Bachianas brasileiras

The Bachianas Brasileiras (Portuguese pronunciation: [bakiˈɐ̃nɐz bɾaziˈlejɾɐs]) are 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 of 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.).

Scored for orchestra of cellos (1930):

Scored for orchestra (1930). There are four movements. According to one opinion, the third movement later transcribed for piano, and the others for cello and piano (Appleby 1988, 64–65); 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 (Peppercord 1991, 103).

Scored for piano and orchestra (1938)

Scored for piano (1930–41); orchestrated in 1942 (Preludio dedicated to Tomas Terán)

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

Tarde, uma nuve 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 e a linda sonhadoramente, / em anseios d'alma para ficar bela / grita ao céu e a 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!

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