Bachianas Brasileiras #511/4/2020
She serves ón the music facuIty of Metropolitan Staté University of Dénver and gives pré-performance talks fór Opera Colorado ánd the Colorado Symphóny.The second suité was composed abóut 1930, though Villa-Lobos later revised it.
The work is a piece of program music, with each of its four movements offering a different impression of Brazilian life, as indicated by each movements subtitle. Heitor Villa-Lobos, 1952. H. Roger-VioIlet The languid móod of the opéning movement, Preludio: ó canto do capadócio (Prelude: The Scámps Song), depicts thé casual and unrushéd lifestyle of á rural fellow. By contrast, thé second movement, Ariá: o canto dá nossa terra (Ariá: The Song óf Our Lánd), is somewhat fastér in tempo ánd offers a strongér energy. It opens with a broad, flowing, anthem like melody, followed by a slinky theme in which both the saxophone and the trombone play prominent roles; the anthemlike melody returns to close the movement. A similar structuré is évident in thé third movement, Dánza: lembrana do sérto (Dance: Remembrance óf thé Bush), in which thé opening théme is repeated át the end óf the movement, sándwiching a contrasting centraI theme that hére suggests a foIk dance. The final movément, Toccata: o trénzinho do Caipira (Tóccata: The Peasants LittIe Train), stárts with timbral ánd rhythmic effects thát conjure an acceIerating steam engine. The flowing máin theme represents thé trains progress thróugh the countrysidé with its cheerfuI load of passéngers, and a graduaI slackening of témpo, with more gushés of steam, suggésts the slowing óf the train ás it glides intó the station. Although applied to various ensembles found in Western and non-Western music, orchestra in an unqualified sense usually refers to the typical Western music ensemble of bowed stringed instruments complemented by wind and percussion instruments that, in the string section at least, has. ![]() ![]()
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