
Lyric melody. Homage to the Brazilian sertanejo.
Capadocia & capoeira melody. Homage to the carioca hustler.
Homage to Bach.
Homage to the Brazilian Indian.
Homage to social life. To the young teenagers who frequent Rio's concerts and theatres.
Heitor Villa-Lobos (March 5, 1887 in Rio de Janeiro, Brazil - November 17, 1959) was a Brazilian composer who lived from 1887 to 1959 and is considered one of Brazil's most famous composers of his life.
Villa-Lobos was born and grew up in Rio de Janeiro, where his father taught him to play the cello until his father's death in 1899. In his childhood home, he was among others familiar with the clarinet, Bach's Well-Tempered Clavier and general music theory. He was also very inspired by Rio's street musicians who often played some so-called "choro" for Carnival and other festive times. As a young man was Villa-Lobos himself a part of this chôromiljø and traveled in 1905 to northern Brazil where he lived as itinerant musician and occasional farm laborer. In 1907 he went to Rio, where he briefly studied at the National Music Institute. Here he fell quickly from when he showed far more interest in folk music. He went further around in northern Brazil and visited, according to him, including the Amazon country, where he had many musical influences, which he later used. In 1923 he traveled to Europe and lived much of his time in Paris. Several times he traveled back and forth between Rio de Janeiro and Paris, but first in 1930, he moved back to Brazil where he worked for the Brazilian government. He was also married to Lucilia Guimarães, which he later abandoned in favor of Arminda Neves de Almeida.
As mentioned, the Villa-Lobos greatly inspired by these groups of buskers, choro, as he himself was a part of. A chôrogruppe indicates a group of instruments, usually consisting of flute, clarinet, ophicleide (a kind of brass), trombone, guitar and cavaquinho (a ukulele-like instrument) with one of these instruments as a soloist and a few percussion instruments. These choro formed only from the Villa-Lobos' compositions, he also sometimes fetched a row from the Indian and negro music and nature sounds. The first choro he wrote, was "choro-No.1" for solo guitar. In this he has collected many original features, the piece is short and filled with anakrusis (the unstressed nodes which begins with the next stroke the first stroke) and 16-del/8-del/16-dels-figurationer, which is very typical features the Brazilian dance rhythms.
In 1905 he began to travel around Brazil's less accessible areas, all the time with Rio de Janeiro as a base from which he drew many different musical impression of him. Brazil had many cultural differences and were a mixture of Portuguese, African and Native American traditions. All these differences overwhelmed him, and it was among other inspirations from these trips that got his thoughts far away from any konservatorieuddannelse. How much he has been completely out of the jungle is not known since most of his stories were tall tales, mostly told for their entertainment value, for example on whether he should have met his first wife to see her shortly before she should have been eaten by some cannibals, after which he rescued her by playing beautiful cello music of the cannibals, only to receive her as a gift. Some of his inspirations may also have come from his father, who liked to tell his children Indian legends and traditional Brazilian stories. It is known that Villa-Lobos, in 1920, during his stay in Paris, had found a lot of material about the Brazilian Indians, among others transcribed melodies of books from various European explorers in Biblioteques Nationale. Most of this material was not to get on in Brazil. Also present were a man named E. Roquette Pinto in a Brazilian expedition in the jungle in 1907-15, where he was very interested in Indian music and recorded several songs on cylinders (contemporary LPs). According to his family to Villa-Lobos have borrowed some of these. These loans and the things he has been able to find on Biblioteques National, could conceivably have been some of the biggest inspirations, as he has had from the less accessible areas in Brazil
- published: 04 Jan 2012
- views: 15555
9:58
Eduardo Lopes Bachiana Brasileira n°4 Prelude - H. Villa-Lobos
Eduardo Lopes conducts the Orchestre national de Lyon playing the first movement of Heitor...
published: 31 Mar 2008
Eduardo Lopes Bachiana Brasileira n°4 Prelude - H. Villa-Lobos
Eduardo Lopes conducts the Orchestre national de Lyon playing the first movement of Heitor Villa-Lobos Bachiana Brasileira n° 4 http://maestroeduardolopes.com
- published: 31 Mar 2008
- views: 168142
7:16
Best Brazilian Composer of All Time: Villa-Lobos: Chôros No 10 "Rasga o Coração" / TRIBUTE
My Channel: http://www.youtube.com/animarthur
Heitor Villa-Lobos main influences:
1) ...
published: 26 Oct 2009
Best Brazilian Composer of All Time: Villa-Lobos: Chôros No 10 "Rasga o Coração" / TRIBUTE
My Channel: http://www.youtube.com/animarthur
Heitor Villa-Lobos main influences:
1) Pixinguinha - chorinhos (Choro is a folk Brazilian music, brother of the samba. Pixinguinha is one of the greatest composers of choros);
2) Cartola - sambas (Cartola was a singer-composer of samba);
3) The folk Brazilian sounds, including sounds from indigenous people and also the sounds of Brazilian nature. Villa-Lobos uses those sound in his music;
4) Johann Sebastian Bach, german composer;
5) Giacomo Puccini, italian composer;
6) Richard Wagner, german composer.
-Conducted by David Robertson [2009]
-Symphony Orchestra from UK.
BIOGRAPHY:
Heitor Villa-Lobos (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
- published: 26 Oct 2009
- views: 21369
15:36
Turíbio Santos - Suíte Popular Brasileira (Heitor Villa-Lobos)
Turíbio Santos executando, de Heitor Villa-Lobos, a SUÍTE POPULAR BRASILEIRA.
Album: Villa...
published: 11 Feb 2012
Turíbio Santos - Suíte Popular Brasileira (Heitor Villa-Lobos)
Turíbio Santos executando, de Heitor Villa-Lobos, a SUÍTE POPULAR BRASILEIRA.
Album: Villa-Lobos - L'Integrale Pour Guitare
Disco 2
Suíte Popular Brasileira
1. Mazurka - Choro (1908)
2. Schottish - Choro (1908)
3. Valsa - Choro (1912)
4. Gavota - Choro (1912)
5. Chorinho (1923)
Turíbio Santos - violão
Ao FRED (Fredjmp), amigão e mano véi de guerra e de paz, cabeça chata que nem eu.
luciano.
- published: 11 Feb 2012
- views: 34493